Every Day is a Windbag: Sheryl Crow

In the new Ladies Home Journal — never miss it — Sheryl Crow lashes out against American Idol.

“Let’s face it,” she says, “it undermines art in every way and promotes commercialism. I am sad people love it so.”

Crow is to be applauded for sending the world this urgent wake-up call. Like a lite-FM Norma Rae, she has bravely battled the evil forces of commercialism since the late 80s, when she sang backup for a little-known pedophile named Michael Jackson.

Since finding success on her own, she has truly “walked the walk,” refusing all endorsements – except for the Wall Street Journal. And American Express. Oh, and Subaru. And Dell Computers. That was it. Wait, there’s also her low-key Super Bowl commercial for Revlon “Not Fade Away” Hair Color, featuring an incredibly lame version of the Buddy Holly standard.

Ms. Crow’s hypocrisy and self-seriousness should make her a lock for the Rock & Roll Hall of Fame somewhere around 2020. But that aside, how does American Idol undermine art? Is there a street-corner blues musician whose seven-figure contract was torn up to pay for Taylor Hicks? Are Fantasia’s twelve-year-old fans complaining that the art they deserve is being undermined?

Besides, American Idol has little to do with music. It’s a horse race. You pick a favorite early on and root for them to go all the way, Simon Cowell be damned.

A few years back, Sheryl Crow did a wonderful cover version of Hank Williams’ “Long Gone Lonesome Blues” on the Timeless tribute CD. She should think about undermining her current “art” and making an old-school country album someday.