The Official Chris Jones Blog

Welcome to the Official Chris Jones Blog!  With the launch of the Chris's amazing, new website, he has decided to discontinue the fully-formatted e-Newsletter that fans received in 2010 in favor of today's primary social publishing platform - a blog.  This will allow you to follow the life of this singer and performer on a more regular basis. In addition, the blog will allow Chris to include not only photos, but also video logs (vlogs) and music reviews. He plans to include the voice of his fans in the creation and production of his first demo CD, to be recorded by the end of 2011, by engaging them through his blog, through Facebook, and through email surveys. To sign-up for email updates from Chris Jones, go to the Email Update Sign-up Form

If you absolutely cannot get enough of Chris Jones, add him as a friend on Facebook, and check his wall posts several times per week (note: not all Facebook wall posts are music-related). All blogs posted are written by Chris Jones unless specifically noted.

Written by Chris Jones, singer Category: Art Blog
Published on 16 May 2011

When I first saw the video for Lady Gaga's song "Bad Romance" back in 2009, the first things I noticed–after the initial twenty seconds of shellshock that all of us Little Monsters experience when we realize we are watching a brand new Lady Gaga video–were the extraordinary, devastating gold platform heals Gaga wore during the middle section of the song. I had to know, "What kind of crazy, genius mind could create such a thing?" I discovered that they are called Armadillo Boots. There are twenty-one pairs in existence. They are ten inches high. And they retail for $10,000 a pair. It was a jaw-dropping introduction to the world of Lee Alexander McQueen.

I have been thinking a lot about him recently, with the opening of his new exhibit at the Metropolitan Museum of Art–Alexander McQueen: Savage Beauty–that runs from May 2–July 31, 2011. The exhibit is a retrospective of his contributions to fashion, from his 1992 postgraduate collection to his unbelievable final runway showing, which took place posthumously in February, 2010.

As I look at photos from the exhibit, I am struck by a feeling that is difficult to put into words. It is a feeling that reminds me of being in some of my favorite places in the world–Venice, Italy leaps to the front of my mind–where the energy is so special and the moments of beauty so magical that I experience an odd and confusing spectrum of feelings in just one moment. If I simply meander through the haunted corridors of the Venice canals, or out into the thick, Crème Brûlée air of the Piazza San Marco on a Friday night, suddenly nostalgia will flash like lightening to ecstasy, drop like an anvil to despair, then slingshot to the horizon in laughter. All in a blinking heartbeat. That pretty much sums up how I feel when I look at McQueen's designs: nostalgia, Crème Brûlée, ecstasy, despair, and laughter.

What I love most about him is that he managed to live in a milieu of endless traditions and mainstream conventions, where fashion designers work doggedly to sublimate an idea so that it will sell to the masses, yet he always challenged the ideas of what is expected by putting his heart and soul into each piece. He did not break tradition for the sake of breaking tradition. He, in fact, upheld the strictest traditions of Savile Row craftsmanship while taking his subconscious mind and handcrafting it into one-of-a-kind works of art. A true artist.

McQueen's death in early February, 2010, was so shocking to me. I think what I was most stunned to learn–and I think this was true for many people–is that his personal life was full of such intolerable pain. It felt like such a conceit by the Universe to bring a life into the world that could create such beauty and inspiration, but then to fill that life with such misery and torment. I will never forget Björk's performance at his funeral at St. Paul's Cathedral in the haunting, shaky, handheld video footage on YouTube. She seemed to glide out in McQueen's incredible ostrich feather "Angel Wings" dress, and almost cry and even wail the Billy Holliday song "Gloomy Sunday," rather than just sing it.

Lee Alexander McQueen's greatness can be measured by the work he left behind, but nothing can measure the way his work makes me feel.

1969–2010

All images credited to the Met Museum Blog
Dress, Widows Of Culloden autumn-winter 2006-07
Ensemble, VOSS, spring-summer 2001
Click to see full-size images.
Ensemble, Supercalifragilisticexpialidocious, autumn-winter 2003

Dress, The Horn Of Plenty, autumn-winter 2009-10
Oyster Dress, Irere, spring-summer 2003


 
Written by Chris Jones Category: Art Blog
Published on 25 March 2011

And if you are a performer, you need to read this...

Strathmore Hall - Joan RiversWith numb faces, red eyes, and sore cheekbones, we have just returned from Joan Rivers' tour-de-force performance at the Music Center at Strathmore, in North Bethesda, MD. She is one of the funniest people in the world to me. There is a shortlist of maybe four comedians, living or dead, who can make me laugh at any time of the day no matter how I am feeling. Margaret Cho, Ellen DeGeneres, Joan Rivers, and - more recently - Chelsea Handler. While they all have markedly different comedic styles, I have noticed some common threads in their work; threads that I can personally identify with in a very strong way.

The first is an intrinsic sense of somehow being the outsider in life - the underdog - with overarching themes and experiences in your daily round that constantly whisper into your ear telling you that, at least metaphorically speaking, you are definitely NOT sitting at the "cool table." And try as you might to fit in so you'll be accepted, the fashionable, popular people are always going to be rolling their eyes at you.

The second common thread I have noticed is their absolute love of being onstage, and the love of the craft of their work. These are people who are doing what they do - at the highest levels possible - and they would be doing it whether before five people in a community center in Duluth, or before 4,000 people at a sold out performance in one of the wealthiest theater communities in the United States, as Joan Rivers did tonight. They are out there doing it because they LOVE it.

But the most important part of this equation, for me, is that they were all doing it before they had success and before they had money. My learning curve right now, which seems to be curving around the following - to do what I love to do (singing and sharing music) without the foundational, stabilizing things that fame provides (total personal financial security, an agent, a manager, a TOUR manager, a publicist, having a name that guarantees a paying audience, etc., etc.) - is actually very, very, very difficult.

Read more: Joan Rivers Comes to Town
 
Written by Chris Jones Category: Art Blog
Published on 01 March 2011

Today I took a walk in the Bishop's Garden at the Washington National Cathedral. The weather was so lovely!

Bishop's Garden National Cathedral 01Bishop's Garden National Cathedral 02Bishop's Garden National Cathedral 03

 
Written by Chris Jones Category: Music Blog
Published on 10 October 2011

A couple of months have gone by, and I am about to raise the bar once more on my singing videos. I just finished a project with my arranger and accompanist - a cover of Lady Gaga's "The Edge of Glory." It is arranged with full harmony. This video represents the first step in increasing the complexity and quality of my singing videos.

This fall, I will be recording real music videos. Stay tuned for a couple of live performances and for the music videos to the traditional Appalachian song, "Wayfaring Stranger" and to the Irish folk tune titled "The Fields of Athenry."

Enjoy! ~ C


 
Written by Chris Jones Category: Music Blog
Published on 26 April 2011


On January 20, 2009, I sang for President Obama's Inauguration Day Prayer Service at St. John's Church, Lafayette Square, in Washington, D.C. That was truly one of the most thrilling experiences of my life. There was so much anticipation and excitement in the church that day. There were buzzing waves of electricity in the air. I could feel the energy and attention of the entire world focusing on this one person, the President-elect, sitting only twenty yards from me. It was overwhelming.

One of the pieces we sang that morning was "Hope, Faith, Life, Love" from the cycle Three Songs of Faith by composer Eric Whitacre. I loved performing the piece, and I was shocked that I had never heard of this composer before. With all the professional choral singing that I do, how had I never sung this gorgeous music? The piece is dense; thick and heavy with hypnotic beauty. There are suspensions everywhere, which I love, and being in the middle of the sound his music creates makes you feel grounded and satisfied in a way that is difficult to describe.

Read more: The Miracle of the Virtual Choir
 
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