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(12/08/10 10:41pm)
____simple_html_dom__voku__html_wrapper____>If you’re not a Fefe Dobson fan, that’s probably not changing anytime soon.It’s been seven years since Dobson’s self-titled debut disc, and it’s no wonder the Canadian singer had trouble finding a record label to support this latest effort.“Joy” isn’t a terrible album by any means, it’s just not great. Generic production and writing make this album suitable for an aging Disney star, not an artist who thinks she’s a punk femme fatale.Tracks such as ‘Ghost’ and ‘Stuttering’ are somewhat catchy, but popular writers and producers are to thank for the top 40 possibilities.Dobson does co-write all of the songs here, so she deserves the credit. Unfortunately, cliché sentiments float on by, leaving a listener unaffected.The real shame is that Dobson never finds a clear persona. One minute she’s Avril Lavigne the next she’s Taylor Swift.In the end, none of us know Fefe.
(12/08/10 10:36pm)
____simple_html_dom__voku__html_wrapper____>When your last album spawned a megahit such as “I Gotta Feeling,” the prospect of matching that success can be daunting.The Black Eyed Peas have suffered from that pressure.“The Beginning,” is the next plate in a dance-disco buffet where the group’s 2009 effort “The E.N.D.” served as the main course. But instead of being chock full of hooks and surefire singles, “Beginning” looks like the leftovers.Lead single, “The Time (Dirty Bit)” already nabbed the Peas a top 10 hit, but more than likely, it will be the last from this album. The technofied cover song aims to be the bands new “Feeling” but has already fallen short.Will.i.am, obvious leader of the Peas, serves as an executive producer on the album, but it appears he could have used a bit more help. Though he does find use for guest producers and writers, Will manages most of the auto-tuned vocals here. Unfortunately, that domination squelches his band mates in the process.When her voice isn’t processed beyond all recognition, Fergie brings a little life to all the machines at work here, even if it’s as simple as some spoken word on album highlight, “Fashion Beats.”The real crux of this album and whether or not fans respond to it is something the Peas are infamous for: lyrics.While dance music has never been known for its intelligent content, the Peas take things to a new level. Lines such as, “leggo my Eggo” in the lazy “XOXOXO” are delivered without any sense of humor, an emotion surprisingly lacking.“Beginning” has a few additions for your less-than-sober party playlist, but these Peas can’t be reheated any longer — it’s time for a new recipe.
(12/02/10 12:20am)
____simple_html_dom__voku__html_wrapper____>It sounds cliche, but more than likely, viewers will either love “Burlesque” or hate it.While joining Ali (Christina Aguilera), on the journey to follow her dreams in the big city, one thing must be remembered at all times: This is camp.The endlessly cheesy dialogue, including plenty of jaunty one-liners paired with over-the-top performances, makes for an unusual experience.Watching the film, the audience around me was sent into fits of howling laughter both when its members were expected to and more often when they weren’t.One can hope that first time writer-director Steve Antin and his cast are in on the joke. Aside from music, “Burlesque” probably doesn’t have any future at the Oscars, but a fun, frivolous film makes for a nice diversion from reality.“Burlesque” is the rags to riches bit we’ve all seen before, but it’s never looked this good.Glamour shots, shiny, shimmering costumes and Aguilera’s top-notch voice make for a music video-fashion editorial on the big screen.Cynics will gag on the constant stream of sugar “Burlesque” is supplying, but the rest of us will gladly slip into a sweet diabetic coma.
(12/02/10 12:12am)
____simple_html_dom__voku__html_wrapper____>It’s hard not to notice Nicki Minaj.The rap phenom, whose hair color is as random as a bag of Skittles, is a head turner. Fortunately, she has the voice and the skills to boot.On her debut album, Minaj shows us why she’s being hailed as the new queen of hip-hop, but she also brings the unexpected.“Pink Friday” is an empowerment record through and through. Standout tracks like “Fly” and “Moment 4 Life” bring girl power to the now generation.Along the way, Minaj and her collaborators manage to have a little fun. “Roman’s Revenge,” featuring Eminem, unleashes one of Minaj’s various personas onto an unsuspecting competitor — most likely her predecessor Lil Kim.Those hoping “Friday” would be a show with an ensemble cast of Minaj’s infamously fun characters will be disappointed.The real character behind this solid debut is the vulnerable but determined woman we’re meeting for the first time: Onika Maraj, the woman behind Nicki.
(11/04/10 12:29am)
____simple_html_dom__voku__html_wrapper____>Lucille Ball and Yosemite Sam already have their spots, and now the time has come for Conan O’Brien to prove once again that he deserves a place among America’s favorite redheads.On Nov. 8, O’Brien’s new show, humbly titled “Conan,” will premiere on TBS.Just a little more than nine months after the end of his reign on the NBC “Tonight Show” franchise, O’Brien must now move past all of the controversy surrounding the end of his time at the broadcast network and establish himself on cable television.After subpar ratings and less than a year as host of “The Tonight Show,” NBC decided to give the show back to its former host, Jay Leno. While NBC gave O’Brien an option to keep the show and move it to a later time, he refused, opting to leave the network.In the end, O’Brien came out of the mess with a $45 million contract buyout, appearing to many as the maligned underdog.Moving to cable in a time slot alongside the likes of Jon Stewart and Stephen Colbert’s popular Comedy Central shows, O’Brien remains the underdog.Max Dawson, an assistant professor in the Department of Radio, Television and Film at Northwestern University, questions the chances of success for “Conan.”“Whoever thought it would be a good idea to put him on up against ‘The Daily Show,’ I think, really needs to have their head examined,” Dawson said. Most of his students record the shows they watch, leaving only one or two to watch live, those of Stewart and Colbert. If O’Brien’s show follows the same topical late-night format of his competitors, he stands less of a chance to garner a solid viewership.“It has a very short shelf life. A very fast expiration period,” Dawson said. “Either you watch the day it airs or you don’t watch.”It’s possible that O’Brien, who got his start in television writing for “Saturday Night Live” and “The Simpsons” in the late ’80s and early ’90s, might take the show in a vastly different direction from his days as host of “The Tonight Show.”Dawson pointed out that late-night host Jimmy Fallon has had success with planned segments that lack timeliness and therefore do better on internet sites such as Hulu.“I can’t imagine them deviating too much from the established late night template,” Dawson said. “It would be advantageous to them to go in that direction and perhaps consider more pre-taped bits, stuff that might have a viral afterlife.” Christine Becker, associate professor in the Department of Film, Television and Theatre at the University of Notre Dame, also theorized that O’Brien’s new show will focus on the host’s comedy roots.“Being on cable would seem to give him even more creative license to take the show further afield from late night convention,” Becker said in an e-mail. “He’ll be under less ratings pressure than he was at NBC, and TBS is supposedly giving him the creative freedom to do whatever he wants with the show, so I expect to see him experiment more than before.”No matter what direction the show takes, ratings are one thing all interested parties can agree on. Both Dawson and Becker agree that O’Brien won’t have to reach NBC ratings on TBS and most likely won’t be able to.That coveted 18-34 demographic is the real target “Conan” will be shooting for.Fortunately, O’Brien has developed somewhat of a cult following that flourished just before he left NBC. “Team Coco” has established a presence online, prompting the host and his team to use social networking to engage a younger audience.“If Conan’s smart, he’s going to continue to do that — continue to use things like Twitter and his website in order to keep some of that excitement going and also to keep that target audience feeling as if they are involved in some sort of movement,” Dawson said.Whether Dawson thinks “Conan” will rise from the ashes of the NBC debacle and prosper is unclear, and he won’t make any bets without absolute certainty.“Depends on how you define ‘success,’” he said.
(10/06/10 11:32pm)
____simple_html_dom__voku__html_wrapper____>“Jackass” is back, and it’s now cashing in on the 3-D craze too. The crew is releasing “Jackass 3-D” Oct. 15, and WEEKENDers Brett Eppley and Corin Chellberg had the chance to participate in a conference call with lead man Johnny Knoxville and director Jeff Tremaine to discuss the difficulties of 3-D and what this movie means to the crew.WEEKEND: Do you have any rituals that you do prior to performing a stunt? And can you tell us what convincing it takes, if any, before you agree to film a potentially dangerous scene? KNOXVILLE: Before I’m doing a big stunt, I’ll probably, just about 20 minutes before it’s on, go sit and listen to my cousin’s (Roger Alan Wade) music. And then when it’s on I’ll say, “Just come pat me on the shoulder,” and I’ll walk right in and do it because I want to just get it out of the way. WEEKEND: What’s the process for shooting 3-D or using the Canon cameras compared to what you’re normally accustomed to? TREMAINE: The 3-D cameras were a lot bigger and bulkier, but man, once we got all the guys together, it just felt like we were shooting a normal “Jackass.” They took a little more prep time to get everything ready so when the guys show up, we can just shoot. But for the most part, it felt the same. KNOXVILLE: Yes, my request to Jeff was if we shoot 3-D, I don’t want to have to worry about the cameras one time during filming, because we just need to be able to do what we do. And Jeff had absolutely set it up where we filmed it just like a regular “Jackass.” We did not think about the cameras once. WEEKEND: And what was the prep time? TREMAINE: The call time for the crew was a little bit earlier, and the crew almost doubled in size to shoot it in 3-D. Each camera had three people assigned to that camera. And then what’s funny is we had these really expensive 3-D cameras, but I would put our half-ass cameraman to shoot it. WEEKEND: What do you think the 3-D format will add to the movie experience? TREMAINE: It feels like you’re right in the middle of a stunt with us. It really elevated the movie to a whole other level. Like this bit, “The Beehive Tetherball,” we’re playing tetherball with a beehive, and it feels like 50,000 bees are swarming around the theater or around your head. It really works in 3-D.KNOXVILLE: And it just makes a dumb idea even dumber. WEEKEND: Other than the 3-D, is there anything that takes this movie above and beyond the other two? KNOXVILLE: We give each other hell, but you can really feel how close we are, and that just seems to be there. It was in there in the other films, but it was in this film bigger than ever. We think that naturally elevates the stunts and pranks in each film, not super consciously, but just it takes a little more to make us laugh. TREMAINE: There’s a competitiveness that goes on when we shoot those. There’s a real natural one-up-manship that happens with the guys, so everybody wants to get the best footage. And then once you start getting really good stuff, they realize how hard it’s going to be to get in the new movie, so everyone steps up. WEEKEND: At the end of “Jackass Number Two,” Bam Margera says that he hopes there’s not a “Jackass 3,” and lo and behold, there’s a “Jackass 3-D.” It reminded me of the old-man-balls skit you guys do. How long are you planning on doing “Jackass?” Are you hoping to get to a point where you don’t even have to wear a costume anymore?KNOXVILLE: Yes, on the first movie it took like three hours to make me an old man. On this one, it took like 15 minutes. The Three Stooges did it until they were 60. I don’t know how long we’re going to do it because we shoot each movie like it’s our last, but we’re not going to make any predictions anymore. We just have a ball. And Bam did wish that this wasn’t going to happen back then, and now that it did, I’m sure he wished it didn’t happen.WEEKEND: Is it hard coming up with ideas since you guys have done pretty much everything already? TREMAINE: No, this movie seems like, man, we were just bursting with them. This one happened more naturally than any of the ones before.KNOXVILLE: Yes, it was easier coming up with ideas for this movie than any of them. But we have a stockpile of ideas that we never even got to because we ran out of time. TREMAINE: Even the 3-D lent itself to writing some jokes. WEEKEND: Has there been any time in “Jackass” history when you had to turn down a stunt because it was just too crazy?KNOXVILLE: The only time that we won’t do a stunt or I won’t do a stunt is if like there’s a negative vibe going around the set, and it just kind of puts a dark blanket over everything. Like we were filming this stunt up in Tahoe on this big ski slope, and someone on that ski slope died that day. Nothing associated with the production, but there was a death on that ski slope the day we were there, and then it was on the same mountain the Donner Party cannibalized themselves on. We’re getting ready to do a big stunt, and it just felt weird. Man, we were like, “let’s call it off.” But that is super, super rare.WEEKEND: Can you share a story of the worst injury that happened? TREMAINE: Our friend Loomis, he jumped off the trampoline — we had a fighter jet that we had parked on the end of a runway, and we were using the big thruster at the back, and we set a little mini-trampoline up, and he was jumping into the jet stream holding an umbrella. That dude only weighs probably 63 pounds soaking wet, and he hit the ground pretty hard. He broke his collarbone and got his hand tore up. KNOXVILLE: He had to have surgery on his hand. I think he might have surgery on his shoulder, maybe not. WEEKEND: What is your favorite stunt that you performed in the movie? KNOXVILLE: Well, between Jeff and I it’s kind of a tie between the high five where we built the five-foot-tall hand and spring loaded it so whenever someone walked into the kitchen in the morning, they just got smoked by the palm coming around the corner. And between that and the port-a-potty bungee where we took a full port-a-potty and shot it 100 feet in the air with a bungee cord and a crane.
(09/16/10 12:05am)
____simple_html_dom__voku__html_wrapper____>3-D cinema has come a long way from the days of simple red and blue paper glasses, but that doesn’t mean it was ever a simple process.Today, 3-D technology continues to grow and diversify, and thanks to people like Chris Eller, the rest of us just might understand how it all works.Eller, a telecommunications graduate student, specializes in 3-D cinematography and teaches a class on the subject.When it comes to filming in 3-D, two cameras are used at once. Those cameras are placed side-by-side, mimicking the distance between the eyes. When the eyes see the two slightly different reels of film, the brain creates the three-dimensional images seen in theaters.“You need to play it back in such way that the left eye only sees what the left camera recorded, and the right eye only sees what the right camera recorded,” Eller said.To make sure that each eye sees the correct images, a few techniques are used, the most popular being polarization. This technique, which includes the use of glasses, is the one most familiar to audiences.One camera’s film will be polarized for one direction, and the same for the other. Polarization only allows light vibrating in a certain direction to pass through the glasses and the film. The glasses worn in theaters will be matched for either side of the film. In doing so, the glasses make sure that each eye sees the correct images.When it comes to auto-stereo — or Autostereoscopic — 3-D films without the glasses, the technology exists but simply isn’t as advanced as the more popular forms. According to Eller, the technique isn’t as consistent in creating depth on the screen.“It’s being developed, and they’re making good progress, but it’s not quite as good in my opinion as the other methods we have right now,” Eller said.“It’s just a very tough technology. There’s definitely a desire for it, but it’s just a very tough nut to crack.”For now, most moviegoers will have to deal with wearing those 3-D sunglasses in the dark. Perhaps understanding the complicated technology gives viewers some perspective when shelling out the extra cash for a ticket.Eller, and filmmakers like him, appreciate that audiences acknowledge all the work that goes into 3-D films.“It’s basically twice as hard. Because you’re shooting two movies. You’re editing two movies. They just happen to be identical except a slight difference of perspective.”
(09/01/10 10:05pm)
____simple_html_dom__voku__html_wrapper____>Margaret Cho is known for stand-up comedy, not music. She’s an actress, not a singer. So, it’s a surprise that her first foray into music is actually good.“Cho Dependent” finds the filthy comedienne on familiar ground, singing about things you’d probably expect: drugs and dirty bits.The multiple genres Cho inhabits all fit her well: folk, rock, rap. What might come as the biggest shock is that most of the songs on the disc are good for more than a laugh. Yet that accessibility presents a problem for Cho.While the music is enjoyable, it’s not all that funny. Certainly topics such as lice and telling an ex to go eat feces are odd, but they’re not hilarious. In fact, they’re strangely charming. Perhaps a true comedy album isn’t what Margaret was shooting for, but she can still be proud of the quirky tunes of Dependent.
(07/21/10 9:59pm)
____simple_html_dom__voku__html_wrapper____>Once upon a time, Christina Aguilera was a force to be reckoned with. She made albums that debuted — and stayed at — No. 1. She sold out arenas packed with fans on summer tours. She was a trendsetter, an original. She was beloved.Now it seems that time has come and gone. In the three or so years since the release of her third album “Back to Basics,” Ms. Aguilera’s position in the kingdom of pop music has been dramatically altered. “Basics” debuted at No. 1 of the Billboard album charts and sold over 300,000 during its first week in the States, spawning hit singles like “Ain’t No Other Man.”“Bionic,” Aguilera’s fourth album, was released in June and has had somewhat of a different trajectory.The album debuted at No. 3 on the Billboard charts and only managed to sell 110,000 copies that first week. While it may be a bit premature to say that the album is a complete failure commercially, things aren’t looking good. The album’s lead single, “Not Myself Tonight,” debuted and peaked on the Billboard Hot 100 at No. 23.Aside from sales, Xtina is facing harsh criticism in the online world. Bloggers like Perez Hilton have started campaigns against the singer, calling her “Floptina” after her disappointing sales figures were reported. Though Hilton claims to be a fan, his opinion seems to be a popular one: Aguilera is no longer original.In a world with Lady Gaga, the dance/pop genre seems to have no room for other female artists wearing couture and thrusting their pelvic bones. Christina has been dubbed a copycat for her musical and fashion inspirations.Piling onto the mess that is Aguilera’s public reception are those videos floating around YouTube.One video simply called her “Diss List” shows various interviews from fellow celebrities and a few interviews from Christina herself, each one more damning than the next. Each celebrity voices that Aguilera is the “nastiest” celebrity they’ve ever met.Without proper time to trace the roots of each interview, it’s hard not to question the validity of some of the quotes presented. While there is evidence against her, it’s hard to believe each individual’s experience with Xtina was really as bad as they recall. Plus, I hardly think anyone really cares what Valerie Bertinelli thinks.So what’s a girl to do?While there’s nothing anyone can do about her sales figures, Aguilera should ride out the “Bionic” wave and not rush out a new album in attempt to sweep this one under the rug. “Bionic” is a good album that will benefit if the right singles are chosen for release.Come November, Christina may have quite the turnaround in the public sphere. The singer’s first full-fledged film role in “Burlesque,” a musical co-starring Cher, is already garnering buzz.The most important thing Aguilera needs is humility. Forget keeping up with the Gagas and embrace the new landscape of pop music. Return to the trendsetting tunes that are definitively Christina.Oh, and drop the diva attitude.
(07/14/10 9:07pm)
____simple_html_dom__voku__html_wrapper____>Kylie Minogue isn’t a name most people in the United States are familiar with, but Minogue’s 11th album, “Aphrodite,” is probably her best chance at changing that.Though it’s nothing revolutionary, “Aphrodite” comes at a time when dance music — what Minogue does best — is making a major resurgence in American culture. Inspiration from the goddess of love is all over the album’s 12 tracks, and the joyous mood is a welcome one — perfect for summer listening.Sadly, that means most of the offerings here aren’t too varied.Songs like “All The Lovers” and “Get Outta My Way” are standouts and definitely radio-worthy, but nothing else here is nearly as attractive. That’s not to say the rest of the album is pure filler, but most of it blends into a homogenous mix of beats and blips led by Minogue’s lilting voice.So while she won’t be topping the charts here anytime soon, U.S. dance floors will surely find a place for this respectable effort from this Aussie queen.
(07/07/10 11:45pm)
____simple_html_dom__voku__html_wrapper____>The third time just might be the charm for these four talented sisters.Although “Night Work” is the Scissor Sisters’ third full-length album, the New York City-based band’s previous work has never really caught on with American audiences. While this latest album might not top the charts, it’s surely its most deserving.“Work”’s sound is best described as an amalgam of Bee Gees disco, Queen-style rock and Prince’s funk and sexuality. Surprisingly, the Sisters take all these retro inspirations and manage to keep them current — more than likely thanks to producer Stuart Price, who has worked with acts like Lady Gaga.The album has an overtly sexual theme, but thankfully, while setting the mood, things never get too serious. One of the band’s definitive characteristics is the humor and irony built into its often lewd lyrical content.In a perfect example of what makes it unique, the album’s six-minute finale, a spoken verse courtesy of Sir Ian McKellen, seems like an over-the-top homage to Michael Jackson’s “Thriller.”It might be no “Thriller,” but the Scissor Sisters have surely built an unofficial soundtrack for a late night out.
(07/07/10 11:28pm)
____simple_html_dom__voku__html_wrapper____>Dirt under his finely manicured nails, charcoal smeared on his eyes and glittered heels give Justin Tranter the potential to be the most outrageous rock frontman music has seen in years.Though “You Love You” is the band’s first major label LP, Semi Precious Weapons already has a cult following. The band is currently opening for Lady Gaga on her 2010 Monster Ball Tour — and before that, she was opening for them.Lady Gaga serves as an executive producer on “You,” and although the genre is different from her own, the Lady’s seal of approval is definitely welcome.The hard edges of the album’s nine-song set list are laced with lyrics about diamonds, mascara and champagne. This is true glam rock.Fortunately, that rough-and-tough, fabulous-and-fierce attitude works for much of the album. Most of the tracks, like the band’s self-titled song, are full of bravado and fun that’s immediately contagious. The album’s few low points come in the form of shoddy lyrics, but the Weapons redeem themselves elsewhere.Surprisingly, some of the album’s best moments are when Tranter and his trio show their softer side. “Look At Me” and “Leave Your Pretty to Me” erase any notion that these guys might be simple over-sexed party animals. They’re real artists.
(06/30/10 11:13pm)
____simple_html_dom__voku__html_wrapper____>Britney got “Stronger,” Christina was “Dirrty” and now Miley “Can’t Be Tamed.”The teen queen’s latest disc is definitely Cyrus’ coming-out party. Like those before her, Cyrus seems to have been experiencing some growing pains, and it’s never been clearer than now.Many of the tunes on this dance-rock album are the typical calls for rebellion and staying true to yourself, and while the product is nothing new, it’s damn catchy. Surprisingly, Cyrus co-wrote all 10 of the album’s original tracks, including the obvious choice for second single, “Liberty Walk.”Of course, some of the subpar songs could’ve been cut, namely a pointless cover of the Poison hit “Every Rose Has Its Thorn.”The album’s cohesive theme is liberation, but it seems to be the one thing critics have a problem with. In the end, the lyrics on much of the album aren’t much racier than anything else on top-40 radio right now.Honestly, the envelope-pushing put on by Cyrus and her army of producers is just enough to step out of Hannah Montana’s shoes and into Britney’s old stilettos.
(06/16/10 10:32pm)
____simple_html_dom__voku__html_wrapper____>“Bionic” might not be nearly as creative as Christina Aguilera’s been peddling it, but her latest disc is some of the most fun she’s had in years.A large departure from her jazzy, big band-inspired 2006 disc, “Back to Basics,” Xtina’s electronic inspirations for “Bionic” have brought forth some interesting sides of the petite diva. Songs like the title track and “Elastic Love” fully embrace the futuristic concept of the album.For some, the concept is an unwelcome one that denies Aguilera the opportunity to use her immaculate vocal abilities, but for those willing to go along for the ride (down the catwalk, to the club), it’s often an enjoyable one.Not surprisingly, “Bionic” does stick to some of Aguilera’s roots. Elements of past albums linger, and beautiful ballads make up what the singer calls the “heart of the album.”Of course, the album does stumble in a few places. The tail end of the album, as well as “Sex for Breakfast” and “My Girls,” the latter a collaboration with Peaches, should’ve been left on the cutting room floor. Thankfully, none of these are bad enough to tarnish the album as a whole.
(05/26/10 10:13pm)
____simple_html_dom__voku__html_wrapper____>Chill out, kids; you’re not being graded on this one.“Pop Quiz” isn’t actually a quiz at all — a little misleading, I know — but rather the place where I’ll talk about the latest in everything pop: music, culture and anything else that tickles my fancy.This week’s target is American Idol. By the time you read this, a new Idol will be crowned, and the race to throw an album together by Christmas will have begun. The question is: Do you care?Yes; Idol is still dominating the ratings. According to “Variety,” last Tuesday’s performance show easily won all categories for viewers younger than 55, grossing about 19 million viewers in all. Yet when it comes to this year’s talent, things aren’t going so smoothly.Earlier this season, a few of the judges told media outlets that this season belonged to the ladies. Fast-forwarding to the finals, viewers watched as the first four weeks of top-12 performances sent a woman packing each week, turning the show into a sausage-fest. Thankfully, one woman held out until the very end.Now, Crystal Bowersox and Lee DeWyze are pitted against each other for the title. Since I won’t have to time to fix this before press time, I’ll assume Crystal took the crown, as she rightly should. But again, the question is: Does it matter?The past few seasons have delivered “Idols” who are never the fan favorite (remember Taylor Hicks) and are sometimes beaten by the runner-up when it comes to sales. Now that we know a number of contestants are offered recording contracts no matter where they place, perhaps winning doesn’t matter anymore.Gone are the times of powerhouse winners like Kelly Clarkson and Carrie Underwood, and so, it seems, are the times when Idol was good. During Kelly’s run that first season, I dominated the phone for two hours casting votes like crazy after the finale. This season, I’ve probably voted for Crystal about four times.So, if you’re still reading, you’ve gotten to the meat of the matter. For Idol to regain some relevancy in this new decade — the show celebrates its 10th season next year — it’s going to have to take some risks:-- Take out the rule for even numbers of men and women. If the girls are better than the boys, so be it.-- Control the voting. Ten votes per line ought to up the urgency to vote.-- Clean up the judge’s table. Get rid of Randy, and replace Simon with someone who’s actually relevant to the music industry.So, dear readers, join me in the quest to save the greatest (reality) show on television. At least humor me.
(05/06/10 5:30pm)
____simple_html_dom__voku__html_wrapper____>“Fearless Love” is exactly what Melissa Etheridge fans are looking for. Serving two parts heart and one part fire, this 10th studio album from Etheridge is a well-rounded package.The album’s title track sounds like it could have been written for the newest Nicholas Sparks book-movie, but that’s not a bad thing. It’s the most radio-worthy track on the album.Following the title track, “Indiana” is probably the most engaging ballad offered here. If anything, it gives listeners in the Hoosier state a new source of pride.“Miss California” is in complete opposition to the lovestruck soundtrack ballads and perfectly showcases that gritty anger Etheridge does so well. It’s a smack-down on conservative beauty queens everywhere.Sadly, the wildfire in “California” quickly dies down on the rest. Much of the album is fairly monotonous, hitting the same emotional note over and over. Each song is good on its own but gets lost in the shuffle of too much similarity.Clearly, Etheridge’s recent breakup from her long-time partner has given her a wealth of material; it’s just a shame that inspiration isn’t a bit more varied.
(04/28/10 7:26pm)
____simple_html_dom__voku__html_wrapper____>If you hadn’t noticed, FOX’s hit musical dramedy is still riding high on critical praise and intense fandom. And it doesn’t look like that wave is going to break anytime soon.“The Power of Madonna” is the latest entry in an already sizeable catalogue for “Glee.” Only halfway into its first season, this full-episode tribute to the “Material Girl” marks the show’s third album release.This eight-track EP doesn’t have a single weak spot. While none of these renditions are major departures from the original, that’s not a bad thing. Standout tunes like “What It Feels Like for a Girl” and “Vogue,” performed by the wonderful Jane Lynch, remind younger generations just how the queen of pop earned that title.
(04/14/10 9:26pm)
____simple_html_dom__voku__html_wrapper____>It’s safe to say that pop music today is healthier than it’s been in years. The last time pop was actually, um, popular, Britney Spears was a single lady and I still rushed home to catch “TRL.”Then, of course, there was a bit of a rough patch. Justin left N*SYNC, Britney met Kevin, and Backstreet threw in the towel.Thankfully, in recent years pop has become a more diverse genre. The blending of hip-hop and pop has definitely become a recipe for success, but more importantly, pop has embraced its dance roots.Timberlake’s finest hour, “Future Sex/Love Sounds,” is the prime example of when pop really found its freshness. That album opened doors for the hot commodities on today’s airwaves, artists such as Justin Bieber and that gal named Gaga.Lady Gaga is easily the biggest pop phenomenon since The Beatles. Her fans span the globe and aren’t afraid to bust a move. Gaga’s brought yet another wave of change to the genre. RedOne, one of her top producers, is probably working harder than ever.So it seems the future of pop music will focus on just that — the future. Even a heavy hitter such as Christina Aguilera has become a prisoner of the beat, professing her 2010 summer release will be heavy on the club tracks and sounds of the year 3000.And if the success of their most recent album is any clue, the robotic influences of the Black Eyed Peas is going to keep spreading like the food poisoning at that cheap buffet your grandparents love.It also looks like pop might be bringing some international artists to the States in the near future. Producers such as will.i.am and RedOne have already produced huge hits for a mass of artists, such as the English acts Cheryl Cole and the Sugababes. So find a comfortable pair of dancing shoes because it doesn’t look like this discotheque of pop music is closing down anytime soon.
(03/10/10 8:06pm)
____simple_html_dom__voku__html_wrapper____>“Hands” will no doubt be the soundtrack to many a hipster party this summer. Britain’s latest pop act, Little Boots, is Lady Gaga-light. Her synth-dance pop is much more laid-back, losing the sex appeal of today’s top 40.Sometimes the style on this debut album really works, and tracks like “New In Town” and “Remedy” should easily find a way onto your latest playlist. The futuristic trance does make for a unique and strong aesthetic. Unfortunately, after a while, Boots’ approach on “Hands” becomes too familiar, and the subsequent songs become a blur.Like a soundtrack to the latest indie film, most of the songs here just make for good background noise. Aside from some exceptions that really grow on you, too many of the offerings never really make a lasting impression.
(12/07/09 7:49pm)
____simple_html_dom__voku__html_wrapper____>If you find yourself in a void before Pink’s newest album release maybe “American Idol” alum Allison Iraheta can fill it.Her debut album “Just Like You” falls somewhere along the lines of Pink, Miley and Guns N’ Roses all rolled into one. The singer’s raspy voice and often world-weary lyrics belie the fact that she’s only seventeen. However, unlike the mass of teen “singers” with recording contracts these days, Iraheta can actually carry the material.The album’s first single “Friday I’ll Be Over U” is a fun, bratty rock anthem perfectly suited for Iraheta and her audience, but much of her debut album differs here. “Just Like You,” also comes with a batch of typical self-esteem-issues balladry; some like, “Scars,” stick better than others. When it comes to the number of these tracks, perhaps less would have been more.While Allison’s brand of rock may rock a lot harder than most of her peers, she still manages to have a little bit of fun on stand-out tracks like “Holiday” and “Beat Me Up.” Perhaps the best is the mid-tempo, love-gone-sour decree, “D is for Dangerous.”In the end, “Just Like You” does suffer from some bland song choices, but with a voice like hers, Iraheta still stands out among the barrage of teeny-boppers on the radio.