Jesse McCartney: Pre-Fab Teeny-Bop Pop Prince
8/23/2007
If you’re a baby-boomer now parenting children of your own, it probably doesn’t seem like that long ago that you were trudging through the teen years yourself. If your memory’s still functioning, you no doubt recall those cute male faces that graced the cover of Tiger Beat and the airwaves Top 40 AM radio, soliciting “oohs,” “aahs” and a never-ending stream of adoring screams from young female fans. Come on … admit it. You had your favorite from among John, Paul, George and Ringo. Once the Fab Four split up and went their own ways, the teeny-bopper radar focused on new targets to adore, including heartthrobs like Davy Jones, Donny Osmond, Bobby Sherman, David Cassidy and his little brother Sean, Andy Gibb, Jimmy McNichol, Leif Garrett, and others.
While we’ve all aged beyond the stage of teeny-bopper idolatry—and the aforementioned list of idols has aged to the point where our kids look at them and wonder what we were thinking!—the phenomenon of the “pop star du jour” has survived. Take one look at the today’s youth culture and you’ll see “exhibit A”—a big blip by the name of Jesse McCartney at the center of the young teen radar screen. He’s there because he’s grabbed the eyes, ears and hearts of a large segment of today’s young people. Granted, he hasn’t been embraced by all teenagers. But Jesse McCartney is today’s Pop Prince, particularly among young adolescent and pre-teen girls. For many, he’s the first doorway they’re stepping through on what will probably be a long and meaningful relationship with popular music and media.
Judging from Jesse McCartney’s recent and fast-growing popularity, he’s a voice and personality that deserves our attention. His music, message and persona are directing and reflecting the heartbeat and heart cries of contemporary youth culture. But why? What is it about Jesse McCartney that’s established his place on the landscape and consciousness of today’s youth culture? What’s the worldview and message communicated by this young man’s music? Is he as innocent and safe as he seems to be, or should we be concerned about where his music might someday go? Is there anything we can learn from his growing influence and rapidly expanding young audience? Is there anything his music can teach us about the realities young kids face in today’s world? And, does Jesse McCartney issue any necessary challenges or helpful insights to those of us who long to see our children and teens move into a spiritually healthy adulthood?
The Jesse McCartney story
First things first—no, he’s not related to Paul McCartney. But the 18-year-old recent high school graduate, born April 9, 1987, does have showbiz in his blood. His parents are both trained actors and singers who involved the entire family—Jesse, sister Lea (age 13) and brother Timmy (age 8)—in local theater in their native town of Irvington, New York.
Because McCartney’s a teen heartthrob, there’s no lack of biographical information floating around on the many Jesse McCartney Internet fan sites or in the pages of any number of teen magazines. That said, every adoring female fan knows Jesse is 5’11” tall, weighs 140 pounds, and has blonde hair and green eyes! They also know he’s been in show business most of his life. McCartney got his start at age seven when he auditioned for and won the title role in a community theater production of Oliver. By age nine, he had already been in three such shows and his parents decided to hire an agent to represent him in the industry. When he was 11, McCartney landed a role in the Broadway production of The King and I. That same year, he played the role of the young Scrooge in the Madison Square Garden Christmas production of A Christmas Carol. He then expanded his entertainment resume by auditioning for and winning one of five spots in the young boy band, Dream Street. Even though he was only 11, he already had singing experience as he had performed in and cut several albums with the Grammy nominated Sugar Beats, a band founded by Carole King’s daughter Sherry Kondor. McCartney performed with Dream Street from 1999 through 2002. The band’s album debuted at #1 on the Billboard Independent Album Chart and went on to go platinum very quickly. While the Sugar Beats and Dream Street may not have achieved fame among music-loving adults, their presence on television and radio stations targeting young children and early teens led to McCartney becoming a familiar name and face among the younger set.
Jesse McCartney won acclaim among an older audience with his portrayal of Adam Chandler Jr. on the soap opera “All My Children,” a role he held from 1999 to 2002. McCartney did such a good job that he earned two Emmy nominations, a Soap Opera Digest Award nomination and two Young Artist Awards.
Young Jesse McCartney developed a lengthy resume with his music career, acting credits and a growing list of commercials, voiceovers and talk show appearances. Even though he was already on the pop culture radar in a big way, 2004 would prove to be a huge breakout year as McCartney took two giant steps forward. First, the WB’s new drama, “Summerland,” debuted in June. McCartney had landed the lead role as Bradin Westerly, a teenager orphaned after an accident who winds up heading to L.A. with his two younger siblings to live with his aunt. A show about adolescent ups, downs and struggles, “Summerland” continues on as a huge hit among a faithful young viewing audience. Second, McCartney released his debut solo album, Beautiful Soul, in late September.
In the midst of all the busyness, McCartney worked hard to stay grounded. He maintained enrollment in his New York public school where he played on the baseball team, attended his senior prom and graduated in June 2005. It’s common knowledge among his young fans that he claims to be a “born-again Christian.” He serves as a spokesperson for the St. Jude’s Children’s Hospital. Even though he plays a tough-talking and hard-living surfer on “Summerland,” he’s outspoken against using profanity and using/abusing drugs.
He says of his success, “You never expect these things to happen. I can’t explain to you the gratification with that, what it feels like to have all this stuff going on. I feel really blessed. I’ve had such support from everyone, from every angle, from fans to management to the record label. It’s been a very long and successful ride” (mtv.com).
Jesse McCartney looks forward to a long and successful future in the entertainment industry. For now, he’s setting his sights on his summer tour, securing some film roles and going to college to study acting and film production.
Jesse McCartney’s music
“Scientifically-engineered-for-teen-hysteria pop songs” … that’s how reviewer Whitney Pastornek describes the sound of Jesse McCartney (Entertainment Weekly, 3/11/05). When the music starts, boy-band bubblegum pop listeners have heard from The Backstreet Boys, N Sync, 98 degrees and a host of others from years gone by returns once again, proving the fact that even though the sound’s been around for awhile, it still sells records to entry-level young kids just getting their feet wet in the world of popular music.
When McCartney opens his mouth to sing, you hear a mix of Justin Timberlake, Aaron Carter and a little bit of Michael Jackson—again, a formula enlisted to guarantee success at the cash register. Still you can’t take away from McCartney’s skill. He can sing. On faster dance tunes, he maintains a staccato pace. When the music slows, McCartney’s a youthful crooner who can make the little girls swoon.
One wonders what characteristics McCartney’s music would take on if he would step out of the formula and draw more on his musical influences. Among the eclectic potpourri are Linkin Park, John Mayer, Jason Mraz, Maroon 5, Black Eyed Peas, Sting, Carole King, James Taylor, Switchfoot, Hoobastank, Usher, The Beatles and, not surprisingly, Justin Timberlake.
Thematically, McCartney focuses on themes of early adolescent yearning, feelings, struggles, hopes, dreams, love found and love lost. Because his music has connected so well with kids, those who care about young people must take the opportunity to look into the world of children and young teens by looking into the music of Jesse McCartney.
Beautiful Soul (2004)
An album he wanted to be “upbeat and enjoyable” (mtv.com), McCartney’s debut effort features 12 radio-friendly tracks, four of which he co-wrote. Sales figures indicate the album’s caught on, with over a million copies sold to date.
McCartney’s upbeat and positive attitude comes through in the liner notes as he thanks God for the gifts he’s been given: “To my other Father and Friend up above, the Cornerstone of it all, thank you for all the music, love and opportunity placed in my life.”
The album’s first cut is “She’s No You” (See lyrics on page 6.), a song released as a radio and video single. The song states McCartney’s allegiance to a girl who has a tendency to get jealous and therefore doubt his commitment. He compares her to all the other girls that come his way and assures her that “every time you’re looking better” and “you’re the only one who’s made me feel this way.” He affirms that he’s “satisfied with the one I got.” In the video, McCartney faces the lustful, dreamy looks and advances of numerous girls. Still, he passes them by until he reaches his ultimate destination—the embrace of the object of his affection. The song’s lyrics take relationships and desire no deeper than an emphasis on looks and feelings—not surprising in a song embraced by early adolescents.
“Beautiful Soul” is the first single and video release off the disc. (See lyrics on page 6.) Another declaration of faithfulness and love, McCartney says this is his personal favorite song on the album. The difference here is that he has no established relationship with the object of his affection. Instead, he works to convince her to give him a chance as she isn’t yet ready to commit. The theme will resonate with kids timidly experiencing attraction for the first time. The songs lyrics describe beauty as more than skin deep (“your beautiful soul”). But in a strange departure from normal McCartney fare, the tune’s video features McCartney and his female love interest spontaneously jumping a fence and running to jump into an isolated and abandoned swimming pool. Before getting in, she strips down to her bra and panties. Viewers are left wondering where their lusty rendezvous would have wound up if not for the friend who interrupts them to summon them back to the car.
The dance tune “Get Your Shine On” sounds at times like a Michael Jackson piece. The song’s an invitation to a girl at a dance to get off the wall because “you know you wanna dance or you wouldn’t be here at all.” He tells her, “everybody get their chance to shine/So, don’t be shy now.” The song’s sound and McCartney’s delivery ooze male confidence. In our current cultural context, the song has a bit of a demanding and lusty sound to it, leaving the impression that the girls at the dance are simply eye candy for the boys. His singing style feeds this notion. He tells her, “You’ve got the moves, Oh, c’mon.”
“Take Your Sweet Time” is a post-breakup song. Rather than be mad, McCartney generously and maturely gives the girl who’s leaving her space, telling her, “It isn’t a crime to want a little space to breathe … take your sweet, sweet time/I will be here when you change your mind … I will never stand in your way/Wherever your heart may lead you/I will love you the same/And I will be your comfort everyday.” McCartney continues to pledge his allegiance. This time, he does so without anger, even though he’s been hurt. “Take Your Sweet Time” fuels McCartney’s squeaky-clean nice-guy image. In fact, the song is so sweet, one wonders how the young girl who walked away could not help but turn around and walk right back.
“I’ll lock up my heart and throw away the key, if that’s what it takes,” McCartney sings on “Without U.” Again, the song pledges allegiance as he showers her with praise and expresses his desire to be with her forever: “You open the door/To all that’s good in me/I can’t deny the truth/That I could never be without U.” It becomes clear that McCartney expects his purpose and meaning in life to be found in her. Lines like, “I like when you whisper softly/Things that only I should hear/That lead me on,” lend a hint of subtle sexuality to the tune.
“Why Don’t You Kiss Her” is a slow ballad that’s sure to get plenty of play when the lights go down at middle school dances all over the country. In this song, McCartney verbalizes his thoughts about the changes that come in male/female relationships as two childhood friends grow older, mature and the romantic feelings take over. He sings, “As I lie awake in my bed/A voice here inside my head softly says … Why don’t you kiss her?/Why don’t you tell her?/Why don’t you let her see the feelings that you hide?” Still, he confesses he’s afraid to make the first move. He holds back as it’s all so new and confusing, he has no confidence, and he fears rejection. There’s a somewhat refreshing sense of youthful innocence in this song that’s largely been lost in our culture.
Love lost and looking back with regret for wrongs committed is the theme of “That Was Then.” In this song, McCartney realizes what he once had only after losing it: “Guess you never really know just what you’ve got ‘til you finally realize she could be gone/I know that I’ve been taking you for granted for the longest time.” He realizes the mistakes of his ways (“Now you know I finally see/That you’re my world”), asks for forgiveness, and expresses his desire for another chance as he puts his old ways behind him (“I never want our love to fade, ready, willing … And I’m gonna do whatever it takes/No I’m never gonna let it all slip away/’cause you’re my girl”). The only one who gets blamed in this song is himself.
“Come To Me” is the song on the disc that sounds most like a Backstreet Boys or N’Sync tune. He invites a girl who just broke up with another guy to come to him as he’ll be what that other guy wasn’t: “Let me be the one/Telling you it’s alright/Sharin’ the smiles and tears you cry/Let me be the one/Lovin’ you when you’re weak/For all the strength you need/You can come to me.” In this pledge of romantic allegiance, McCartney serves as her redeemer.
“Oh … hey … this could be something real/I’ve gotta let you know the way I feel” are words McCartney sings to a girl he sees everywhere he goes, from the Starbucks, to the mall, to the movies, to the store, etc. He’s never met her, but he knows he likes what he sees. “What’s Your Name?” is a song about pure physical attraction and the frustration of never getting her name. He begs her to stick around so they can get to know each other since he’s convinced that “I’m the one you need.”
The girl is the redeemer in “Because You Live.” (See lyrics on page 6.) He struggles with sadness and depression but finds his happiness in her: “When nobody else can help/Because you live girl/My world … has everything I need to survive/Because you live … I live.”
The third “question” title on the disc is “Why Is Love So Hard To Find?” Right at the outset, McCartney addresses the reality of the gnawing hole in the soul and emptiness that is universal: “Everyday, I look around/Seems that no one’s ever satisfied/Could it be, that underneath/We’ve all got something to hide?/From the moment we arrive/We want to fill the space inside/We all need to feel alive.” He goes on to say how only love can fill the hole, but love is so hard to find. For McCartney, romantic love offers redemption and purpose.
The disc comes to a close with “The Stupid Things,” another song of confession where McCartney admits his stupid mistakes in a relationship. Admirably, he asks for forgiveness and says these stupid things are no reflection on her and that they’re rooted in his self-centeredness. Still, he feels a tension between wanting to “please you,” and wanting to “please myself by living my life too.” On a side note, this song contains one of the most difficult-to-take-seriously song lines ever sung: “Sometimes you read like William Shakes/Your scent is sweet, like Betty Crocker bakes/I’d love to have my cake and eat it too.”
What’s the draw?
Jesse McCartney has connected with a significant number of young listeners and their record-buying parents. But why? There are several reasons.
First, if you’re marketed, you’ll be known. While we can’t take anything away from McCartney’s talent and ability, there are thousands of more-talented singers and songwriters who’ve never made it. The fact is that without a marketing machine pushing McCartney’s music into the world of the mainstream young masses, nobody would have ever heard of Jesse McCartney the singer. From his days with the Sugar Beats, to Dream Street, to his Beautiful Soul solo album, every step of McCartney’s music career has been carefully engineered and advertised to generate and guarantee sales success. This has always been the formula for teeny-bop pop. With the current generation of children and pre-adolescents being the most targeted market demographic in the world, the music industry is looking for more Jesse McCartneys. His story is a case study in pop star creation and marketing. The story goes like this: find a potential star, make a star, market the star, and put the star on TV, the Internet, radio and magazines, etc. Jesse McCartney has been masterfully “injected” into youth culture consciousness.
Second, Jesse McCartney is father and mother friendly. Today’s children are developing interest in popular music at a much younger age than children from previous generations. This reality is facilitated by a marketing effort that targets them with musical choices about the same time they start to walk. If they’re watching television, they’re hearing and seeing the music. This reality is fed as they grow up in a peer group that “markets” the music on playgrounds and in school hallways as they talk about their latest and greatest pop music heroes. As a result, parents of even our youngest children are facing the pressure to feed their children’s musical hunger through their purchasing power. Naturally, parents concerned about musical content promoting sex, violence, and profanity will look for options void of these elements. It then all becomes relative as they look for something “better than” or “not as bad as” the edgy stuff so readily available on MTV and other music outlets. In this type of environment, Jesse McCartney and others like him are embraced by parents as a healthy music choice for the youngest of children.
Third, this is music created for little girls. The specific market segment targeted by the Jesse McCartney music machine is the same segment that embraced Bobby Sherman and Davy Jones so many years ago! This is music that is fulfilling its intent and design; that is, to drive the little girls wild. McCartney himself says that his brand of pop music will continue to sell “as long as there’s 12-year-old chicks” (Entertainment Weekly, 3/11/05). Lori Loughlin, the co-creator and co-star of McCartney’s television series Summerland, says that when she came up with the concept for the show and she cast McCartney, “the one thing I know I need is for this boy to become the hottest thing in the nation. And somebody upstairs was listening to me, cause I got him” (Entertainment Weekly, 3/11/05).
Fourth, Jesse McCartney is “hot.” One visit to the Jesse McCartney online feedback boards offers convincing evidence of why the girls love him. “Jesse u are so hot! U rock!!” writes one girl. Another writes, “hot hot hot!! That’s all I can say … So hot!! And then that voice!! Greetz and lot of love.” The blonde hair and green eyes are just two elements in the Jesse McCartney visual package that’s garnered the label of “teen heartthrob hottie.”
Fifth, the music is simple, catchy and danceable. There’s nothing new and original here. McCartney’s sound not only repeats itself within songs and on the album, but it repeats the formulaic sounds of numerous pop bands and stars that have blazed the trail before him. Because that type of music has proven to be embraced and bought by children and pre-adolescents, it makes sense for the McCartney marketing machine to avoid re-inventing the wheel. Instead, they’ve got McCartney walking step for step in the footprints of those who’ve gone before him. It’s a musical formula for commercial success. It’s also a guarantee that you’ll be hearing Jesse McCartney tunes at middle school dances for months to come.
Sixth, the lyrics are simple, straightforward, relevant, and easy to understand. Younger kids are not looking for lyrical complexity that requires deep thought and analysis. Instead, they want someone to sing in understandable ways about issues, problems and feelings they understand. McCartney delivers the goods by straying no further than simple and repetitive ditties about adolescent love found, adolescent love lost and the desires that are common among young kids. His innocent edge echoes their relative innocence as he sings to what they feel, what they ask and what they experience. In effect, McCartney is their friend, their confidant and their voice.
Seventh, Jesse McCartney is “one of them.” Granted, McCartney is six to 12 years older than the target audience that’s embraced him most closely. But the phenomenon of age-aspiration—a phenomenon understood and exploited by marketers—has younger kids thinking of themselves as older than they really are. As they rise to Jesse’s level and he lowers himself to meet them somewhere in between, a connection is made where the fans see the star as no different than themselves. Add to that the fact that McCartney’s backing band is composed of 16- and 17-year-old musicians, and the connection is even greater.
Eighth, this is a pop star who asks their romantic questions. In a world where kids rightly feel adults trivialize or ignore their “juvenile questions” and struggles as they relate to romance and love, Jesse McCartney isn’t afraid to ask and address those questions. Three of the 12 songs on his debut album are titled with questions that resonate with young listeners: “Why Don’t You Kiss Her?” “What’s Your Name?” and “Why Is Love So Hard To Find?” Now here’s a question for you—don’t you remember the time when you were asking those same questions? Thus, the connection with kids.
Ninth, this is a pop star who gives timely advice. McCartney identifies with his listeners by singing about their issues, cares and concerns. By doing so, the door is opened for him to offer suggestions on how to handle those things. As a result, young listeners will embrace any advice his music and his words dole out. On the Internet site ChasingFame.cjb.net, readers can find an example of the kind of advice McCartney passes on to his young fans: “Just follow through with what you want to do and don’t let anyone try to bring you down no matter who they think they know. They don’t know you. You know what’s best for yourself I think … just stay true to yourself.”
Finally, Jesse McCartney is a romantic who melts young female hearts. Girls screamed and swooned over Elvis. They did the same for the Beatles. Today, they’re doing the same for Jesse McCartney … and it’s contagious.
How should we respond?
What, then, should parents, youth workers and educators make of Jesse McCartney? Can we use his music and the phenomenon of his recent success as a tool for understanding and reaching the mission field of today’s youth culture? What does he teach us about our children and teens? And, how should we respond if they express an interest in Jesse McCartney? Let me offer the following analysis and suggestions.
First, we should celebrate and affirm Jesse McCartney’s commitment to helping others. In a world where our kids are taught to look out for the trinity of “me,” “myself” and “I,” this is a teenage performer who, at this point, wants to help others. Teen People magazine so admires McCartney’s activism that they recently named him one of their “20 Teens Who Will Change The World.” They cite his work raising money for treatments and spreading the word about the programs at St. Jude’s Children’s Research Hospital. The young star says, “I hope to get people involved and make them realize the importance of giving back. It is very inspiring to give these children hope” (Teen People, April, 2005).
Second, we should celebrate and affirm his desire to avoid the use of profanity. Profanity and “coarse jesting” are so prevalent in today’s pop music and culture that our kids are nurtured into seeing their use as normal from a very young age. Jesse McCartney has made a conscious decision to shun them. He says, “If you can avoid it, why not?” (Entertainment Weekly, 3/11/05).
Third, we should cite his commitment to his family as a positive model for life in the home. Over the years we’ve noticed a growing disrespect for parental authority and authority in general as a theme in popular music. That flavor is conspicuously absent in Jesse McCartney’s music. In addition, he’s outspoken about his love for his parents and his siblings. As a result, he serves as a positive role model for children and pre-teens who are about to enter into the years where rebellion is not only expected, but celebrated. We must use McCartney as a model for how to view, respect and treat the God-given gift of one’s family.
Fourth, we must watch closely and with discernment as Jesse McCartney works out his faith. For years now it’s been commonplace for teeny-bop stars to be outspoken about their faith in God. Granted, it could all be part of a carefully designed marketing package that presents the performer as safe and squeaky clean. Or, it could be that the faith they claim is genuine in nature. But sadly, it’s also been commonplace for these role models of faith to quickly move in another direction that leaves discerning viewers questioning the validity of prior faith claims. The difference between the 16-year-old Britney Spears and the 19-year-old version serve as a case-in-point. Jesse McCartney says he is “a born-again Protestant.” He cites “God” as his favorite super-hero. At this point, little else is known about his faith. We should use Jesse McCartney as a case study with our kids as we discuss the nature, content and manifestations of his faith. As he grows, matures and increases in popularity, we must continue to keep a watchful eye on him, all the time affirming his faith where it is consistent and integrated into all of life, and challenging its nature where it strays from God’s will and God’s way. While this may seem brash, experience and our postmodern times demand such an approach. Let’s not forget that this young man has given glory to God in his album’s liner notes. If he continues to do the same with his life, then he will not only be a great role model for our kids, but he’ll also be a breath of fresh air in an ego-centric music industry.
Fifth, the next three years will tell us a lot about Jesse McCartney. Early on in her career, parents eagerly embraced Britney Spears as a positive music choice and role model. But even then, she verbalized her intent to “constantly re-invent” herself in the same way her hero Madonna was constantly morphing into something and someone else. Even though warning was given, most parents missed it. Young Britney fans hadn’t yet reached their teen years and the object of their fan affection had become anything but positive. The litany of young and innocent pop stars who have gone on to do the same is a long one. Most recently, Lindsay Lohan changed her image from innocent schoolgirl to adult sex symbol literally overnight after turning 18. Jesse McCartney just turned 18 himself. We have to wonder, will he be morphing into someone or something else? Keep watching.
Sixth, since he’s created for little girls, we have to monitor what he’s teaching them. Remember, the younger the listening and viewing audience, the more vulnerable they are to the messages in the music. Jesse McCartney is more than a performer. He is a teacher who wields powerful life-shaping influence over young children. That said, we must monitor and deconstruct his music to come to an understanding of what he’s teaching our kids. Where those messages are positive, we must affirm them. But where they are negative, we must steer them away from McCartney and toward something better. Remember, his music is a lot more than just music.
Seventh, Jesse McCartney reminds us of the powerful way our culture is shaping our children’s understanding of their physical selves. With eating disorders at epidemic proportions and on the rise among even the youngest of our girls and boys, the Jesse McCartney musical package and message is somewhat troubling. Jesse himself is a physical standard for what makes a young man valuable and lovable in the eyes of his female peers. Sadly, not everyone looks like Jesse McCartney. In addition, his videos seem to promote the same stereotypes promoted by all other music videos. Culturally defined, the boys are handsome and the girls are beautiful, thereby re-inforcing the dangerous and destructive stereotypes that feed our current obsession with physical appearance. We’re reminded of our need to promote Godly standards that deemphasize outward appearance. And, we must love our children for who they are, not what they look like.
Eighth, we must celebrate McCartney’s commitment to romantic commitment. Yes, we’re talking here about music that doesn’t go deep into the real issues of relational commitment. Any adult can quickly see that. But even at its surface, McCartney’s music offers thematic relief in a music climate that, more often than not, reduces women to objects that can be used, abused and thrown away. We must use McCartney’s music to teach our kids about commitment in relationships.
Ninth, we must go out of our way to define and model love. While McCartney does speak of commitment, we can’t overlook the fact that his music also promotes a sentimental view of “love.” If all his listeners ever had was his music to shape their idea of love, they would walk away believing that love is only a feeling, stimulated most of the time by visual attraction. Sadly, that’s the faulty notion most popular music very effectively promotes. We must define “love” biblically for our kids, teaching them that it is a commitment where feelings waver, come and go … and that’s all very normal!
Tenth, we must point our kids to the one and only true Redeemer. Sadly, much of McCartney’s music leaves kids with the notion that one’s meaning, purpose and hope in life can be restored and maintained through human romantic love. Those who have believed that lie and tried to travel that road quickly learn that’s not the case. We must point them to Jesus Christ as the only one who fills the God-shaped void. It is purely because HE lives that we can live too.
Finally, fabricated pop music like Jesse McCartney’s requires a critical and discerning look as much as—or even more than—any other type or genre of music. Since this is “entry-level” pop music and typically the type of music where kids get started, it’s crucial that we instill in them the skills necessary to evaluate music biblically and Christianly. In addition, the perception that this is relatively clean and worry-free music sometimes creates a lax attitude on the part of parents as we assume there’s nothing in the music that warrants our critical eye and attention. But don’t be fooled. All music communicates a worldview and advice on how to live life. That said, it’s crucial for us to engage in the process of critical evaluation even when we think there’s no reason. Jesse McCartney offers a wonderful opportunity for lively and profitable parent/child discussion about the power of music and the need to make wise music choices. I would encourage every parent and child to filter Jesse McCartney’s music through CPYU’s How To Use Your Head To Guard Your Heart: A 3-D Guide To Making Responsible Music Choices. (For more information, visit the resource center on our Web site at www.cpyu.org.) It’s a great way to practice thinking Christianly about music and media with a singer whose music is largely void of objectionable content. Together, a decision can be made on whether or not to listen.
Who knows how long Jesse McCartney will remain on the pop culture radar. With film roles, more music and additional TV work in his future, he’s sure to be around for at least a little while. For that reason, he’s worth paying attention to now.
LYRICS
She’s No You
They got a lotta girls who know they got it goin’ on/But nothing’s ever a comparison to you/Now can’t you see that you’re the only one I really want/And everything I need, is everything you do?/Any girl walk by, don’t matter ‘cause you’re looking so much better/Don’t ever need to get caught up in jealousy/She could be a super-model/Every magazine … the cover/She’ll never, ever mean a thing to me
She’s no you … oh, no/You give me more than I could ever want/She’s no you … oh, no/I’m satisfied with the one I’ve got/’Cause you’re all the girl that I ever dreamed/She’s only a picture on a magazine/She’s no you … she’s no you
They got a lotta girls who dance in all the videos/But I prefer the way you do, the way you move/You’re more than beautiful/And I just wanna let you know that all I’ll ever need is what I’ve got with you/Any girl walk by, don’t matter/Every time you’re looking better/I think you’re perfect/There ain’t nothin’ I would change/She could be a super-model/Every magazine … the cover/She’ll never, ever take my heart away.”
No one’s ever gonna get to me/Oh, the way you do … Now baby can’t you see … That you’re the one … the only one who’s ever made me feel this way?/Nothing’s ever coming even close/No one’s ever been comparable to you/I don’t want nothin’ I don’t got/I don’t need nothin’ but you/I can’t get more than you’re given me/Don’t stop anything you do/You’re all that … all that, and then some/You know what … just what I need/And no girl, no place, no where could mean a thing to me.
Beautiful Soul
I don’t want another pretty face/I don’t want just anyone to hold/I don’t want my love to go to waste/I want you and your beautiful soul/I know that you are something special/To you I’d be always faithful/I want to be what you always needed/Then I hope you’ll see the heart in me
You’re the one I want to chase/You’re the one I want to hold/I won’t let another minute go to waste/I want you and your beautiful soul/You might need time to think it over/But I’m just fine moving forward/I’ll ease your mind/If you give the chance/I will never make you cry/C’mon let’s try
Am I crazy for wanting you?/Maybe do you think you could want me too?/I don’t wanna waste your time/Do you see things the way I do?/I just wanna know that you feel it too/There is nothing left to hide.
Because You Live
Staring out at the rain with a heavy heart/It’s the end of the world in my mind/Then your voice pulls me back like a wake-up call/I’ve been looking for the answer somewhere/I couldn’t see that it was right there/But now I know, what I didn’t know
Because you live and breathe/Because you make me believe in myself/When nobody else can help/Because you live girl/My world … Has twice as many stars in the sky
It’s all right, I survived/I’m alive again ‘cause of you/Made it through every storm/What is life?/What’s the use?/If you’re killing time
I’m so glad I found an angel/Someone who … was there when all my hopes fell/I wanna fly looking in your eyes
Because you live … I live/Because you live there’s a reason why I carry on when I lose the fight/I want to give you what you’ve given me … always
Because you live and breathe/Because you make me believe in myself/When nobody else can help/Because you live girl/My world … has everything I need to survive/Because you live … I live, I live
While we’ve all aged beyond the stage of teeny-bopper idolatry—and the aforementioned list of idols has aged to the point where our kids look at them and wonder what we were thinking!—the phenomenon of the “pop star du jour” has survived. Take one look at the today’s youth culture and you’ll see “exhibit A”—a big blip by the name of Jesse McCartney at the center of the young teen radar screen. He’s there because he’s grabbed the eyes, ears and hearts of a large segment of today’s young people. Granted, he hasn’t been embraced by all teenagers. But Jesse McCartney is today’s Pop Prince, particularly among young adolescent and pre-teen girls. For many, he’s the first doorway they’re stepping through on what will probably be a long and meaningful relationship with popular music and media.
Judging from Jesse McCartney’s recent and fast-growing popularity, he’s a voice and personality that deserves our attention. His music, message and persona are directing and reflecting the heartbeat and heart cries of contemporary youth culture. But why? What is it about Jesse McCartney that’s established his place on the landscape and consciousness of today’s youth culture? What’s the worldview and message communicated by this young man’s music? Is he as innocent and safe as he seems to be, or should we be concerned about where his music might someday go? Is there anything we can learn from his growing influence and rapidly expanding young audience? Is there anything his music can teach us about the realities young kids face in today’s world? And, does Jesse McCartney issue any necessary challenges or helpful insights to those of us who long to see our children and teens move into a spiritually healthy adulthood?
The Jesse McCartney story
First things first—no, he’s not related to Paul McCartney. But the 18-year-old recent high school graduate, born April 9, 1987, does have showbiz in his blood. His parents are both trained actors and singers who involved the entire family—Jesse, sister Lea (age 13) and brother Timmy (age 8)—in local theater in their native town of Irvington, New York.
Because McCartney’s a teen heartthrob, there’s no lack of biographical information floating around on the many Jesse McCartney Internet fan sites or in the pages of any number of teen magazines. That said, every adoring female fan knows Jesse is 5’11” tall, weighs 140 pounds, and has blonde hair and green eyes! They also know he’s been in show business most of his life. McCartney got his start at age seven when he auditioned for and won the title role in a community theater production of Oliver. By age nine, he had already been in three such shows and his parents decided to hire an agent to represent him in the industry. When he was 11, McCartney landed a role in the Broadway production of The King and I. That same year, he played the role of the young Scrooge in the Madison Square Garden Christmas production of A Christmas Carol. He then expanded his entertainment resume by auditioning for and winning one of five spots in the young boy band, Dream Street. Even though he was only 11, he already had singing experience as he had performed in and cut several albums with the Grammy nominated Sugar Beats, a band founded by Carole King’s daughter Sherry Kondor. McCartney performed with Dream Street from 1999 through 2002. The band’s album debuted at #1 on the Billboard Independent Album Chart and went on to go platinum very quickly. While the Sugar Beats and Dream Street may not have achieved fame among music-loving adults, their presence on television and radio stations targeting young children and early teens led to McCartney becoming a familiar name and face among the younger set.
Jesse McCartney won acclaim among an older audience with his portrayal of Adam Chandler Jr. on the soap opera “All My Children,” a role he held from 1999 to 2002. McCartney did such a good job that he earned two Emmy nominations, a Soap Opera Digest Award nomination and two Young Artist Awards.
Young Jesse McCartney developed a lengthy resume with his music career, acting credits and a growing list of commercials, voiceovers and talk show appearances. Even though he was already on the pop culture radar in a big way, 2004 would prove to be a huge breakout year as McCartney took two giant steps forward. First, the WB’s new drama, “Summerland,” debuted in June. McCartney had landed the lead role as Bradin Westerly, a teenager orphaned after an accident who winds up heading to L.A. with his two younger siblings to live with his aunt. A show about adolescent ups, downs and struggles, “Summerland” continues on as a huge hit among a faithful young viewing audience. Second, McCartney released his debut solo album, Beautiful Soul, in late September.
In the midst of all the busyness, McCartney worked hard to stay grounded. He maintained enrollment in his New York public school where he played on the baseball team, attended his senior prom and graduated in June 2005. It’s common knowledge among his young fans that he claims to be a “born-again Christian.” He serves as a spokesperson for the St. Jude’s Children’s Hospital. Even though he plays a tough-talking and hard-living surfer on “Summerland,” he’s outspoken against using profanity and using/abusing drugs.
He says of his success, “You never expect these things to happen. I can’t explain to you the gratification with that, what it feels like to have all this stuff going on. I feel really blessed. I’ve had such support from everyone, from every angle, from fans to management to the record label. It’s been a very long and successful ride” (mtv.com).
Jesse McCartney looks forward to a long and successful future in the entertainment industry. For now, he’s setting his sights on his summer tour, securing some film roles and going to college to study acting and film production.
Jesse McCartney’s music
“Scientifically-engineered-for-teen-hysteria pop songs” … that’s how reviewer Whitney Pastornek describes the sound of Jesse McCartney (Entertainment Weekly, 3/11/05). When the music starts, boy-band bubblegum pop listeners have heard from The Backstreet Boys, N Sync, 98 degrees and a host of others from years gone by returns once again, proving the fact that even though the sound’s been around for awhile, it still sells records to entry-level young kids just getting their feet wet in the world of popular music.
When McCartney opens his mouth to sing, you hear a mix of Justin Timberlake, Aaron Carter and a little bit of Michael Jackson—again, a formula enlisted to guarantee success at the cash register. Still you can’t take away from McCartney’s skill. He can sing. On faster dance tunes, he maintains a staccato pace. When the music slows, McCartney’s a youthful crooner who can make the little girls swoon.
One wonders what characteristics McCartney’s music would take on if he would step out of the formula and draw more on his musical influences. Among the eclectic potpourri are Linkin Park, John Mayer, Jason Mraz, Maroon 5, Black Eyed Peas, Sting, Carole King, James Taylor, Switchfoot, Hoobastank, Usher, The Beatles and, not surprisingly, Justin Timberlake.
Thematically, McCartney focuses on themes of early adolescent yearning, feelings, struggles, hopes, dreams, love found and love lost. Because his music has connected so well with kids, those who care about young people must take the opportunity to look into the world of children and young teens by looking into the music of Jesse McCartney.
Beautiful Soul (2004)
An album he wanted to be “upbeat and enjoyable” (mtv.com), McCartney’s debut effort features 12 radio-friendly tracks, four of which he co-wrote. Sales figures indicate the album’s caught on, with over a million copies sold to date.
McCartney’s upbeat and positive attitude comes through in the liner notes as he thanks God for the gifts he’s been given: “To my other Father and Friend up above, the Cornerstone of it all, thank you for all the music, love and opportunity placed in my life.”
The album’s first cut is “She’s No You” (See lyrics on page 6.), a song released as a radio and video single. The song states McCartney’s allegiance to a girl who has a tendency to get jealous and therefore doubt his commitment. He compares her to all the other girls that come his way and assures her that “every time you’re looking better” and “you’re the only one who’s made me feel this way.” He affirms that he’s “satisfied with the one I got.” In the video, McCartney faces the lustful, dreamy looks and advances of numerous girls. Still, he passes them by until he reaches his ultimate destination—the embrace of the object of his affection. The song’s lyrics take relationships and desire no deeper than an emphasis on looks and feelings—not surprising in a song embraced by early adolescents.
“Beautiful Soul” is the first single and video release off the disc. (See lyrics on page 6.) Another declaration of faithfulness and love, McCartney says this is his personal favorite song on the album. The difference here is that he has no established relationship with the object of his affection. Instead, he works to convince her to give him a chance as she isn’t yet ready to commit. The theme will resonate with kids timidly experiencing attraction for the first time. The songs lyrics describe beauty as more than skin deep (“your beautiful soul”). But in a strange departure from normal McCartney fare, the tune’s video features McCartney and his female love interest spontaneously jumping a fence and running to jump into an isolated and abandoned swimming pool. Before getting in, she strips down to her bra and panties. Viewers are left wondering where their lusty rendezvous would have wound up if not for the friend who interrupts them to summon them back to the car.
The dance tune “Get Your Shine On” sounds at times like a Michael Jackson piece. The song’s an invitation to a girl at a dance to get off the wall because “you know you wanna dance or you wouldn’t be here at all.” He tells her, “everybody get their chance to shine/So, don’t be shy now.” The song’s sound and McCartney’s delivery ooze male confidence. In our current cultural context, the song has a bit of a demanding and lusty sound to it, leaving the impression that the girls at the dance are simply eye candy for the boys. His singing style feeds this notion. He tells her, “You’ve got the moves, Oh, c’mon.”
“Take Your Sweet Time” is a post-breakup song. Rather than be mad, McCartney generously and maturely gives the girl who’s leaving her space, telling her, “It isn’t a crime to want a little space to breathe … take your sweet, sweet time/I will be here when you change your mind … I will never stand in your way/Wherever your heart may lead you/I will love you the same/And I will be your comfort everyday.” McCartney continues to pledge his allegiance. This time, he does so without anger, even though he’s been hurt. “Take Your Sweet Time” fuels McCartney’s squeaky-clean nice-guy image. In fact, the song is so sweet, one wonders how the young girl who walked away could not help but turn around and walk right back.
“I’ll lock up my heart and throw away the key, if that’s what it takes,” McCartney sings on “Without U.” Again, the song pledges allegiance as he showers her with praise and expresses his desire to be with her forever: “You open the door/To all that’s good in me/I can’t deny the truth/That I could never be without U.” It becomes clear that McCartney expects his purpose and meaning in life to be found in her. Lines like, “I like when you whisper softly/Things that only I should hear/That lead me on,” lend a hint of subtle sexuality to the tune.
“Why Don’t You Kiss Her” is a slow ballad that’s sure to get plenty of play when the lights go down at middle school dances all over the country. In this song, McCartney verbalizes his thoughts about the changes that come in male/female relationships as two childhood friends grow older, mature and the romantic feelings take over. He sings, “As I lie awake in my bed/A voice here inside my head softly says … Why don’t you kiss her?/Why don’t you tell her?/Why don’t you let her see the feelings that you hide?” Still, he confesses he’s afraid to make the first move. He holds back as it’s all so new and confusing, he has no confidence, and he fears rejection. There’s a somewhat refreshing sense of youthful innocence in this song that’s largely been lost in our culture.
Love lost and looking back with regret for wrongs committed is the theme of “That Was Then.” In this song, McCartney realizes what he once had only after losing it: “Guess you never really know just what you’ve got ‘til you finally realize she could be gone/I know that I’ve been taking you for granted for the longest time.” He realizes the mistakes of his ways (“Now you know I finally see/That you’re my world”), asks for forgiveness, and expresses his desire for another chance as he puts his old ways behind him (“I never want our love to fade, ready, willing … And I’m gonna do whatever it takes/No I’m never gonna let it all slip away/’cause you’re my girl”). The only one who gets blamed in this song is himself.
“Come To Me” is the song on the disc that sounds most like a Backstreet Boys or N’Sync tune. He invites a girl who just broke up with another guy to come to him as he’ll be what that other guy wasn’t: “Let me be the one/Telling you it’s alright/Sharin’ the smiles and tears you cry/Let me be the one/Lovin’ you when you’re weak/For all the strength you need/You can come to me.” In this pledge of romantic allegiance, McCartney serves as her redeemer.
“Oh … hey … this could be something real/I’ve gotta let you know the way I feel” are words McCartney sings to a girl he sees everywhere he goes, from the Starbucks, to the mall, to the movies, to the store, etc. He’s never met her, but he knows he likes what he sees. “What’s Your Name?” is a song about pure physical attraction and the frustration of never getting her name. He begs her to stick around so they can get to know each other since he’s convinced that “I’m the one you need.”
The girl is the redeemer in “Because You Live.” (See lyrics on page 6.) He struggles with sadness and depression but finds his happiness in her: “When nobody else can help/Because you live girl/My world … has everything I need to survive/Because you live … I live.”
The third “question” title on the disc is “Why Is Love So Hard To Find?” Right at the outset, McCartney addresses the reality of the gnawing hole in the soul and emptiness that is universal: “Everyday, I look around/Seems that no one’s ever satisfied/Could it be, that underneath/We’ve all got something to hide?/From the moment we arrive/We want to fill the space inside/We all need to feel alive.” He goes on to say how only love can fill the hole, but love is so hard to find. For McCartney, romantic love offers redemption and purpose.
The disc comes to a close with “The Stupid Things,” another song of confession where McCartney admits his stupid mistakes in a relationship. Admirably, he asks for forgiveness and says these stupid things are no reflection on her and that they’re rooted in his self-centeredness. Still, he feels a tension between wanting to “please you,” and wanting to “please myself by living my life too.” On a side note, this song contains one of the most difficult-to-take-seriously song lines ever sung: “Sometimes you read like William Shakes/Your scent is sweet, like Betty Crocker bakes/I’d love to have my cake and eat it too.”
What’s the draw?
Jesse McCartney has connected with a significant number of young listeners and their record-buying parents. But why? There are several reasons.
First, if you’re marketed, you’ll be known. While we can’t take anything away from McCartney’s talent and ability, there are thousands of more-talented singers and songwriters who’ve never made it. The fact is that without a marketing machine pushing McCartney’s music into the world of the mainstream young masses, nobody would have ever heard of Jesse McCartney the singer. From his days with the Sugar Beats, to Dream Street, to his Beautiful Soul solo album, every step of McCartney’s music career has been carefully engineered and advertised to generate and guarantee sales success. This has always been the formula for teeny-bop pop. With the current generation of children and pre-adolescents being the most targeted market demographic in the world, the music industry is looking for more Jesse McCartneys. His story is a case study in pop star creation and marketing. The story goes like this: find a potential star, make a star, market the star, and put the star on TV, the Internet, radio and magazines, etc. Jesse McCartney has been masterfully “injected” into youth culture consciousness.
Second, Jesse McCartney is father and mother friendly. Today’s children are developing interest in popular music at a much younger age than children from previous generations. This reality is facilitated by a marketing effort that targets them with musical choices about the same time they start to walk. If they’re watching television, they’re hearing and seeing the music. This reality is fed as they grow up in a peer group that “markets” the music on playgrounds and in school hallways as they talk about their latest and greatest pop music heroes. As a result, parents of even our youngest children are facing the pressure to feed their children’s musical hunger through their purchasing power. Naturally, parents concerned about musical content promoting sex, violence, and profanity will look for options void of these elements. It then all becomes relative as they look for something “better than” or “not as bad as” the edgy stuff so readily available on MTV and other music outlets. In this type of environment, Jesse McCartney and others like him are embraced by parents as a healthy music choice for the youngest of children.
Third, this is music created for little girls. The specific market segment targeted by the Jesse McCartney music machine is the same segment that embraced Bobby Sherman and Davy Jones so many years ago! This is music that is fulfilling its intent and design; that is, to drive the little girls wild. McCartney himself says that his brand of pop music will continue to sell “as long as there’s 12-year-old chicks” (Entertainment Weekly, 3/11/05). Lori Loughlin, the co-creator and co-star of McCartney’s television series Summerland, says that when she came up with the concept for the show and she cast McCartney, “the one thing I know I need is for this boy to become the hottest thing in the nation. And somebody upstairs was listening to me, cause I got him” (Entertainment Weekly, 3/11/05).
Fourth, Jesse McCartney is “hot.” One visit to the Jesse McCartney online feedback boards offers convincing evidence of why the girls love him. “Jesse u are so hot! U rock!!” writes one girl. Another writes, “hot hot hot!! That’s all I can say … So hot!! And then that voice!! Greetz and lot of love.” The blonde hair and green eyes are just two elements in the Jesse McCartney visual package that’s garnered the label of “teen heartthrob hottie.”
Fifth, the music is simple, catchy and danceable. There’s nothing new and original here. McCartney’s sound not only repeats itself within songs and on the album, but it repeats the formulaic sounds of numerous pop bands and stars that have blazed the trail before him. Because that type of music has proven to be embraced and bought by children and pre-adolescents, it makes sense for the McCartney marketing machine to avoid re-inventing the wheel. Instead, they’ve got McCartney walking step for step in the footprints of those who’ve gone before him. It’s a musical formula for commercial success. It’s also a guarantee that you’ll be hearing Jesse McCartney tunes at middle school dances for months to come.
Sixth, the lyrics are simple, straightforward, relevant, and easy to understand. Younger kids are not looking for lyrical complexity that requires deep thought and analysis. Instead, they want someone to sing in understandable ways about issues, problems and feelings they understand. McCartney delivers the goods by straying no further than simple and repetitive ditties about adolescent love found, adolescent love lost and the desires that are common among young kids. His innocent edge echoes their relative innocence as he sings to what they feel, what they ask and what they experience. In effect, McCartney is their friend, their confidant and their voice.
Seventh, Jesse McCartney is “one of them.” Granted, McCartney is six to 12 years older than the target audience that’s embraced him most closely. But the phenomenon of age-aspiration—a phenomenon understood and exploited by marketers—has younger kids thinking of themselves as older than they really are. As they rise to Jesse’s level and he lowers himself to meet them somewhere in between, a connection is made where the fans see the star as no different than themselves. Add to that the fact that McCartney’s backing band is composed of 16- and 17-year-old musicians, and the connection is even greater.
Eighth, this is a pop star who asks their romantic questions. In a world where kids rightly feel adults trivialize or ignore their “juvenile questions” and struggles as they relate to romance and love, Jesse McCartney isn’t afraid to ask and address those questions. Three of the 12 songs on his debut album are titled with questions that resonate with young listeners: “Why Don’t You Kiss Her?” “What’s Your Name?” and “Why Is Love So Hard To Find?” Now here’s a question for you—don’t you remember the time when you were asking those same questions? Thus, the connection with kids.
Ninth, this is a pop star who gives timely advice. McCartney identifies with his listeners by singing about their issues, cares and concerns. By doing so, the door is opened for him to offer suggestions on how to handle those things. As a result, young listeners will embrace any advice his music and his words dole out. On the Internet site ChasingFame.cjb.net, readers can find an example of the kind of advice McCartney passes on to his young fans: “Just follow through with what you want to do and don’t let anyone try to bring you down no matter who they think they know. They don’t know you. You know what’s best for yourself I think … just stay true to yourself.”
Finally, Jesse McCartney is a romantic who melts young female hearts. Girls screamed and swooned over Elvis. They did the same for the Beatles. Today, they’re doing the same for Jesse McCartney … and it’s contagious.
How should we respond?
What, then, should parents, youth workers and educators make of Jesse McCartney? Can we use his music and the phenomenon of his recent success as a tool for understanding and reaching the mission field of today’s youth culture? What does he teach us about our children and teens? And, how should we respond if they express an interest in Jesse McCartney? Let me offer the following analysis and suggestions.
First, we should celebrate and affirm Jesse McCartney’s commitment to helping others. In a world where our kids are taught to look out for the trinity of “me,” “myself” and “I,” this is a teenage performer who, at this point, wants to help others. Teen People magazine so admires McCartney’s activism that they recently named him one of their “20 Teens Who Will Change The World.” They cite his work raising money for treatments and spreading the word about the programs at St. Jude’s Children’s Research Hospital. The young star says, “I hope to get people involved and make them realize the importance of giving back. It is very inspiring to give these children hope” (Teen People, April, 2005).
Second, we should celebrate and affirm his desire to avoid the use of profanity. Profanity and “coarse jesting” are so prevalent in today’s pop music and culture that our kids are nurtured into seeing their use as normal from a very young age. Jesse McCartney has made a conscious decision to shun them. He says, “If you can avoid it, why not?” (Entertainment Weekly, 3/11/05).
Third, we should cite his commitment to his family as a positive model for life in the home. Over the years we’ve noticed a growing disrespect for parental authority and authority in general as a theme in popular music. That flavor is conspicuously absent in Jesse McCartney’s music. In addition, he’s outspoken about his love for his parents and his siblings. As a result, he serves as a positive role model for children and pre-teens who are about to enter into the years where rebellion is not only expected, but celebrated. We must use McCartney as a model for how to view, respect and treat the God-given gift of one’s family.
Fourth, we must watch closely and with discernment as Jesse McCartney works out his faith. For years now it’s been commonplace for teeny-bop stars to be outspoken about their faith in God. Granted, it could all be part of a carefully designed marketing package that presents the performer as safe and squeaky clean. Or, it could be that the faith they claim is genuine in nature. But sadly, it’s also been commonplace for these role models of faith to quickly move in another direction that leaves discerning viewers questioning the validity of prior faith claims. The difference between the 16-year-old Britney Spears and the 19-year-old version serve as a case-in-point. Jesse McCartney says he is “a born-again Protestant.” He cites “God” as his favorite super-hero. At this point, little else is known about his faith. We should use Jesse McCartney as a case study with our kids as we discuss the nature, content and manifestations of his faith. As he grows, matures and increases in popularity, we must continue to keep a watchful eye on him, all the time affirming his faith where it is consistent and integrated into all of life, and challenging its nature where it strays from God’s will and God’s way. While this may seem brash, experience and our postmodern times demand such an approach. Let’s not forget that this young man has given glory to God in his album’s liner notes. If he continues to do the same with his life, then he will not only be a great role model for our kids, but he’ll also be a breath of fresh air in an ego-centric music industry.
Fifth, the next three years will tell us a lot about Jesse McCartney. Early on in her career, parents eagerly embraced Britney Spears as a positive music choice and role model. But even then, she verbalized her intent to “constantly re-invent” herself in the same way her hero Madonna was constantly morphing into something and someone else. Even though warning was given, most parents missed it. Young Britney fans hadn’t yet reached their teen years and the object of their fan affection had become anything but positive. The litany of young and innocent pop stars who have gone on to do the same is a long one. Most recently, Lindsay Lohan changed her image from innocent schoolgirl to adult sex symbol literally overnight after turning 18. Jesse McCartney just turned 18 himself. We have to wonder, will he be morphing into someone or something else? Keep watching.
Sixth, since he’s created for little girls, we have to monitor what he’s teaching them. Remember, the younger the listening and viewing audience, the more vulnerable they are to the messages in the music. Jesse McCartney is more than a performer. He is a teacher who wields powerful life-shaping influence over young children. That said, we must monitor and deconstruct his music to come to an understanding of what he’s teaching our kids. Where those messages are positive, we must affirm them. But where they are negative, we must steer them away from McCartney and toward something better. Remember, his music is a lot more than just music.
Seventh, Jesse McCartney reminds us of the powerful way our culture is shaping our children’s understanding of their physical selves. With eating disorders at epidemic proportions and on the rise among even the youngest of our girls and boys, the Jesse McCartney musical package and message is somewhat troubling. Jesse himself is a physical standard for what makes a young man valuable and lovable in the eyes of his female peers. Sadly, not everyone looks like Jesse McCartney. In addition, his videos seem to promote the same stereotypes promoted by all other music videos. Culturally defined, the boys are handsome and the girls are beautiful, thereby re-inforcing the dangerous and destructive stereotypes that feed our current obsession with physical appearance. We’re reminded of our need to promote Godly standards that deemphasize outward appearance. And, we must love our children for who they are, not what they look like.
Eighth, we must celebrate McCartney’s commitment to romantic commitment. Yes, we’re talking here about music that doesn’t go deep into the real issues of relational commitment. Any adult can quickly see that. But even at its surface, McCartney’s music offers thematic relief in a music climate that, more often than not, reduces women to objects that can be used, abused and thrown away. We must use McCartney’s music to teach our kids about commitment in relationships.
Ninth, we must go out of our way to define and model love. While McCartney does speak of commitment, we can’t overlook the fact that his music also promotes a sentimental view of “love.” If all his listeners ever had was his music to shape their idea of love, they would walk away believing that love is only a feeling, stimulated most of the time by visual attraction. Sadly, that’s the faulty notion most popular music very effectively promotes. We must define “love” biblically for our kids, teaching them that it is a commitment where feelings waver, come and go … and that’s all very normal!
Tenth, we must point our kids to the one and only true Redeemer. Sadly, much of McCartney’s music leaves kids with the notion that one’s meaning, purpose and hope in life can be restored and maintained through human romantic love. Those who have believed that lie and tried to travel that road quickly learn that’s not the case. We must point them to Jesus Christ as the only one who fills the God-shaped void. It is purely because HE lives that we can live too.
Finally, fabricated pop music like Jesse McCartney’s requires a critical and discerning look as much as—or even more than—any other type or genre of music. Since this is “entry-level” pop music and typically the type of music where kids get started, it’s crucial that we instill in them the skills necessary to evaluate music biblically and Christianly. In addition, the perception that this is relatively clean and worry-free music sometimes creates a lax attitude on the part of parents as we assume there’s nothing in the music that warrants our critical eye and attention. But don’t be fooled. All music communicates a worldview and advice on how to live life. That said, it’s crucial for us to engage in the process of critical evaluation even when we think there’s no reason. Jesse McCartney offers a wonderful opportunity for lively and profitable parent/child discussion about the power of music and the need to make wise music choices. I would encourage every parent and child to filter Jesse McCartney’s music through CPYU’s How To Use Your Head To Guard Your Heart: A 3-D Guide To Making Responsible Music Choices. (For more information, visit the resource center on our Web site at www.cpyu.org.) It’s a great way to practice thinking Christianly about music and media with a singer whose music is largely void of objectionable content. Together, a decision can be made on whether or not to listen.
Who knows how long Jesse McCartney will remain on the pop culture radar. With film roles, more music and additional TV work in his future, he’s sure to be around for at least a little while. For that reason, he’s worth paying attention to now.
LYRICS
She’s No You
They got a lotta girls who know they got it goin’ on/But nothing’s ever a comparison to you/Now can’t you see that you’re the only one I really want/And everything I need, is everything you do?/Any girl walk by, don’t matter ‘cause you’re looking so much better/Don’t ever need to get caught up in jealousy/She could be a super-model/Every magazine … the cover/She’ll never, ever mean a thing to me
She’s no you … oh, no/You give me more than I could ever want/She’s no you … oh, no/I’m satisfied with the one I’ve got/’Cause you’re all the girl that I ever dreamed/She’s only a picture on a magazine/She’s no you … she’s no you
They got a lotta girls who dance in all the videos/But I prefer the way you do, the way you move/You’re more than beautiful/And I just wanna let you know that all I’ll ever need is what I’ve got with you/Any girl walk by, don’t matter/Every time you’re looking better/I think you’re perfect/There ain’t nothin’ I would change/She could be a super-model/Every magazine … the cover/She’ll never, ever take my heart away.”
No one’s ever gonna get to me/Oh, the way you do … Now baby can’t you see … That you’re the one … the only one who’s ever made me feel this way?/Nothing’s ever coming even close/No one’s ever been comparable to you/I don’t want nothin’ I don’t got/I don’t need nothin’ but you/I can’t get more than you’re given me/Don’t stop anything you do/You’re all that … all that, and then some/You know what … just what I need/And no girl, no place, no where could mean a thing to me.
Beautiful Soul
I don’t want another pretty face/I don’t want just anyone to hold/I don’t want my love to go to waste/I want you and your beautiful soul/I know that you are something special/To you I’d be always faithful/I want to be what you always needed/Then I hope you’ll see the heart in me
You’re the one I want to chase/You’re the one I want to hold/I won’t let another minute go to waste/I want you and your beautiful soul/You might need time to think it over/But I’m just fine moving forward/I’ll ease your mind/If you give the chance/I will never make you cry/C’mon let’s try
Am I crazy for wanting you?/Maybe do you think you could want me too?/I don’t wanna waste your time/Do you see things the way I do?/I just wanna know that you feel it too/There is nothing left to hide.
Because You Live
Staring out at the rain with a heavy heart/It’s the end of the world in my mind/Then your voice pulls me back like a wake-up call/I’ve been looking for the answer somewhere/I couldn’t see that it was right there/But now I know, what I didn’t know
Because you live and breathe/Because you make me believe in myself/When nobody else can help/Because you live girl/My world … Has twice as many stars in the sky
It’s all right, I survived/I’m alive again ‘cause of you/Made it through every storm/What is life?/What’s the use?/If you’re killing time
I’m so glad I found an angel/Someone who … was there when all my hopes fell/I wanna fly looking in your eyes
Because you live … I live/Because you live there’s a reason why I carry on when I lose the fight/I want to give you what you’ve given me … always
Because you live and breathe/Because you make me believe in myself/When nobody else can help/Because you live girl/My world … has everything I need to survive/Because you live … I live, I live
Conversation
I didn't read this entire
I didn't read this entire ariticle but from what I seen you were correct at the time... Jesse was once a person who stood up for what was right but as you can tell, hollywood is full of profanity.. Jesse like any other celebrity who started out giong to church and singing in church, ends up down the wrong road... Jesse's music at one point was okay for anyone to hear because it was pretty clean but now that hes older and has come so far, hes been trying to 'prove' himself to the other hollywood folks that hes 23 and wants to be treated like an adult. I personally think hes got the wrong idea but growing up doing clean music and being on disney channel alot has made many people treat him like a kid which he doesn't care for.. He now needs all our prayers as he struggles to do whats right as anyone in life struggles. not just famous people. real world people do to... It is important for parents to pay attetion what their kid hear! I'm not sure you even see all this because this is so old but I had to respond because I am a huge Jesse McCartney fan myself, I have met him and he is very polite but now that hes older, hes not for pre-teens anymore... Sadly...
Yeah, but this was written a
Yeah, but this was written a while ago...as in a looong time ago. Now he's 21...he's older now. and his music has matured with him. Haha! But he's still awesomely sweet! :D
x
almost everything u hav said
almost everything u hav said in this article is innacurate. look at him now. wut do u mean he does not use profanity? u need an update on the life of jmac dude!!!
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