During the last three months, I have become hooked on karaoke.
It’s not that I am new to karaoke. In fact, I’ve done it lots of times, mostly by joining with friends to rent out small private studios at karaoke clubs. Many of them are fellow students in a weekly singing workshop that I’ve been taking for many years at the Boston Center for Adult Education. (I wrote about the latter experience here.) I’ve also done karaoke with a group of (gasp) fellow law professors and other legally oriented types in places as far away as Vienna, Prague, and Toronto.
But until last November, I hadn’t tried the main stage at Limelight Stage and Studios, located in the heart of Boston’s theatre district. Although my compatriots and I had rented studios there before, we had never done the main stage. But some muse inspired us to give it a try, and we — or at least I — haven’t turned back. Since then, I’ve been back there about a dozen times.
The atmosphere at the Limelight is friendly and lively, a mix of regulars and groups of young (and not-so-young) people stopping by to have a good time. Every once in a while, someone steps up to the stage and simply blows everyone away.
Folks, it is so much fun to get up there and sing, as well as to enjoy the performances of friends and others. I’ve been developing a list of “go-to” songs that, so far, includes:
- Sinatra, “Summer Wind”
- Sinatra, “Learnin’ the Blues”
- Sinatra, “Fly Me to the Moon”
- Sinatra, “My Kind of Town”
- Sinatra, “New York, New York”
- Elvis, “Blue Hawaii”
- Tony Bennett, “I Left My Heart in San Francisco”
- Bobby Darin, “Mack the Knife”
Yup, I’m old school, and mainstream. The 70s are about as recent as I get. In fact, I don’t know a lot of the more current stuff that many of the younger folks sing. (“Younger” being an expanding share of the population for me.) If the music catalog were to expand to include more of the Great American Songbook — the Gershwins, Cole Porter, Rodgers & Hammerstein, etc. — I’d be even more old school.
To fuel my habit, I’ve also taken to reading about karaoke. Rob Sheffield’s Turn Around Bright Eyes (2013) is, well, a sort of karaoke memoir, with a dash of karaoke history mixed in for historical perspective. Karaoke, as the name suggests, started in Japan during the 1980s, and soon made it to the U.S. Although karaoke song lists typically offer thousands of selections, a handful of the same numbers are very likely to pop up on any given evening. According to Sheffield:
Let’s get a couple things out of the way right now. One of these things is called “Livin’ on a Prayer,” and the other is “Don’t Stop Believin’.”
These are easily the two most popular karaoke songs. Indeed, as far as many of my fellow revelers are concerned, they seem to be the only two karaoke songs. Once, spending a night at Sing Sing [a karaoke club in Manhattan] with my friend Dave, who works as a wedding videographer, he got all stressed by all the believin’ and livin’ we heard through the walls. “These same two songs all night,” he said, shaking his head. “This is like being at work.”
Hey, at least my oldies-but-moldies selections don’t come up all the time. (OK, the Sinatra numbers are popular with others as well.)
Seriously, though, I consider singing to be a form of mindfulness, a way of being in, and enjoying, the present moment. It’s therapeutic for me. Compared to “serious” singing, karaoke is often regarded as being rather common and amateurish. (Heh, one of caustic American Idol judge Simon Cowell’s favorite putdowns of a performance was that it “sounded like bad karaoke.”) However, it’s a form that gives anyone, regardless of talent, a stage on which to have fun and enjoy singing their favorite songs. That’s a big part of what singing should be all about, right?