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'Britain's Got Talent' contestant blew Simon Cowell away singing a song he 'hates'

Her heartfelt version of "Tomorrow" brought people to tears—and completely changed Simon's tune.

Britain's Got Talent/YouTube

Sydnie Christmas nailed her rendition of "Tomorrow" from "Annie"

Contestants on "Britain's Got Talent" (as well as "American Idol" and "America's Got Talent") have long feared Simon Cowell's judgment, so imagine auditioning with a song choice that automatically brings out his sour side.

That's what contestant Sydnie Christmas did when she chose to sing "Tomorrow" from the musical "Annie," which is Simon Cowell's least favorite song. But much to everyone's surprise, she totally blew him away with her beautiful soulful rendition, causing him to change his tune.

Before performing, Christmas bounded onto the stage with her genuine smile and spunky energy, which endeared her to the judges and audience immediately. She even cracked a joke about her middle name being "Mary" (Sydnie Mary Christmas would be quite the name choice) and got everyone laughing with her.

However, when she announced she'd be singing "Tomorrow," Cowell winced and the other judges groaned.

"That is Simon's worst song," warned judge Amanda Holden.

But when Christmas, who works as a receptionist at a gym, began to sing, it soon became clear that this wasn't an ordinary rendition of the musical classic. Soulful, heartfelt, sad but hopeful, she built the song up bit by bit, bringing the audience along with her on an emotional ride.

Watch:

Not only did she get the coveted Golden Buzzer, but she also managed to get Simon Cowell to say he now loves the song he said he'd hated just minutes before. Viewers loved it, too.

"That was the first time I could take this song serious. Before today I hated it, too," wrote one person.

"When they say you have to make the song your own, she did just that. I have never heard a better version," wrote another.

"Absolutely beautiful; love how the word “tomorrow” always sounded unique EVERY TIME! Listened over and over…" added another.

"I've heard that song a million times and she REALLY got the poignancy of it," shared another. "It is a sad song, but a song of hope, and it is hard to walk that line and she KILLED IT. It's not just about her voice, it is how she sold that song."

She even pulled in people from various walks of life, moving them with her performance:

"I'm a 60 year old highway worker. Just got off work and my wife sent this to me. What I'm trying to figure out is who's been cutting onions in my vehicle? Seriously, teared me up. This took me COMPLETELY off guard and I am so delighted to have experienced this diamond!"

"41 year old hip hop head here and never did I think I would be touched like this. The sound of suffering with a glimmer of hope in the sound. Who is cutting onions at this time."

"I’m a 60 year old builder sitting in my van having lunch. I just watched this. The guys in the next van are taking the P coz I’m crying my eyes out! Brilliant!"

As someone named Annie, I've had "Tomorrow" sung to me countless times over the years, so I shared Simon Cowell's initial grimace upon hearing what she was going to sing. But I too was moved by Christmas's performance and gained a whole new appreciation for the song after her gorgeous rendition. Not an easy feat. What a delightful surprise for us all.

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Unearthed video shows Tom Jones singing with Crosby, Stills, Nash & Young, leaving them in awe

In 1969, it was an unlikely pairing, to say the least.

via eBayItem/WikimediaCommons

Crosby, Stills, Nash and Young perform in 1970.

Nineteen-sixty-nine was a pivotal year in American culture. The hippies and the counterculture were ascendant, and everything that came before in entertainment was as square as can be.

In cinema, there was the world before and after 1969’s “Easy Rider.” In music, the Woodstock Music and Arts Fair was a defining moment for the new era, and on television, the anti-establishment “Smothers Brothers Comedy Hour” divided households over its anti-war stance.

In September of that year, Crosby, Stills, Nash and Young (CSN&Y) were asked to play a duet with Welsh singer Tom Jones on his television show and the pairing was a perfect example of the culture clash. Jones was famous for his hit songs “It’s Not Unusual” and “What’s New Pussycat?” and was adept at dodging panties being thrown at him by the adoring ladies in the audience.

CSN&Y had just played Woodstock and were known for the anti-war anthem “Wooden Ships” and “Long Time Gone” about the assassination of Robert Kennedy.

For the performance, Jones and CSN&Y played a rendition of “Long Time Gone,” and what’s impressive is that Jones does not hold back and forced the rest of the band to keep up. Steven Stills, on electric piano, tries his best to match Jones’ bravado on his lines but falls short.

David Crosby has a look on his face of pure awe when he looks at Jones (although he was known for being in "awe" quite often in the days).

Throughout the performance, the hard-to-impress Neil Young seemingly goes from a look of pure disdain to “This rocks.” The performance is an excellent example of music's ability to bridge cultural divides and bring people together.

Tom Jones & Crosby, Stills, Nash & Young - Long Time Gone - This is Tom Jones TV Show

This article originally appeared on 2.7.24

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Watch Patti LaBelle and Dolly Parton harmonize while 'playing' their acrylic nails together

Their voices sound amazing together.

David from Washington, DC (left) Josef Just (right)

Patti LaBelle and Dolly Parton created the genre-busting duet we didn’t know we needed.

If you were to choose two female artists on the opposite ends of the musical spectrum, it wouldn't be a reach to say Dolly Parton and Patti LaBelle. Parton made a name for herself in the country music world long before "crossover artists" diluted the twangy sound of country music to more resemble pop. And Patti LaBelle has long been an R & B, soul and gospel legend, without nary a banjo or yeehaw in sight.

But talent is talent and both of these women have musical talent oozing out of their (highly manicured) fingertips.

A video from 1987 has re-emerged showing the two women talking on Parton's variety show, "Dolly." Parton was explaining to LaBelle how she often uses her fingernails as instruments.

“I write a lot of songs when I don’t have my guitar,” Parton said. “I beat around the dashboard of my car when I’m riding around writing songs, but then I have a little rhythm that we can do with these acrylic nails.”

Then she and LaBelle launched into a nail duet, which morphed into a gorgeous two-part harmony, of the folk classic "Shortnin' Bread."

Watch:

Dolly Parton & Patti LaBelle play 'Shortnin' Bread' on their Acrylic Nails

People loved seeing these big stars' big 80s hair, big nails and big vocal talent.

"Two women who hold a special place in my heart. Probably everyone’s heart," wrote one person.

"I luv how Patty just came right on in with that TIGHT harmony," wrote another. "That's a true vocalist with natural, God given abilities."

"I've always liked Dolly Parton's music, energy, country accent, just her whole vibe. And Patti Labelle is auntie who can shatter crystal with her vocal range," added another.

"Divas. Pure unadulterated talent and joy. God, don't they sound great together? Love you Miss Patti, love you Miss Dolly," shared another.

And by the way, Parton wasn't making a joke when she said she wrote songs with her nails. She literally used them while writing and recording her 1980 hit "9 to 5."

“When I actually wrote ["9 to 5"] I used my acrylic nails on the set when I was writing it. I did because they make noise and it sounded like a typewriter to me,” she told Jimmy Fallon on "The Tonight Show." “I played it on the actual record, it says 'Nails by Dolly' on the album!” she added.

@fallontonight

@Dolly Parton’s nails are credited in #9to5 💅 #FallonFlashback #DollyParton

When musicians have true talent, they can make just about any kind of music sound magical, anywhere, any time, with any instrument—even when all they have are their voices and some fancy fingernails.

It's been nearly 40 years since this clip aired, and both of these rockstar women are still going strong. Dolly Parton has become a beloved national treasure not only for her music and sunny disposition but for her efforts to increase literacy with her Imagination Library book donation program. And "Godmother of Soul" Patti LaBelle has expanded her talents to the business world, launching Patti's Good Life food company in 2007 and growing it into a $200 million venture.

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Why Gotye gave up $10 million in ad revenue from his 'Somebody That I Used to Know' video

The humble singer-songwriter's story is a cautionary tale of viral fame.

Gotye/YouTube

Gotye's "Somebody That I Used to Know" video has 2.2 billion views on YouTube.

For most musicians, creating a hit song and making it big on the international stage would be living the dream. For Gotye, it turned out to be a bit of a nightmare.

Gotye is the stage name of Wouter "Wally" De Backer, the singer-songwriter behind the 2011 smash hit song, "Somebody That I Used to Know." The music video for the song becoming one of YouTube's most-liked videos, and with 2.2 billion views, the video could have earned over $10 million in ad revenue.

But De Backer has refused to place ads on it, saying, "I'm not interested in selling my music. That's the reason I don't put ads on my YouTube channel, which seems strange to people in today's climate, but that is a decision you can make. I'm like that with all my music."

It was the fame that came with the virality of the song that was the bigger issue for the artist, however. It's a simple enough thing to turn down money, but there's not much you can do to stop a viral wave.

The song took six months to write and produce, and when the video leaked a week before its official release, it quickly caught fire. At first, De Backer was just excited that his song was being played on the radio. Then the virality online took hold and that was also exciting for a while.

From the start, De Backer was grateful for the song's success, but he also managed to stayed simple and humble. He didn't buy anything large or luxurious with the money he made from song sales, being content to drive his old van. And when he was asked what was the best thing that happened in the previous year, he responded, "It probably wouldn't be anything to do with a marker of success of my song or my album. More something like a really great swim I took at Summer's Beach near where I live."

Soon the covers and parodies of the "Somebody That I Used to Know" grew more widespread and the quality of them began to wane, De Backer began to feel "burnt out" on it all. He had no control over people connecting name with whatever they were hearing done to his song, which was frustrating. He started to feel the pressures that come with fame, to have a certain personality or to follow up his huge hit with another huge hit. And he missed feeling like he had a personal connection with his audience, which becomes difficult at a certain scale.

He even began to feel self-conscious about the popularity of the song due to its theme—two people who had broken up and couldn't work out their differences. The fact that so many people were celebrating it so fiercely was uncomfortable for him; he didn't want to be responsible for spreading more angst or bitterness in the world. And then came the "overplayed" and "annoying" era of oversaturation. He even apologized to people for having to hear the song so often because radios wouldn't stop playing it.

Ultimately, he ceased putting out music as a solo artist and focused on making music with his long-time band, The Basics. There is a possibility for another solo Gotye project sometime in the next decade, but he's probably hoping he doesn't end up with a big hit next time around.

Watch SunnyV2 tell the story of Gotye's "one hit wonder" experience and how it impacted his musical career:

It's a cautionary tale for anyone who thinks they want to be famous or wishes they'd have a song go viral. Parts of that experience can be great, but fame isn't always everything it's cracked up to be.

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