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    Morgan Wallen Tops the Album Chart for a 15th Time

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    Young Thug opens at No. 2 and Peso Pluma at No. 3 as the country superstar continues to dominate the Billboard 200.A month ago, the country superstar Morgan Wallen seemed sidelined. A vocal cord injury had benched him from his arena and stadium tour, and after a 12-week perch atop the Billboard album chart he had ceded No. 1 to Taylor Swift and the K-pop group Stray Kids.But Wallen didn’t stay down for long.He returned to the stage in late June, and “One Thing at a Time,” Wallen’s latest streaming blockbuster, came back to No. 1 after two weeks in second place, and it has stayed on top. This week, “One Thing” notches its 15th week at No. 1. Watch out, Adele, whose “21” was No. 1 for a total of 24 weeks in 2011 and 2012.In its latest week, “One Thing” had the equivalent of 110,500 sales in the United States, up slightly from the week before. That total includes 140 million streams and 4,500 copies sold as a complete package, according to the tracking service Luminate. Since its release in March, Wallen’s album has racked up the equivalent of just under three million sales, and been streamed 3.5 billion times.The list of artists whom Wallen has blocked from No. 1 — among them Metallica, Ed Sheeran, Niall Horan, Lana Del Rey and the K-pop acts Ateez, Seventeen, Agust D and Jimin — now includes Young Thug and Peso Pluma, who released new albums last week.Young Thug, the veteran Atlanta rapper, opens at No. 2 with “Business Is Business,” which had the equivalent of 89,000 sales, including 106 million streams. (He remains incarcerated in Georgia on racketeering charges in a wide-ranging RICO case.)Peso Pluma, a 24-year-old songwriter and performer from Mexico, starts at No. 3 with “Génesis,” which had the equivalent of 73,000 sales, and 101 million streams. According to Billboard, “Génesis” reached the highest-ever chart position for an album of regional Mexican music, which has lately been on a winning streak online and on tour.Also this week, Swift’s “Midnights” holds at No. 4 and Gunna’s “A Gift & a Curse” falls two spots to No. 5. Kelly Clarkson’s latest, “Chemistry,” arrives at No. 6. More

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      Kelly Clarkson’s ‘Chemistry’ Draws on Familiar Formulas

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      With a big voice and big personal changes to sing about, Clarkson ends up with arrangements that don’t match the power and rawness of the emotions fueling them.When a musician known in part for her fiery breakup anthems announces the dissolution of her marriage, fans can sometimes react with an impolite if somewhat understandable presumption: “Well, at least the divorce album will be good.”That was the response in 2019, when Adele separated from her now ex-husband Simon Konecki, though she certainly fanned the flames: In the promotional cycle for her 2021 album “30,” when a fan asked what her new record would be about, Adele replied with the instantly memed quote, “Divorce, babe, divorce.” Still, she rose to the challenge: “30” was her most radically honest and stylistically adventurous album yet.Earlier this year, when Kelly Clarkson — another beloved, recently divorced powerhouse vocalist — announced the release of “Chemistry,” expectations were high for some scorched-earth catharsis from the woman who unleashed the feel-good breakup song of the millennium, “Since U Been Gone.” After a holiday album and a covers EP, “Chemistry” is the first album of original pop material Clarkson has released in six years, following the debut of her popular, Daytime Emmy-winning talk show and her 2020 split with her husband, Brandon Blackstock. The track list — featuring song titles like “I Hate Love,” “My Mistake” and “Red Flag Collector” — practically screamed divorce, babe, divorce.But Clarkson, 41, said she wanted “Chemistry” to depict a full arc of a relationship, including its high points. “Favorite Kind of High,” an upbeat, electro-pop tune that Clarkson wrote with the producer Jesse Shatkin and Carly Rae Jepsen, attempts to capture the fizz of new infatuation. (A remix by David Guetta kicks the song into an even higher gear.) The slower, sultry “Magic” addresses a more long-term devotion: “Magic takes time, and I’ve got my sights and they’re set on you,” she sings breathily. Clarkson delivers these vocals with her signature virtuosity, but she doesn’t quite inhabit these relatively faceless songs as fully as she does when she’s singing about love gone wrong.Clarkson has always brought a sharp authenticity and feisty independence to her recording career. The popular “Kellyoke” segment on her daytime program has become a showcase for her genuine appreciation for all sorts of music and proof that she can sing expertly in just about any genre.“Chemistry” never quite lives up to her reputation for excellence, though, and it fails to find a sound that fits the rawness of much of its subject matter. The album is often a showcase for the elemental power of Clarkson’s voice and occasionally for her clever turns of phrase as a lyricist, but the arrangements too often rely on modern pop clichés rather than push for innovation or reach back to the soulful traditionalism of her 2017 LP, “Meaning of Life.”The production — helmed by Clarkson’s longtime musical director Jason Halbert and her frequent producer Shatkin, along with new collaborators Rachel Orscher and Erica Serna — often feels excessively compressed and synthetic, keeping Clarkson’s voice and emotion at an unfortunate remove. “Down to You,” with its sassy, hair-flipping energy, has a few zingers — “I tried to be your friend/I won’t make that mistake again” — but its sputtering, faceless chorus demands about 1 percent of her voice’s potential wattage.The wrenching, piano-driven torch song “Lighthouse,” on the other hand, gives her a little more breathing space and puts a spotlight on one of the album’s most impassioned vocal performances. “My Mistake” relies on a more synthetic pop sound, but its swooping melody gives her more room to vamp. It’s one of only two songs on the record Clarkson didn’t help write; she imbues the other, the booming, ’80s-inspired pop-rock standout “High Road,” with a lived-in weariness and convincing emotional maturity: “To become stronger, you have to listen/Keep it open, don’t try to hide it/And if you need love, don’t try to fight it.”Perhaps surprisingly for a record born from the heartbreak of divorce, “Chemistry” is at its most distinct when it abandons the weight of pathos and allows Clarkson to get loose. Across the final trio of songs, starting with the octave-leaping “Red Flag Collector,” she switches gears into a more conversational delivery — teasing out a sensibility shared by country, cabaret and Taylor Swift’s “We Are Never, Ever Getting Back Together” — and lets her quirky personality lead. Steve Martin, of all people, plays banjo on the stylistically restless “I Hate Love,” while Sheila E. provides percussion on the breezy finale “That’s Right.”These three songs may still be about a breakup, but they’re not tear-jerkers: “Turns out I like things that you don’t,” Clarkson sings on the closer, before hitting the beach — which he hated, apparently — and reconnecting with herself. “Chemistry” ultimately feels like a missed opportunity for more depth and daring, but at least it sometimes sounds like a vacation.Kelly Clarkson“Chemistry”(Atlantic) More

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      In ‘American Song Contest,’ It’s About the Songs, Not Just the Lungs

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      Ahead of this week’s final round, a writer and photographer went backstage for this state-versus-state competition based on Eurovision. The singers get it. Does America?LOS ANGELES — Backstage at a live broadcast of NBC’s “American Song Contest” last week, the crooner Michael Bolton looked relaxed as ever. He was well aware, though, that he was the odd contestant out.“I’ve been asked, ‘Why would you get involved with a show like this?’” he said after performing his inspirational ballad “Beautiful World” in the second semifinal. “And my first answer is my instinct, which is that my love for writing music is such an indelible, permanent love and passion of mine that it makes perfect sense.”Michael Bolton represents Connecticut in the contest. Unlike several other established stars in the competition, he has made it to the final round.Rosie Marks for The New York Times“It’s a little nerve-racking at times,” he added. “I’m definitely not the youngest person in the room.”Bolton is 69, if anybody’s counting, and he did make it to the final round of this reality competition series, in which representatives from each of the 50 United States — as well as five U.S. territories and the District of Columbia — have competed every Monday night since March 21. (Bolton represents Connecticut.) Inspired by the Eurovision Song Contest and hosted by Kelly Clarkson and Snoop Dogg, the show pits stars against hopefuls for the title of Best Original Song.When Bolton goes up against the other nine finalists on Monday night, most of the competition will be less than half his age, including: Grant Knoche, a 19-year old Texan who toured with Kidz Bop; Jordan Smith, who won the 2015 edition of “The Voice” at 22; and AleXa, 25, who was born and raised in Oklahoma but moved to Seoul to pursue a career in K-pop.Stela Cole, representing Georgia, during a dress rehearsal a Universal Studios. Rosie Marks for The New York TimesIn many circumstances, Bolton’s experience and star power might confer an automatic advantage. Just don’t tell that to Jewel (Alaska), Macy Gray (Ohio) and Sisqó (Maryland), all of whom were eliminated in earlier rounds.“In some ways it’s harder for the more established artists,” said Audrey Morrissey, an executive producer of “A.S.C.” and “The Voice.” “They’re not on competition shows like this. There’s more at stake for them than for someone that no one knows.”Still, it’s not easy for a young artist to perform for millions of viewers with so much riding on the outcome. Perhaps the question that counts most heading into the final is simply: Who has the best song?Grant Knoche (Texas), 19, spent four years touring with the musical group Kidz Bop before entering the contest. He and his song “Mr. Independent” have made it to the final round.Rosie Marks for The New York TimesAmid rehearsals for the May 2 semifinal, and backstage during the broadcast, several contestants talked about their appreciation for the show’s emphasis on original material. The Tennessee-based singer-songwriter Tyler Braden had considered trying out for another TV singing competition earlier in his career, but he ultimately decided against it.Now he is among the finalists, announced Wednesday, with a song he wrote called “Seventeen.” (The majority of contestants had at least a hand in writing their own songs.)“I’ve always believed that the song is No. 1,” Braden, 33, said in his dressing room before the broadcast, wearing jeans and a ball cap. “You can look the part, and your shows can be amazing, but it comes down to the song, and the lyrics and the melody, the feel — and this contest is all about that.”“You can look the part, and your shows can be amazing, but it comes down to the song, Tyler Braden (Tennessee) said. “This contest is all about that.”Rosie Marks for The New York TimesGiven all the talk of American polarization in 2022, I was curious whether any interstate tensions would be palpable off-camera. But everybody I observed appeared genuinely to get along. The word “camaraderie” popped up in every conversation.“I’ve made so many great friends out of this, lifelong friends,” Knoche, from Texas, said. “I feel like the whole show just brings states and everyone together even more.”Tenelle, of American Samoa, practiced in the bathroom before her performance.Rosie Marks for The New York TimesIn rehearsals, I watched the rootsy Chloe Fredericks (North Dakota), the conceptual-pop princess Stela Cole (Georgia) and the EDM-friendly Broderick Jones (Kansas) groove along to the lilting, island-flavored ballad “Full Circle” by Tenelle (American Samoa), then clap enthusiastically. The Latina girl group Sweet Taboo (California) and the dance-R&B diva Enisa (New York) laughed off my wheedling about their place in any costal rivalry (made moot when neither made it to the final).Considering several of the contestants were making their live-television debut, most appeared almost freakishly calm. The most vocal behind the scenes was Tenelle, all revved up after rehearsal. “I don’t want this to be over,” she said. “But I want to win this mother!”Tenelle with Chloe Fredericks (North Dakota), who seemed to have become all of the other contestants’ new best friend. Rosie Marks for The New York TimesExuberance seemed to be Tenelle’s factory setting but still: She knew she had to kill it on the actual broadcast. (And she did; she’ll be in the final Monday night.)Some eliminations have been unexpected, to say the least. (Cuts are determined by a points system that combines audience and jury votes to balance the advantage of bigger states.) The charismatic cowboy rapper Ryan Charles (Wyoming), whose song “New Boot Goofin’” was an early favorite of Snoop’s and proved extremely TikTok-able, did not make it past the semifinal. And I was personally disappointed when John Morgan (North Carolina) and his Taylor Swift-like ballad “Right in the Middle” didn’t make the cut.Jordan Smith (Kentucky), left, and AleXa (Oklahoma) backstage at the semifinals. Both went on to the final round. Rosie Marks for The New York TimesBut such are the realities of competition, and all the contestants received notes from the creative staff after rehearsal to help them improve their chances. “Charm is all,” said Christer Bjorkman, one of several Swedish executive producers, all of whom have connections to Eurovision. He and Tenelle were in a windowless viewing room, scrutinizing the third run-through of “Full Circle,” which involved a not-negligible amount of pyrotechnics.Camera crews were a part of the dress rehearsals. The performances are lavishly produced, often including backup dancers and pyrotechnics. Rosie Marks for The New York Times“It’s all about contact,” Bjorkman he told her. It was about connecting with the camera and, thus, the audience.For Allen Stone (Washington), producers suggested that he tone things down for his blue-eyed soul entry, “A Bit of Both.” “I was trying to put some extra mustard on my vocal,” he said, only to be told, “It’s a really good song; don’t over-sing’” — advice possibly never uttered in the history of “American Idol” or “The Voice.”Whatever Stone did worked; his performance on April 25 put him through to the final.Glow sticks were given out to members of the studio audience.Rosie Marks for The New York TimesDespite the good songs and high production values, the show’s ratings have been underwhelming. I asked Morrissey why she thought they weren’t better.“I know that everybody’s disappointed,” she said, visibly wincing under her mask. “But it is a big, new brand. It is a very different sort of mechanism — there isn’t another show where performance happens and there isn’t a critique right after.” No evisceration from Simon Cowell. No bromantic hugs from Adam Levine.The emphasis on song craft may have added to the growing pains. “That has been a big question for us this whole time: If someone makes it to the final, they’re going to perform the same song the same way three times,” Morrissey said. “Is our American audience going to get that?”Musicians during a dress rehearsal for Tenelle, whose entry is a lilting, island-flavored ballad called “Full Circle.” Rosie Marks for The New York TimesEuropean viewers certainly have, though it wouldn’t be the first time trans-Atlantic tastes differed. Since 1956, Eurovision, in which artists from different countries compete, has been an institution, making international stars out of acts like ABBA (Sweden, 1974) and Maneskin (Italy, 2021). Given the uncertainty, “A.S.C.” producers “made a very purposeful decision to come out of the gate with big performances,” Morrissey said, referring to the show’s lavish production — very much in the Eurovision tradition, though still nowhere near that contest’s camp excesses.Two people who did not need convincing were the “A.S.C.” hosts, who have decades of combined songwriting experience: Clarkson, who catapulted to fame after winning the first “American Idol” in 2002, has even blurted out, “I want to do this one!” after some numbers.Tenelle with her backup dancers and musicians during her performance in the semifinals. Rosie Marks for The New York Times“I didn’t realize how amazing those songs were going to be,” she said while getting made up for the live broadcast. “You have these beautiful ballads from Hueston or Michael,” she added, referring to the mononymic artist from Rhode Island and to Bolton. “And you have these fast ones like AleXa — from fricking Oklahoma!”Finding viable contestants from some states wasn’t easy, but the search turned up some gems. Fredericks, of the Mandan, Hidatsa and Arikara Nation, was spotted playing in Hollywood by some scouts. They were happy to learn she was from North Dakota.The contest is hosted by Snoop and Kelly Clarkson, who herself catapulted to fame after winning the first “American Idol,” in 2002.Rosie Marks for The New York Times“They said ‘Well, we don’t have anybody from there,’” Fredericks, 24, said with a booming laugh that may help explain why she seemed to be all of the other contestants’ new best friend.“I was very surprised that I went through the first round because I’m a small artist and some of us here have bigger followings,” she added. She did that and more: On Monday, she’ll be in the finals.Whatever the show’s chances for a Season 2, the concept of “A.S.C.” seems to have pleased the hosts, who volunteered separately that they loved being free just to cheerlead.“That’s the beauty: that I don’t have to be the judge, that I don’t have to put my decision-making on who moves on,” Snoop said during a commercial break. “I can be open and just enjoy the performances,” he added. “I don’t have no dog in this fight.” More

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      What We Forgot to Talk About in 2021

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      Subscribe to Popcast!Apple Podcasts | Spotify | StitcherTaylor, Drake, Olivia, Adele, Billie, Lil Nas X, Sondheim, Kanye, Kacey: Popcast has covered them all in the past 12 months. In the second year of the coronavirus pandemic, pop music returned to something like normal, with big stars releasing albums and returning to the road (at least for now). There was quite a lot to talk about.On this week’s Popcast, a loose round table about some of the year’s musical high points that haven’t yet been discussed on the show: the global breakthrough of Maneskin, the ascendance of Jazmine Sullivan, the resilience of Kelly Clarkson, some left field TikTok high points and the musical stylings of Candiace Dillard of “The Real Housewives of Potomac.”Guests:Joe Coscarelli, The New York Times’s pop music reporterCaryn Ganz, The New York Times’s pop music editorConnect With Popcast. Become a part of the Popcast community: Join the show’s Facebook group and Discord channel. We want to hear from you! Tune in, and tell us what you think at popcast@nytimes.com. Follow our host, Jon Caramanica, on Twitter: @joncaramanica. More

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      As a Daytime Host, Kelly Clarkson Has No Fear of Being Vocal

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      Kelly Clarkson had just come striding through an aisle of the Appel Room one afternoon in late August, accompanied by Kristin Chenoweth and a troupe of dancers as they sang the final bars of the uplifting Imagine Dragons ballad “On Top of the World.”In the minutes between catching their breath and performing the number for a second time — part of an elaborate musical sequence that will open the third season of “The Kelly Clarkson Show” — the host called out from her stage here at Jazz at Lincoln Center and offered a tongue-in-cheek apology to Chenoweth and the ensemble if she had missed any steps in this earlier take of the routine.“I was freaking out,” Clarkson said. “You do not want your entrance to depend on me.”Though she has already been many things in her career — the winner of the inaugural season of “American Idol”; a best-selling, Grammy Award-winning pop and country musician; a coach and adviser on “The Voice” — Clarkson will gladly admit she is still a novice when it comes to starring in her own syndicated daytime talk show.Throughout a day spent taping segments for her show’s premiere week, which begins on Monday, the spirited, self-deprecating Clarkson had been telling her studio audience she felt rusty after coming back from a scheduled filming break of about three months. But there was not much time for her to get back up to speed and, as she has gotten used to, she would have to figure things out on her feet.Seth Meyers was among the guests during a string of New York episodes taped at Jazz at Lincoln Center.Weiss Eubanks/NBCAt a moment like this, much is expected of “The Kelly Clarkson Show,” a blend of celebrity interviews, games and slice-of-life segments informed by the 39-year-old host’s pop-cultural sensibilities. The program is coming off its first Daytime Emmy win for best entertainment talk show, a category in which Clarkson has vied with established competitors like Kelly Ripa and Ryan Seacrest (the longtime “Idol” host) and newcomers to the field like Drew Barrymore.NBCUniversal, which produces “The Kelly Clarkson Show,” has renewed the series through the 2022-2023 season and has said it will give Clarkson’s program the slot now held by “The Ellen DeGeneres Show” when its veteran host steps down next spring after 19 years.These decisions provide added incentive for Clarkson while significantly raising the stakes: At a time when her show is still finding its footing — and has yet to have anything resembling a normal season — she is already being groomed as DeGeneres’s heir.This coming season of “The Kelly Clarkson Show” was supposed to be the one where she and her colleagues would show off the full potential of the program, unencumbered by growing pains or pandemic restrictions; by opening it in New York, they hoped to spotlight a city, a host and a TV series that were fully restored and back to business as usual.The recent resurgence of the coronavirus has put a cloud over much of that. But as Clarkson prepared to forge ahead in New York — before returning to the show’s home in Los Angeles for another week’s worth of season-premiere programming — she said she had gotten accustomed to the uncertainty that has so far epitomized her talk-show experience.“It’s kind of been like that from the get-go,” Clarkson said. “From Season 1, we’ve had to reinvent it. We’ve never had, really, a moment with our show where it’s like everything’s going to plan.”A few days before shooting her season premiere, Clarkson was speaking in a video interview from Los Angeles, comfortably dressed down with her hair held back in a ponytail while her dog Henry played at her feet. “I appreciate that I can do this in sweats and no bra,” she said with delight.That relentless candor has a lot to do with how Clarkson got this gig — it’s a quality that her fans and advocates find relatable. But it also gave her the freedom to nearly turn down the show. Thinking back to the period a few years ago when she was being sought as a host, she said: “Everybody was like, Oh man, you would be great at doing a talk show — except for me, I wasn’t one of those everybodies. I’m just like, Where do I fit in there? Why would I? No one will watch that.”She added, “I’m very honest with myself.”Alex Duda, the showrunner and an executive producer of “The Kelly Clarkson Show,” said that she was among those early recruiters who were impressed by Clarkson’s energetic, unpredictable appearances on “The Voice.”Duda, who previously produced daytime talk shows for Steve Harvey and Tyra Banks, said that Clarkson was also distinguished by her formative “American Idol” victory in 2002, a process in which millions of viewers witnessed and participated in her ascent to fame.Clarkson was initially unconvinced that she should host a talk show. “I’m just like, Where do I fit in there? Why would I? No one will watch that,” she said.Justin J Wee for The New York Times“We chose her,” Duda said. “She connects with us in a way that nobody does because we helped with that. People are rooting for her in a different way.”Clarkson, who was 20 when she won, said she had also come to realize how “Idol” had unexpectedly prepared her for a future in daytime television.“We were on TV all the time,” she said wearily. “Doing random things — being interviewed, interviewing other people, doing skits.” To this day, she said, she never worries about having something to say when a camera is pointed at her: “I don’t really feel pressure from that. That can be scary for other people sometimes, like, Oh God, what’s she going to say?”With a blueprint that allowed her to perform a new cover song in every episode (or Kellyoke, in the show’s parlance), and a guest list that enabled her to share a stage with musical heroes like Trisha Yearwood, Reba McEntire and Garth Brooks, Clarkson embarked on the first season of her program in September 2019.In March 2020, in-studio production of the show was halted by the pandemic. But Clarkson, who had left Los Angeles with her two young children to hunker down in a cabin in Montana, continued to produce new segments for the program that she recorded on an iPhone.Clarkson said she had found the experience as invigorating as it was frustrating. “We were in the middle of nowhere,” she said. “The dryer broke. We’re going to the bathroom in the woods at some point. I’m 5’3” and a half, dude. I’m in snow up to my thighs. And I’m like, well, I have a camera.”She added: “I’m trying to be America’s cheerleader. And I never completely broke down about it, but I definitely laughed hysterically at several moments.”In its second season, “The Kelly Clarkson Show” was able to return to its Los Angeles studio with pandemic protocols in place: Panel discussions were socially distanced, and audience members could participate only virtually, appearing as heads and torsos on flat screens. (A limited studio audience will be allowed to return in Season 3.)These circumstances were not ideal for a fledgling program still trying to find its footing. “You’re trying to build on momentum,” Duda said. “For us, it was difficult being a show about connection when you can’t connect physically. We haven’t been able to realize our mission.”Jason Halbert, who is the show’s musical director and has worked with Clarkson for almost 20 years, said that he has seen her thrive in fluctuating settings, as a musician and as a host.When he is touring with Clarkson, Halbert said, “There’s a new text every morning of a great new idea she has.”“I wake up in Vegas and she’s like: ‘You know what? I want a harp player for my show today. I want a kids’ choir.’ I love those challenges.”When Chris Martin appeared on the show, Clarkson brought out her son, Remington, and daughter, River Rose, so that they could hear Martin perform.Weiss Eubanks/NBCHalbert said he had experienced a similar volatility on the talk show. “Scripts are being written, reviewed, at 11:00, 11:30, midnight the night before,” he said. “There’s rewrites, there’s a new surprise or a new guest. My morning starts with about three or four requests, every single day, of some new music that has to be created. There’s nothing routine about it at all.”But over their years together, Halbert said he had seen Clarkson go from a plucky neophyte to a star, a mother and a leader. “Her voice has grown, her stage presence — everything about her has grown,” he said.By the end of last spring, “The Kelly Clarkson Show” was drawing an average daily audience of about 1.3 million viewers, frequently putting it ahead of “Ellen” and other competitors like “The Rachael Ray Show,” though it doesn’t surpass category leaders like “Dr. Phil” or “Live With Kelly and Ryan.”Despite the obvious indicators that Clarkson is being positioned to step in as successor to DeGeneres (whose show is produced by Warner Bros.), no one is quite ready to talk about this explicitly while DeGeneres is still on the air.Tracie Wilson, the executive vice president of NBCUniversal’s syndication studios, praised DeGeneres for her lengthy, innovative tenure. “Nineteen years — what a milestone, that’s incredible,” Wilson said.Even so, Wilson said that the coming season of “The Kelly Clarkson Show” was an important opportunity to reintroduce the show to viewers.“We are treating Season 3 like a launch,” she said. “We’re putting everything behind it. Because we’re still an infant of a show and we have so much more to do. We’ve had so many stops and starts with the pandemic.”Clarkson — who has featured DeGeneres as a guest on her show and appeared several times on “Ellen” — played down comparisons between them. “No one can take over for Ellen. It’s an iconic show,” she said.She argued that her efforts as a talk-show host shouldn’t be measured against those of her illustrious predecessors, any more than she should be gauged as a singer in comparison to the vocalists who inspired her.“I’m never going to be Whitney Houston — I’m never going to be Cyndi Lauper, Reba or Trisha or Mariah,” she said. “I’m going to be me. I think that’s fine. There’s room for everyone at the table.”Clarkson credits her time on “American Idol” with making her comfortable on-camera. “I don’t really feel pressure from that,” she said.Justin J Wee for The New York TimesClarkson — who is simultaneously preparing a new Christmas album for release later this year — said there was still value in trying to produce positive, uplifting entertainment. It is a goal that hasn’t been deterred by the many months of coverage that her continuing divorce from her onetime manager Brandon Blackstock has yielded for celebrity sites like TMZ and Us Weekly.Clarkson said she was generally unaware of how she is portrayed in the tabloids, given that her own internet usage is limited mostly to Friday night sessions of “Zillow porn” and that these sites were off her radar, even if they had generated large readerships.“It’s supply and demand,” she said. “People demand it, so they supply it, unfortunately. I’m not mad at it. But I don’t have to subscribe to it.”Clarkson spent much of an afternoon taping in New York trading enthusiastic repartee with Chris Martin, the lead singer of Coldplay and a personal fave she was meeting for the first time. She swooned over his accent and contributed vocals as he played her an acoustic-guitar cover of Whitney Houston’s “I Wanna Dance With Somebody (Who Loves Me).”During a question-and-answer segment, Martin sheepishly said he was nervous. “I’ve never been interviewed by someone who’s a better singer than me,” he explained.Clarkson threw up her hands and pretended to walk off the stage. “I’ve achieved greatness,” she said triumphantly.Later, Clarkson brought out her 7-year-old daughter, River Rose, and 5-year-old son, Remington, so that they could hear Martin play a solo performance of the Coldplay song “Green Eyes.”Martin had gotten only a few bars in when Remy motioned to his mother and said, loud enough for the audience to hear: “I need to go to the bathroom.”It was one of those unscripted moments that Clarkson lives for, and she seized it. As her son trotted off the stage, the delighted host told the crowd that she never seems to have this problem herself.“I always go right before my show starts,” she said. “Because I’m panicked about it.” More