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Larger Than Life, but Far, Far Away
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- Date: Sep 29, 2099 By ANN POWERS 09/27/99 Celebrity worship relies on a kind of emotional vertigo; every hit song, "intimate" magazine profile or "spontaneous" television appearance seems to bring stars closer while actually sucking them further into fame's machine. The illusion of contact drives fans wild. During intense moments like a live concert, fans become like birds trying to fly through a closed window. Only the stars can open the window, and only if they turn to see the suitors at the glass. The Backstreet Boys phenomenon emanates from that invisible space. Thursday's show at the Continental Arena in East Rutherford, N.J, started with "Larger Than Life," the group's current single, a paean to teeny-bopper consumerism. "All of your time spent keeps us alive," is the hook, with an emphasis on "spent," driven home by the soundtrack for the commercial by the tour sponsor, Sears, which was put on screens before the concert. But this acknowledgment, one of many that Backstreet cannily offered fans on Thursday, is just a surface gesture. The group's real magic lies in its less topical hits, as beautiful and empty as holograms. The group focused much more on its music than do most of its boy-band rivals. It performed no cover versions or comedy routines. The show had its share of spectacle, starting with two segments featuring the singers flying over the crowd on wires; one in which they climbed mastlike poles, and another that lifted Kevin Richardson, the member who solos the least, aloft on a platform as he played a keyboard resembling a baby grand. The quintet, along with 10 dancers, engaged in the athletic moves that have dominated pop shows since the rise of Michael Jackson. The band, churning out serviceable light rock and soul, featured Mindi Abair, who resembled a Spice Girl and played saxophone, clarinet and percussion. The production fulfilled the current requirements of a big pop show, with several fans (and their moms) carted on stage for one song, and much flashing light and smoke throughout. But these theatrics were only meant to magnify the songs. What is it about those songs? They are all very similar, the uptempo numbers relying on funk-kissed rhythm-and-blues, the ballads airy rounds that allow the singers to trade off the lead. The Backstreet Boys can vocalize better than any of their peers, and each has his own style, albeit heavily modeled after various heroes. Nick Carter is the most traditional teen-age idol, overemoting with charming arrogance. Brian Littrell is clear-toned and sincere, training to be a country star. A. J. McLean fancies himself a soul man and growled plenty to prove it. Howie Dorough, the bashful Boy, had a conversational tenor. Mr. Richardson stayed in the background vocally, but was the best dancer and most likely future male model. Each Backstreet Boy represents an element within emotion's universe: goofy Nick is earth, pure Brian is water, rebellious A. J. is fire, and gentle Howie is air. (Kevin is like a design element, softening the symmetry.) Each takes a slightly different approach to lyrics that are nearly always about distance, whether unrequited love or romantic misunderstanding. Even ostensibly happy songs like "As Long as You Love Me" portray love as heartbreakingly fragile. "I can't believe how close we are," sang Mr. Dorough in "Spanish Eyes," summing up the music's tension: so close and yet so far. That is, of course, how fans experience stars like the Backstreet Boys. Each singer, in his own generic way, reflected the unfulfilled desire his fans feel toward him. For all its sparkle and dramatic vigor, the Backstreet Boys' show exemplified a strange and compelling loneliness, one so many of us feel when we touch fame's transparent wall.
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