What Is A Woman Power Shift in Musical Boardroom Sydnie Transcends Sinatra’s My Way the Hi-Way
Dr Kris Rampersad 
What Is A Woman Power Shift in Musical Boardroom Sydnie vs Sinatra review by Dr Kris Rampersad cover image
Sydnie pitches Sinatra’s famed cocky melody onto a new path as the potential female anthem of aspiration, endurance and achievement, while cracking the gender-conditioning embedded in music culture, for a place in its boardroom.
Dr Kris Rampersad, What Is A Woman Power Shift in Musical Boardroom Sydnie vs Sinatra find more CEIBA-EDUtainment at GLoCal Knowledge Pot, www.krisrampersad.com
A quiver of lips. An intense stare. An emphatic pause. A grasp for breath. A small inflection of tone and an unfalteringly piercing scream that reaches into both the painful depths and ecstatic heights of womanhood morphs Sinatra’s macho My Way onto a screeching new fem-powered hi-way. Steering the metamorphoses is Britain’s Got Talent newly crowned croon queen, Sydnie Christmas. Sydnie’s lyrical lilting double-entendre pitches the famed cocky melody onto a new path as the potential female anthem of aspiration, endurance and achievement, while cracking the gender-conditioning embedded in music culture, for a place in its boardroom.
The metamorphosis of the perennial My Way is a subtle and ingenious engendering that veritably steals all the titles off Sinatra, the Legend also known as The Voice and Chairman of the Board, a position he has held without challenge for some 65 years!
Now, displaced by a woman, What Is A Man, the core question of the all-time favourite, is transposed for a gender equality pitch, What Is A Woman. Subtly it significantly transforms the meaning and application of the song, to speak directly to experiences of women!
Prophetic Tombstone Engraving
From under his California tombstone inscribed with the prophetic, The Best Is Yet To Come, Ole Blue Eyes Frank Sinatra must have whipped out the bottle of Jack Daniels and pulled and puffed on one of the Camels with which he was buried when Sydnie’s strains of his perennial classic My Way reached him this way! Don’t you hear him nodding, too, ‘The Best Has Come!’
Many might be asking what makes her rendition any different from those that came before, including Sinatra’s? And does she deserve her seat at the helm of the musical Boardroom? What follows is a close insight into how she managed the transformation!
Remarkable departure from other replications
It is well known that music carries the seeds of cultural stereotyping and pushes negative cultural replication and the industry itself is highly gender-skewed. Breaking cultural moulds require deep dive into musical and other cultural forms.
Sydnie’s renditions are remarkable departures from others who have sung it, including the sultry rendering by the reputed Queen of Soul herself, Shirley Bassey, the King of Rock and Roll, Elvis Presley, and the Queen of Power Ballads Celine Dion all whom remained close to the Sinatra original. My Way, sung Sinatra’s Way also took Landau Eugene Murphy Jr, a car-washer whose voice seems a reincarnation of Sinatra’s, to win in 2011 America’s Got Talent – Simon Cowell’s USA counterpart to Britain’s.
Indeed, as, arguably, only a woman can, in the Cowell-led British competition Sydnie takes not just one masterpiece, but three, and makes each better than what made their original versions popular. She proved that with her rendition of other perennials – Tomorrow from the 1939 Anne in the preliminary auditions, and then again in the Britain Got Talent finals with its contemporary, the immortal classic from the Wizard of Oz, originally sung by Judy Garland, Somewhere Over the Rainbow which won her the 2024 title.
What Is – A WoMan?
From its core question laid out by Sinatra, What Is A Man, My Way trebles into My-Hi-Way as Sydnie powerful vocals race off onto new paths away from Sinatra’s traditional characteristic crooning baritone.
With only the slightest of tweaks, Sydnie engenders the long standing faved and famed Anthem of male autonomy and vivaciously transforms its musical scales into a rousing paean of womanhood.
Literarily: What has She?
What has SHE? (As opposed to He) The nuanced pressure Sidney places on the lyrics, particularly the word ‘she’ with accompanying facial soulfulness, reverses the celebratory tone of Sinatra’s affirmation of masculine power. Instead, Sydnie’s tone of ‘she’ resonates centuries of second place relegations – the scorns, scoffs and sneers women endure from gossips and now social media trolls, dowry negotiators, marriage market bidders and bargainers. The unequal gender culture that feeds the flesh traders and traffickers, the street hooters, derriere pinchers, the inheritance grabbers, the property and work-promotion appropriators are all made to kneel in the singular inflection and emphasis on the word ‘she’ which encompasses the suffering-in-silence mothers, daughters and grandmothers who endured before.
What has She Got?
Even as she disses our critics, without listing them, Sydnie accentuates what ‘She’, woman, has got, so the question itself doubles as a statement. The layered scabs of pain from millennia of female oppression and consignment to second place fall off. With her new musical scales and the slightest of inflection and emphases, she transforms the pangs of suffering and longings of womankind into this potent gasp and grasp of aspiration, self-fulfillment, and achievement!
Like a shrug of shoulders, flick of a finger, or toss of hair, with such small engendered flips and almost unnoticeable yet emphatically dramatic tonal pressures, the female singer turns, twists and deepens the meaning of the entire song. Move over Chairman of the Board! At its helm now sits A WoMan! The gender whose voice and opinions have been mostly suppressed, who have been kept from rightful seat on the Board is now commandeering the Way!
No longer will she be kept from saying ‘the things she truly feels.’
No longer is she merely mouthing ‘the words of one who kneels.’
Voluntary vs Forced Kneeling
She acknowledges the voluntary act of male ‘kneeling’ alluded to Sinatra’s song differs from the forced subjugation of womankind, made to kneel on the way to and in boardrooms and other arenas of power, privileged and held in prestige for men. For indeed the song evokes the many unequal dynamics and the still unequal spheres that deny women equal opportunity, the least of which is the world of the creative imagination, the world of creation, production and show business.
Visual-Vocalisation in Lyrical Lilts
Sydnie’s lyrical lilting at once collapses the idea of women-versus men kneeling, literally and figuratively, to its knees with her lyrical lilts and tilts, then rises it to a crescendo – a visual-vocalisation if there is such a thing that while it conjures up the image of a hand-raised, hurling ‘blows’, the over-lording and being overlooked in auditions and promotions, the marginalization and made to play second fiddle to the ideology of male supremacy that the original My Way encompasses (Sorry Sinatra, frankly I love you, but lol). A cliched line from an old song is transmutes in its new rendition into lived experience of womankind!
Sinatra’s My Way turns on Sydnie’s Hi-Way high notes
Sydnie flips the meaning of the lyrics of the song that is all-too-familiar to have become a cliched defacto male anthem: From the dominant overlords of Sinatra’s sex, it musically takes the hands of the millions of women who have had to kneel, who took many-a-blow, who have been told My Way or the Highway. For, who, more than ‘she’, has borne the blows and emerged the taller, worthy of having despite it all, managed to do it her/our way!
Sydnie’s two grannies – who must have sung and hummed and danced with their spouses claiming the lyrics to the tune umpteen times, suppressing their pangs of invisibility, of being written out of the extolled experiences of men – sit breathlessly clutching their hearts as their purses, already knowing their granddaughter’s musical worth, hoping the audience and judges will too!
New Anthem of Womanhood
To us, who relish words and curiously journey through tones, textures and admixtures to Sydnie’s success is not just a lyrical flick to change the song’s gender. Tonal inflections and clever musical lilts transform the song that has for decades championed and celebrated machismo and men as rulers of the world, to what may soon become the anthem of womanhood.
Frank Sinatra’s timeless classic of male dominance becomes the anthem of woman’s endurance, survivalism, often stunted aspirations and the new reach for self-actualisation.
In one scoop of two verses the Britain’s Got Talent semi-finalist did what every woman who enjoys Sinatra’s perennial My Way has wanted of the endearing song.
The song is no longer its male creator’s but all hers, all woman’s, as breath by breath, tone by tone, inflection by inflection, Sydnie bellows with Shakti to deliver the last line, I did it My/Hi-Wayyyyy.
Single Syllable Scaled to Musical Heavens
Sydnie’s natural talent pays homage to the vocal coach who recognizes the power of musical lyricism in all its subtlety to so stretch a single syllable to the vocal high-heavens. She replicates the technique in the performance in the finale of Somewhere Over the Rainbow, another perennial that, as with her renditions of Tomorrow at the auditions and My Way of the semi-finals, burst forth with the freshness and vivacity of Spring blossoms.
Can’t lyrically stretched to Can
In her delivery of Somewhere Over the Rainbow at the show’s finals, she takes the word ‘can’t’ from its original scream of helplessness and hopelessness in reaching for the impossible and stretches it into infinity so the abbreviated ‘t’, representing the negative, melts into insignificance. And so it reverses the sentiment of the lyric by pure vocal ingenuity. As can’t climaxes and collapses, it leaves only ‘can’ hanging in the air with a new potency of potential and possibilities to reach into, out, to exceed and transcend into musical ecstasy.
Whining Can’t To Winning Can
The whining ‘can’t’ transcends its negative form to transcend into formlessness, the negativity falling off enroute, giving way on its upwards course on the musical scale to aspiration and its fulfilment, can, as an ethereal self-affirmation of unbridled freedom that dissolves into limitless spaceless formlessness. Even as the sound disappears, its aura hangs in the atmosphere, continuing to resound and pulse with the vocal transformation of the air itself into pure unfathomable energy as the singer’s voice-art returns to its most primeval state of resounding soundlessness.
There it hovers, far above the chimney tops, leaving below the mortal critics squabbling with mundane grudges about whether the singer should have been on the show in the first place (to grab ratings) and others on the non-British nationality of several of the finalists of Britain Got Talent owing to the increasing global character the show was taking with generous dose of non-British participants in the competition.
Sun of Tomorrow
Sydnie’s win of Simon Cowell’s Britain’s Got Talent was perhaps already sealed from her first notes ‘The Sun’ in auditioning with Tomorrow. Indeed, each mention of the “Sun” in that song, her voice changes and paces it from the slow-paced morning sun rising to energetic high-noon glory.
Through her semi-final My Way to the finale Somewhere Over the Rainbow, her renditions bring gusts of fresh oxygen and a lot more to these perennials that not just allow her to exhibit her art to its full expanse but also tell that there is scope for superceding even the most magnificent of masterpieces.
Spring of Hopes for Tomorrow
This spring of hopes is encapsuled in her crowning notes. Even as she laments her lack, shortcomings and shortfalls in a line that pronounces her inability to fly and soar into infinity like happy little blue birds, she does soar vocally to the heights and into infinity incomparable and beyond the twittering chatter of said happy little bluebirds. As with her first note, in the audition in Tomorrow, through the small catch in her breath that turned My Way into My/High Way, her delivery of the sustained notes in the single lyric, can’t of Somewhere Over the Rainbow, takes off to lofty heights of soaring blue birds, to resonate even beyond infinity to help her secure the crown.
Voice as Instrument & Agent of Change
Sydnie’s voice is not just an accompaniment to the instruments or vice versa, but her voice becomes an instrument in itself, harnessing at the same time the significance of the unvoiced – the pauses and spaces that themselves bellow out with meaning.
In a World of ‘Can’t’
Apart from recognizing Sydnie’s powerful injection into cracking the culturally embedded stereotyping and replication of male dominance that music carries, I was inspired to write this piece on Sydnie-Sinatra even before she took the crown, on hearing the rendition of My Way which showed up on my feed after I reveled in the reincarnated vivacity she injected into Tomorrow of the Britain’s Got Talent preliminaries.
I Dreamed A Dream
Hearing Sydnie sing Tomorrow reminded me of another momentous audition, by the unemployed forty-something, Susan Boyle, whose rendition of I Dreamed A Dream from Les Miserables, left her skeptics, including Simon Cowell and Piers Morgan somewhat speechless. Boyle went on to win that season of Britain’s Got Talent but social pressures and later health challenges truncated the promised of a magnificent career.
As my social media posts would testify, Boyle’s story took me through some of my darkest days and her sad health challenges align to the sentiments presented in my short biopic One Night To Bloom, all the more poignant to the facetiousness of our mortal toils, so I wish Sydnie many years of success onwards.
Memories of a Moment
I write this to define her winning moment and thank her for it brought back poignant memories of the evening I graduated with my PhD. Uncomfortable in cumbersome colonial-styled graduation gown and cape, not made of materials suited to the hot tropics, I hardly heard what many thereafter told me was a crescendo of applause received with a great flourish of commendation by the then Chancellor of the University of the West Indies Professor Rex Nettleford. Apparently, it was a historic moment, the media world would thereafter celebrate as the first sitting regional editor/journalist to complete a PhD. For me it was mere completion of another ‘to do’ that life thrust in my path.
Perennial Friends Render My Way
As soon as the official ceremony was over, my perennial friends who had held my hands through the excruciating months of studying while trying to earn a living in the stressful seat as Editor of the flagship Sunday edition, pulled up in their car and beckoned me in.
Before I could settle in, they turned up the music in the car, one of them having requested a radio station to play, Sinatra’s My Way, in tribute to me. As the line with ‘What Is’ came up, they raised their voices, screaming ‘A Woman’ to drown out ‘ Sinatra’s crooning ‘a man’!
The moment of fulfilment of good friends, playing a favourite tune (through national radio too!) and a surprise sumptuous dinner topped off a night of achievement that had not yet sunk in and that I would hardly get a chance to fully celebrate in the months ahead. For, even as many celebrated, many others shifted uncomfortably in boardrooms, contemplating, with consternation, what it would mean for the profit lines if more aspired to higher education and what raising the bar and inspiring others to excel, might mean for others in the industry with suppressed aspirations – that is how it may negatively affect their profit lines (Humph! – the trials of womankind!). But that’s a story for another time and details well explored in my upcoming autobiography LiFE! HoleHeartedly!
Music of My Life
For now, I am just reminiscing on the music of my life as my birthday month began on the turn of the ticking clock, with a ping from Caribbean musical genius, Terry Gajraj sharing his eclectic birthday mix of birthday wishes for me that set the tone of the week.
Celebrations interrupted with the news of death of a friend (The Lights That Spark Us), I tuned to Nobel Laureate Derek Walcott’s little known classic musical piece, Sower in the Sky from his play Joker of Seville, as she joined me to advance our literary heritage captured in this piece.
Soon, another long-time friend Oliver Chapman also sent me wishes through one of his songs. Chapman composed the soundtrack for the first television I research and wrote, the award-winning Cross Country. It became, literally, the sound-track of my life, the music that propels my biopic short film rendered in a tease of the world’s newest creative genre, the MultiMedia MicroEpic – see it below. Psss I think Oliver’s new song can be the sound track to the sequel to that biopic in this continuing life’s journey. Thank you all for the music of that moves me and the many whose rhythms and rhymes have been the drums that pound my heart in its continuing rhythms.
Postscript to My Way
Sydnie’s rendition of Sinatra’s My Way, evoked for me all the emotions of fulfillment I felt that graduation night and through the ups and downs of the years since when I continue to reach to the lofty heights of the happy little blue birds amidst a chorus of ‘can’t’!
Thanks to Sydnie, Sinatra, Simon Cowell and the Britain’s Got Talent Team, my friends and the many others who have contributed to making my life such a symphony of superlatives against my own screams, as the screams of countless other women, taking the highway against my way doctrines, summounting the self-negating choruses for self-affirming, ‘why can’t I!’
Another pause or postscript as I put the final touches on my biography Life! Hole Heartedly, but while you wait, and join in wishing me a Happy Birthday, and I celebrate the birth of a new family member on this day too, you can enjoy a sneak peak of my creation of the world’s newest creative genre, the MultiMedia MicroEpic, that adapts the classical long form epic for new media.
Because, lyrically and otherwise, in all Our Ways, We Can!
My Story: The MultiMedia MicroEpic Biopic
Can you tell your life story in a few minutes. This newest creative genre I am developing (please make contact to support development) called the MultiMedia MicroEpic makes this possible. See sneak preview here with the Biopic One Night To Bloom.
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