The Other Castro (why I'm reserving judgement on Michael Castro)

Well, since it's a given that I am a huge Jason Castro fan, I believe it was inevitable that I would write about the American Idol auditions last night in Kansas City, MO. Only I wouldn't be writing solely about Jason this time. Last night, his younger brother, Michael, auditioned and claimed a spot in Hollywood.

I have sort of mixed feelings about this. I watched the show last night, and came to a myriad of conclusions. So I decided to sleep on it and write about it the next day.

I woke up to a still-ongoing debate in my head about Michael and thought of heading over to TelevisionWithoutPity, my American Idol constant. I've read the weecap (Jacob was, as always, on fire) and perused the forums, and I think I'm ready to figure this all out on paper.


I like Michael Castro. I do. But, as with all things that come secondly to us, comparisons are inevitable, and he will probably never reach Jason Castro-levels of likeability to me. I find it hard to say that, because I don’t feel like saying something bad about someone else's family member, especially if that family member is one I have been so over the moon about in so many ways even up to now.

So this is the Michael I have heard so often about. The brother Jason talks about who's better at singing than him. The brother he watches AI with, and talks about auditioning with. (I will skip over what was said in the episode, because I know they love to be funny, those Castros.) I've been told that he's a different kind of card. He is not Jason, and I will keep that in mind – despite the unavoidable comparisons that will be made. That being said, what is it with these Castros and the hair and the interview frights?? Anyway…

He sang Gavin deGraw, who I love so much. In that audition, he defied people's preconceptions about him –with a style bordering on the punk side, a wider vocal range, and better projection. In an instant, he showed people how he is different from his brother – our Jason with the dreads and the organic dress-ups and the laid-back attitude and the sweet sentimental voice. Vocal-wise, he certainly is a lot different than his older brother. In addition, Michael is younger and could even possibly be more relevant to the pop-seeking hitmakers in the industry (you can actually see Kara DioGuardi's mind working, as if she is trying to match Michael with a song she just wrote). Best of all, Michael seemed like the kind of person who could be molded to fit the hit of the day. He can be Gavin, he can be Miley Cyrus' brother, he can be Billie Joe Armstrong – heck, he can probably kick the asses of all three Jonas Brothers combined. And this is probably the reason why Simon Cowell has yet to figure Michael out. Because Michael sounds like possibly any generic pop act in the sun, with a few extras on him.

Now, this is not a bad thing. But neither is this a good thing. And more importantly, while he has a great voice and a pleasant enough personality, I think Simon nailed it on the head when he said "I never know with you Castros if you're in it or not". The reality is he seems like the kind of younger sibling who wants to try everything under the sun. His ballsiness, his "chutzpah" as Kara called it, seems to stem from his youthful exuberance. To paraphrase Michael, "if Jason can do it, I can".

My problem with him is that he doesn't seem to be in it for the long haul. Unlike his brother, who we all knew auditioned for the chance to make music. (And, as we all knew, came out disillusioned yet – God bless him – continues to plod on.) I WANT SO BADLY TO BE PROVEN WRONG ON THIS. I have yet to find out what he has under his belt – if he struggled with his music just like his brother, if he sang in public just for the love of it, if he really is serious. He shouldn't be doing this just to prove he can, he should be doing this because he believes he should. As far as I can know, he has sung covers (available on the Internet), and he has a mySpace page. But who doesn't these days? He's selling posters of himself on brother Jason's website – a demo would be much better, though, like David Cook and Brooke White have done. Has he hit the club scene? Tried to get his music out? Because a mySpace page doesn't really count. Because if you are serious and you have the chops, you will do more than just go online. You will try to go EVERYWHERE (which is what Jason did).

If Michael does prove to be serious about the music, then I will happily throw my hat in the ring alongside him and cheer him on. Otherwise, his brother's earnestness will never be a match for him, and he will always have doubters in his corner.

That being said, I was definitely glad that Michael auditioned that day, or I would have forgotten how much I missed Jason so bad. I read somewhere that he will be coming out with material very soon. And I am so excited. Seriously. His fans will love him more for it for sticking it out in spite of the craziness in the industry. I cannot wait.

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The Idols (particularly Jason Castro) in my backyard

The American Idol Tour ended yesterday, and I was lucky to catch the show when they rolled into Bridgeport, CT last week.

It was raining hard that day and I initially thought that they were going to cancel the show. But everyone came, girls with ironed-on Idol photos on their t-shirts, and moms with their digital camcorders, and dads holding umbrellas for their giddy kids. I was in line, waiting just like everyone else, and just as excited. I kept thinking, their tour bus is just around the corner. If it were better weather, I would have gone there and see if I could meet anybody. But it wasn't. And I wasn't about to risk getting pneumonia just to see Jason (besides, I cannot imagine his dreads getting wet!).

I sat towards the side of the stage, about three to four rows in front of a raised platform. I prayed that the Idols would swing by to the platform so we could at least take pictures. I sat beside a family of three – Mom, and her two daughters, all excited as heck. Something tells me that I was in for a lot of rushing and feet-stomping to come.



The lights dimmed and out came Chikezie to the delightful roar of the crowd. He sings that Eric Yamin staple, Donny Hathaway's "I Believe to My Soul". His three-song set is pretty much what you would get from him – a lot of soul, very solid vocals. He heads over to our side of the stage and gets on the platform, and just as I suspected, the two girls seated beside me rushed past me with their digital cameras out. "Sorry about that," their mother apologized. No problem, I said. Besides, I would have done just the same.

Sweet Chikezie told the crowd that it's Ramiele's birthday today and that we should greet her a Happy Birthday. We did, and I hope that she is motivated to perform really well tonight. Unfortunately, that was not the case. She came out in all her sparkly glory, performing a bit of choreography and singing Jackson 5. But it was all wrong, and none of the notes hit. I tried my darndest to act interested, but she left me slumping deeper into my chair. I looked across the crowd in front, and some of them were left open-mouthed, staring at her uncomfortably. I felt embarrassed for her. I really wanted to root for her, being Filipino and all, but she made it very difficult. Good thing she sang her second song a lot better, but she needs a lot of goodwill to make up for the first one.

And that goodwill? Just came in the form of Michael Johns. Seriously, I love this guy. He gets so much flak for his song choices, but he nabbed a few that were genius, IMO. He opened with the Queen medley, then the gorgeous "It's All Wrong But It's All Right", and ended with the only song that got me on my feet and singing along – "Dream On".

Then Kristy Lee Cook came out, and, although I am not a fan, I do admit she is lovely to look at, with her trademark tight jeans and sparkly tank top. I saw the guys in front and center just staring at her, transfixed.

Carly next came out in dramatic fashion, rising from a trapdoor at the top steps with a wind machine to great effect. As usual, she sounded great, although I prefer she sang "Alone" if she wanted to sing Heart. There was a cute Carly banner in the front row and I'm sure she noticed it.

Similar to Carly's entrance, Brooke White appeared from a trapdoor, but this time, from the front section of the stage and with a baby grand. She sang "Let It Be" and was just as heartfelt as when she first sang it on stage. She ended with her own version of "Yellow", which I was surprised to hear was included in the tour. The remake was part of her indie album, and it was obviously she who suggested it. I'm glad they included it because her version was really good.

It was time for the Bottom 6 U2 number, and Brooke ran to our side of the stage, where it was unlit, to put on shoes. We were screaming her name and waving to her, and she cutely waved back and put a finger to her lips, so we would not give her away. "Pride (In the Name of Love)" is a great number, and I actually wished that the rest of the Top 10 were there to sing it. But it featured a small duet between Michael and Carly, reprising that impressive number they did on the Ellen show in Chicago after they were both eliminated. It was a great way to end the first half of the show.

And then there was Jason…

I admit I was close to losing it during intermission.

Earlier, during Carly's set, while the lights were on, I saw Jason coming up the back steps, probably to talk to someone on the band. Only those people seated on our side could see the back steps, and I sort of lost it and yelled his name. I was not mistaken. His dreadlocks are too distinguishable to mistake him for anybody else. But just as he suddenly appeared, he quickly went. That was my first Jason sighting of the night and it simply whetted my appetite for more.

And at intermission, I knew Jason was up next, and I was bummed that people would be going in and out of their seats while he was singing and that I might get distracted. I also wanted to be closer to stage. Which is why I summoned the courage to ask the nearest security personnel and ask if I could hang out next to the raised platform just for Jason's set. I figured I could get a good view for pictures. He politely turned down my request to hang out beside him. But thank goodness for small miracles (and for asking nicely), because he then pointed to an empty seat beside him, which was also next to a little girl. He said "You may want to sit there as that one's empty". That seat was right smack in front of the raised platform. I was shocked to learn that no one was seated there, and asked the girl nicely if I could sit beside her for a while (her dad was seated behind her, so I really tried to be nice). She nodded her head, and my excitement just ratcheted up tenfold.

After some Guitar Hero promotions, the lights dimmed and Jason came out. Just like that. He sat on the stool in the center of the stage and began that sweet ukulele song of his. I didn't stand up and cheer. I didn't need to. He was there, albeit in the center. I could tell he was not the type to go from one side of the stage to another and reach an arm out to fans. But I was a lot closer than I originally was, and there he was, under a spotlight, eyes closed and singing with his heart on his sleeve.

I looked around and everyone acted the way those girls were in the Pit when Jason first sang this song: still and mesmerized. It was like listening to him sing in a coffeeshop, all intimate and warm inside. He ended the song and the crowd was rowdy with cheers and screams. But only for a while. He segued into the song that earned him a spot to Hollywood, and one that I have been waiting to hear – live, natch! – for a long time. "Crazy" was just as cool and fantastic as others have heard it. It was beautiful to listen to, and should really be a single on his album (should he come out with one – and he should!). He then sang "Daydream", the song that cemented him into the public consciousness for the very first time, and it sounded just as lovely as when I heard it the first time. When the song ended, there were smiles, a few waves, and then, just like that, Jason was gone.

It was nice to see that all the songs Jason sang showed him at key moments in his AI experience, as if he was telling a story. The song when he first broke through in brilliant fashion ("Somewhere Over the Rainbow"), the song when he first broke through to Hollywood ("Crazy"), and then the song when he first broke through publicly ("Daydream"). It was like, look at me and see what I've become. How am I doing?

Meanwhile, I was there, and, in contrast to some of the fan reports that I read on the Web about some rabid reception for Jason in other venues, Bridgeport's reception for Jason might sound a wee bit subdued. But I look at it differently.

It was the kind of reception I would love to see Jason get at the peak of his career. Not the screaming fangirly kind of reception, but a raucous cheer of respect at the end of each song. The silence during songs would be indicative of the desire to truly listen to whatever message Jason wants us to hear. Being mesmerized by his sound, his music, and being attentive to the gift of song that Jason is handing out to us. It was like being in a coffee shop the size of a football field. Jason's shows would be teeming with fans who just came for the music. That is how I see that night's show in Bridgeport. It may not be the noisy kind of fan support, and granted there are non-Jason supporters in the house, but I still felt a lot of Jason love that night. And it's that kind of love that made me focus more on the music, and made me appreciate him even more as a musician. That night showed that he will be all right playing in an intimate venue or in front of an arena crowd, that his voice and performing skills can handle either size. I now know that he will do just fine live.

I just wished I could hold on to him just a bit longer. Of all the Idols who performed that night, his was the set that seemed too short. And he left without fanfare, in the same way he came onstage. Like a thief in the night, was our Jason. But his songs live on, and that is how they will always be.

The other three

Syesha came out in an adorable afro, singing Rihanna and doing a great job of it. This being her city of birth, Bridgeport gave her a rousing welcome. And it seemed that Syesha put some extra intensity in her performances, most likely inspired by her family sitting front and center. She called them out after her first song, and they stood up like the proud family they were, which was too cute.

Syesha probably was my favorite female performer of the night. She was at ease, and displayed more emotion than she ever did in her full run on AI. Her vocals were strong and confident, loud and clear. She really changed my mind about her. I was never a fan, but hearing her sing that night made me rethink my feelings about her.

And then David Archuleta came out. I have never heard such loud screams before in my life as the ones I heard when this kid appeared, Brooke-style, from under the trapdoor in a haze of smoke and singing "Angels". He sounded the same as he always was on show – gaspy but otherwise decent. His attempt at in-between banter was charming, even though the amount of giggling kept doubling each minute. He did a bit of research, too, saying how lucky we were that John Mayer came by before they did. That impressed me.

He really seemed surprised at the amount of support he had. I must say I was charmed off my seat by this kid. I think you have to experience the Archuleta charm in person in order to understand what millions of tweens have known since the very first week in AI.

I was pretty sure I was going to be trampled on at some point, and I was bracing myself for it. But when David headed for the platform in front of me, I had no idea how big a surge it was going to be. Suffice to say, I nearly fell headlong into the crevice beneath the platform if it weren't for the security guy flinging an arm out toward me. Crazy but true. In fairness, it was partly my fault. Instinct told me to stand up to snap a picture as soon as David started walking towards us. Had I stayed seated, the worse I could get was a concussion from a slew of cameras whipping up behind my head. But it was hard to stay seated when you've got David a few inches in front of you. You simply have got to record it for posterity.

That went on a couple more times, since David would walk around with each new song. And I think I was better prepared each time. I did feel very proud of him. He seemed genuinely happy and he seemed to enjoy the experience. It was like watching your kid brother finally hit the big time. It was great.

He introduced David Cook quite hilariously, saying how great it was to "open for this guy" every night. And if you thought David Archuleta's screams were unlike anything I heard before, wait till you hear the screams for David Cook.

They were massive, and really shook the whole place up. I felt my heart vibrating in my chest. It was crazy. And David came out, similarly via trapdoor and amidst smoke machines. He sang "Hello", which I didn't really like. But you don't really think about that at all when you've got thousands of screaming fans trying to give you a heart attack.

The good thing about David Cook is that he knows how to put on a show. He's not just a good singer, but a great performer as well. He takes in the whole crowd, from side to side, he looks over at people, and puts a lot of energy into his guitar playing. He uses props, and can hold his own in terms of banter. He knows how to get the crowd to interact with his set, asking them to sing along with him or cheer harder. He is simply great, and I can tell he will have a long career after this.

At one point, he asked everyone to take out anything they have that lights up – cellphones, glow sticks, cameras – and just wave it in the air while he takes a snapshot of the arena all lit up and aglow. It was a great moment, and I took pictures while he took pictures. Then he asked about some crossword puzzles that were tossed up on stage for him, and I think there was a message of sorts scrawled on the cover that he thought was funny. And at one time, Michael Johns – in white shirt and tennis shorts – came onstage while David was addressing the crowd and Michael paused a bit and then kept right on going offstage. It was great.

He sang a few more songs, and I missed hearing his "Always Be My Baby", which to me was his best and most original performance. But I guess we'll be hearing it on his first album, then. Afterwards, everyone else turned up for the finale. It was great to see Michael doing his dork dance, and the two Davids doing a lame catwalk, David Cook wearing a funny-looking wig-slash-fro, and then Jason coming out and turning around to face us – the only time he did so. It was great, and it recapped a wonderful night that refused to let the rain dampen anybody's spirits. It may have rained outside, but inside was warm and full of love for music and personality.

When I stepped out of the venue, I saw that the rain had stopped and that people were all smiles. I love how music has that effect on people. Here's hoping that each and everyone of these Idols continue to induce that same effect for many years to come.

And, lest I forget, here's hoping that Jason outlasts them all :)

An Idol Tour Postscript:

Because this Tour was strangely lacking in collaboration (and no, the Guitar Hero promo spot does not count), I have decided to create my own Fantasy setlist. This is not a wishlist, since the tour is already over. But it would be like Fantasy football of sorts. So, in honor of the nixed "Barracuda" number, here is my Fantasy Collaboration Setlist:

* Chikezie and Syesha duet on "One Sweet Day"
* Chikezie and Ramiele and possibly (yes, I know) Archuleta singing and dancing to Ne Yo's "Closer"
* Brooke and Michael Johns singing "Dream On" together
* Jason featured on drums for "Whisper to a Scream" or "Take Me Out" with Michael Johns and maybe even Cook on vocals
* Carly and Syesha duet on "Why"
* Jason and Brooke on guitars singing "Orange Sky"
* "Call Me" in lieu of "Barracuda" for Carly, Jason, and David
* "Solsbury Hill" for the guys on instruments and vocals
* a rocking number of "I Still Haven't Found What I'm Looking For" with Jason on drums, Cook on guitar, Archuleta on keyboards, and everybody on vocals
*"All These Things That I Have Done" for everybody

There are some performers that are featured more often in my setlist (I am a Jason fan, after all). But I did come up with some really great suggestions. I guess it's back to dreaming for me.

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Castro Bump! Who's Right Fucking On? Me! And Jason's Fans Aplenty!

Would you look at that? I get a Castrocopia award! Yay!




I am just starting my blog, and it’s already made a friend. How cool is that? My very own Permalink!

I love the folks over at Castrocopia. Whenever I felt unduly harassed by non-Castro fans, whenever my AI-loving self got no love from TPTB, whenever I’d read up on some very misleading press about Jason, I’d head over on to Castrocopia for my dose of Castro comfort.

It is a virtual community that was full of laughs and genuine musical appreciation. We appreciate and celebrate the guy who, and the music that, brought us all together. And to take the camaraderie a little further, CUSP was born. That Castro movement that promises to make the world a little better.

The fact is that Jason Castro has the BEST FANS IN THE WHOLE WORLD. People who would set aside time to volunteer, after giving the gentlest and sweetest of nudges to a guy who deserves to be heard in public more often. Some AI fans would settle for simply waiting for an album to come out. Not the Castrocopians, the Dreadheads, the Castrofans, the musical souls of this planet. They looked at what Jason represents, and sought to follow his lead. Of course, they will wait for that much-anticipated solo album. But they can do more than that. And this is why I love this community of Jason lovers. We have the maturity and the grace to look at the world beyond us and see how we can give ourselves to it. Much like Jason has done the whole time AI was on air.

It reminded me of that little “mixup” a while back. When the charity that was supposedly Jason’s “pet” charity was not the actual one. And yet people still gave. And Jason’s reaction to all this? “There are no accidents. Everything happens for a reason.”

Lovely.

You wonder… what can the Archey Angels do? Those Cougars for Cook? What if they banded together and planted trees? Or collectively shut off the lights when they leave a room? That would have made a difference. Despite the flash and panache of an Idol Gives Back, there is still much to do. And more often than not, people don’t have the money to give. But they have time to give. And that is something to think about.

But back to the best fans in the world. Jason’s. Isn't it amazing how someone’s music can turn his listeners into change-seekers and do-gooders? How someone’s personal convictions can be filtered into the mindsets of those who think and love alike? Isn’t it great? Musician and listeners become one. I don’t care what the others think of us who have proudly stood by Jason all these weeks. It is not just the pants, you know. The universe is a much better place with us in it.

Note to Liz Lemon, McLovin, and spinningwheel: Thank you.

Update:

Okay... I gotta say it again. Jason's fans are the best ones ever! I nearly forgot to check for comments, so it was quite overwhelming to see a lot of them. Here's hoping it's not the same Anonymous person writing something different each time! The comments are sweet and great to read through. Thanks so much!

To the person who felt bad about me criticizing the other contestants. I guess, being in the public eye, they are fair game - just as Jason was for so many weeks. And he will continue to be fair game, mark my words. Unfortunately for me, my attempts at sarcasm and snark got lost in translation. I'm no David Cook or Michael Johns. In this instance, I wish I was. But thank you for that. I think I got too caught up in my thoughts. After all, the other contestants are his friends, too. My apologies to those who found it a little unpleasant to read through.

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Castro Bump!

I initially thought of writing a "closure" piece of sorts for Jason Castro, the one AI contestant I rooted for the whole season. But it wouldn't be fair. Not when he's just starting to rocket into the stratosphere of the music industry. So I'll just call this a "thank you" piece to Jason - singer, songwriter, guitar player, fellow music fan. Maybe, after more than two weeks since the AI Finale, I will "bump" up Jason and remind everybody of his accomplishments, and what a fantastic person he is. Here's my own version of the "Castro Bump".

It has been two weeks since David Cook was crowned American Idol of Season 7, but I find it hard to let go of some fantastic performances during the many weeks the show was on air. And even harder to let go of a certain phenomenal performer who captured my attention and held it for far longer than any AI contestant ever had. Jason Castro, with his trademark hairstyle and vocals, was the show's singular breakthrough performer. Forget about David Cook's "originality", or David Archuleta's "talent beyond his 17 years". Forget the fact that Carly Smithson and Michael Johns were the frontrunners leading up to the semifinal weeks due to relentless camera time. To me, Jason Castro was the true discovery of Season Seven after all was said and done.

Jason, whom I have NEVER heard about prior to the first semifinals week, became my instant favorite the moment I heard him sing "Daydream". Sure, he had a smidgen of airtime during the "Chair" round (where Ryan called his reaction to moving on to the semis as "understated", and his dork dance reminded everyone of Bob Marley on high) and there was that one fleeting shot of him rehearsing with his guitar backstage during Hollywood Week. But here was a guy who never had any screen time whatsoever, and yet he succeeded in drawing people to him. His voice was raw yet beautiful, his camera presence solid. For a guy without a lot of stage experience, he certainly knew how to work the camera. He was the first contestant to accompany himself on a musical instrument, which allowed him to stand out even more. And needless to say, his appearance was definitely an eye-catcher – dreads, jeans, rolled up sleeves, and eyelashes all. "Daydream" seemed like the perfect song choice for him. In a musical generation that bordered on the raw and the punk, he managed to find a song that could capture his essence in 90 seconds – that of unabashed optimism and sentimental quirk.

And his stock peaked when he sang "Hallelujah" the week before he was voted into the Top Twelve. To me, anyone who sings Jeff Buckley automatically gets my heart. And his version, in my opinion, was the one on which ALL the other versions that followed are based. I don't think anybody can top the original, or even try to. Jason went after Buckley's version but made it his own and was simply WONDERFUL. It was the first performance of his where he wore his heart on his sleeve, and it showed. Botched ending be damned – the power in the performance was all in the emotion that he displayed. Jeff Buckley, the man who always sang like his heart was on fire, would have been proud of Jason that night.

That performance was also the first in a series of "Castro Bumps", where he would help bump up sales of the original on the iTunes charts. Jason Castro proved that he was radio-ready AND relevant. And his raw emotion that night also proved that there was more to the quirky essence that "Daydream" provided. He could carry stronger themes, and he had the maturity to understand them (something David Archuleta and Syesha Mercado sorely lacked).

Over the following weeks, I found myself rooting for him and following his performances closely. And time and time again, he was consistent. Too consistent to some, in fact, that some thought he was merely coasting. But the fact could also be said of many other Idol contestants in the past. Bo Bice and his rock song choices, Ruben Studdard and his R&B vocals, and Blake Lewis and his constant need to be hip, to name a few. And even some season seven contestants were guilty of not moving beyond the box as well – David Archuleta and his ballads, David Cook and his emo covers, and Carly and her constant need to shout something to the high heavens. The thing with Jason is that his consistency stands out in its restraint. He did not have the loud rock grit that Cook possessed, or the vocal runs of Archuleta, or the white soul sound of Michael Johns. He was not a belter like Syesha or Carly or Ramiele. But he had his own special niche that demanded a different kind of musical skill, a different sort of gravitas. And what was most impressive about it is that, in spite of his musical restraint? He could still draw listeners to him. Say what you will about his inadequacies, but Jason needs no more than what he already has to command a crowd. Did you see how, while singing "Somewhere Over the Rainbow", he enraptured the Swaybots so much that they forgot to throw their hands in the air? Jason is commanding in his quiet presence, and he doesn't need to belt or flail about onstage in order to captivate an audience.

In a way, he is much closer to fellow contestant Brooke White in terms of skill and musical inadequacies. They both have a limited vocal range, a vulnerability whenever they were onstage without an instrument, and a tendency to eschew the bells and whistles of a song. Instead, they let their vocals do the talking, and their emotions do the convincing. Both are throwbacks in a sense. They reminded us of that era in music when the vocal was just the medium, that it was the lyrics themselves that wielded the power, that music had the ability to transport, and sincerity was the platform on which the artist stood. A time when it was just the artist and his music and his listener, and that musicianship was not a production but a creative journey. The folkies embodied it the most, which is why these two were lumped into that category. And people are now saying that Jason and Brooke have forged a commercial path for all the young folkies and troubadours out there. But the truth was that Jason and Brooke can encompass any genre of music and still sound like themselves, and not just as folk artists.

Take Jason's performances of "Fragile" and "September Morn". He did not deviate from the originals so much, and yet it sounded very different from Sting's and Neil Diamond's. "I Don't Want To Cry" was another – an R&B song that Jason twisted into an almost-stripped down reggae-pop sound. And can anyone forget "Memory"? Neither can I. And it's a good thing. It was stripped of its raw anguish, and replaced with muted desperation. And usually, it's that quiet air of hopelessness which makes it more deeply troubling, and Jason, hampered by his own private illness, did the song even more justice than Andrew Lloyd Webber could achieve. And truly, none of these examples sounded like a folk song. And while the vocals had much to do with it, I would also like to say that attitude and sincerity plays a large role with it as well, which certainly encompass musical genres. As Paula Abdul said again and again, Jason was that contestant whom you could easily distinguish vocally. Given any type of music, you get Jason every time. (And for Brooke, I've listened to her "Songs from the Attic", and I must say, I am genuinely surprised and pleased.)

This consistency and lack of tricks are why his performances have been criticized as lackluster and uninspiring. But can you fault a performer who has been wonderfully consistent every time? Or would you rather get a Courtney Love or a Damon Gough, interesting artists though they may be, but have been woefully unreliable performers at most? Give me Jason any day, and it will never feel like a waste of time. They said Jason is unexciting to watch, as opposed to, say, Carly and the strained vocals, or David Cook prancing about the stage with a guitar, or Michael Johns gyrating with the microphone. But Jason is exciting in a different way. His song choices alone – being the only contestant who has sung Leonard Cohen, Sting, Bob Marley, and Bob Dylan (Rock and Roll Hall of Famers ALL!) in one season – has impressed the heck out of me, and keeps me tuning in to find out what he is going to sing next. The fact that he is radio-ready and musically relevant makes him exciting. His offstage persona makes him even more doubly exciting, and triply adorable. The mere fact that he gives his all in every performance, no matter what people think, means that he has the passion for the business and has the potential to come up with something intriguing. Who can call that blasé? Many artists have tried to veer off from their original sound, in the hopes of becoming more "exciting", but most of the time, in the end, they go back to the old sound. In time, I suppose Jason will do that, too. He is too much of a multi-faceted performer to stick to one musical direction. Plus, he is still evolving and still discovering who he is musically. In time, he will surprise us, and he will keep us on our toes. But in the meantime, he is cherishing the sound he has now and he will only get better before he moves on to something bigger.

As much as I appreciate American Idol for giving Jason the musical opportunity of a lifetime, and for giving us music fans an artist to feel excited about, I am also disappointed at how the show treated him, and the other contestants as well. He was burned out, and admitted that his inexperience caused him to falter. The judges were also unforgiving (Paulagate, anyone?), and seemed to trample on his spirits. Many people thought he wanted to leave, when all he really wanted was to just make music. Really, all he ever wanted was to make music, and the show disappointed him in that regard. But the upside? Is that Jason now knows how much hard work is required to succeed in the business, regardless of whether or not it is even related to the music itself. Which is why Adam Levine has given the best advice thus far: "Get ready to work, baby. It's gonna be really tough, you'll have to work a lot. And then you're gonna get jaded, and then you're gonna say, 'God, I hate this'. But you really love it. So try to remember that." Jason now knows it firsthand. All he has to do is learn from it. The reassuring thing is no matter how much the show may have disappointed him, his passion for music is still alive and that he now knows that he loves it, warts and all.

Despite speculation, I don't think the show ever broke Jason. He sang what he knew and loved, which meant that he sang from the heart. And nowhere was it more evident than in the week when he was eliminated. He sang Dylan, the foremost troubadour of our time, cementing the image in our heads of Jason as a folkhouse progressive. And he sang Marley, which was the strongest sentiment he could possibly give about himself and his universe. Almost saying, "Here, this is what people think of me and I embrace it. Not because they are right, but because I am right about myself and the people have caught on." On the one night that he simply performed as himself, he was eliminated. Irony much? That aside, he went out on a high note. He went out as himself. He never followed the dictates of the AI machine, never fit the mold of the usual Idol. He was no fool, and was as anti-establishment as they come, but in the sweet gentle package that is Jason. He followed his own artistry, and emerged happy as he sang the Marley song in the end that some people hated but he loved in his gut. He refused to give in to criticism, and continued to follow his heart. If he displays that same kind of passion and bravado in his career, there will be no stopping him. (And if you ask me, I thought "I Shot The Sheriff" and "Mr. Tambourine Man" were inspired song choices and were performed brilliantly. Because – seriously! – how can you judge the vocals on these two songs? The former required a certain kind of attitude and pluck to pull off, and the latter required emotional sincerity – all of which Jason displayed that night, despite forgetting some words. So, ask me about these two performances and I will say that they were AWESOME.)

I trust that he will follow his own path and just have a grand time with his music. And seriously, I cannot WAIT to see where his music takes him. Right now, there is a slew of online non-Idol material that does his talent justice. He has drummed for a rock band, sang Christian contemporary in church, and performed reggae and folk and pop songs in clubs. And I'm sure there is so much more out there that he has done that will serve to take my breath away some more. At the moment, he is a one-man musical variety show, and now, as his hometown visit shows, he is taking a more acoustic and sentimental approach to his music. Meanwhile, on a personal level, he has already earned my deepest respect and profound admiration for being the spiritual and gentle person that he is. His interviews made me realize that he is an even better and lovelier person than what he chooses to publicize. I commend his family for keeping him grounded, and for letting him loose to find his passion. I also thank his parents for raising him to be the person that he is now. I can only hope that the universe conspires to give Jason his moment in the sun.

It might take some time before we find him at the mic again, guitar or drumsticks in hand. But it doesn't matter to me. To me, good music is good music and is timeless. I have eclectic tastes of my own, and Jason's sound fits in comfortably within my musical universe (and it is a very forgiving and appreciative one!). Follow your own music, I say. Discovering where all this takes him will only make him a better artist. And it will only mean sweet music to my ears.

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