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(07/17/08 8:41pm)
____simple_html_dom__voku__html_wrapper____>Any popular pop-punk act nowadays survives just as much on their over-produced, over-synthesized music as they do on cutting-edge MySpace layouts and glamorous publicity stills. And even though Arizona’s The Maine seem cut from that exact cloth, the band is surprisingly bearable. After a quick rise in 2007 that saw them release two EPs and sign with Fearless, they’re back with their debut, Can’t Stop, Won’t Stop.On this album, The Maine deliver what they should: simple, catchy pop songs about girls and young life. None of the members are that great of musicians, nor do the songs surprise whatsoever, but they have that something that propels bands into stardom. After a few listens, damn near every track sticks in your head. More than anything, the band needs to be heralded for sequencing this record perfectly. People generally get bored – especially The Maine’s target audience – so it’s crucial to put the majority of your strong tracks at the jump, and they’ve done that. The first five songs are probably the best here, and definitely better than anything on their previous EPs, which all featured the same exact riff over and over.The opener, “Everything I Ask For” is truly obnoxiously catchy, and there’s no outstanding reason why. It moves along at a semi-quick pace, but doesn’t soar in any way, and vocalist John O’Callaghan’s deep drone isn’t impressive. But once you get to the chorus and O’Callaghan kick in with “Oh she makes me feel like shit/ It’s always something/ But I can’t get over it/ She thinks it’s nothing/ But she’s everything I ask for” your brain is done. The latter half of the record isn’t quite as strong, but really only because all the tracks end up sounding similar, which is to be expected with simple pop-punk like this. The one-two punch of “Count ‘em One, Two, Three” and the insanely over-produced “You Left Me” keep everything just fun enough. Even if you want to hate The Maine, they make it really hard. They’ll never win any originality awards, but each track here delivers a sugar rush like no other.
(07/17/08 8:39pm)
____simple_html_dom__voku__html_wrapper____>Most bands that now find themselves under the pop-punk umbrella are imposters. Somewhere along the line, lightly chugging guitars were replaced with dreadful overproduction and synthesizers. Only a few bands still create their brand of the old-school formula, and Ohio’s Hit The Lights is easily one of the best. Even though they lost singer Colin Ross last year, guitarist Nick Thompson took over and it’s as if nothing has changed on their way to releasing their second album, Skip School, Start Fights.Fights features just about anything that pop-punk fans could hope for: chugging guitars, soaring hooks and relatable lyrics about relationships and teenage dramatics. It’s absolutely nothing that hasn’t been done before, but the tracks stand out in comparison to their over-produced peers. And although Hit The Lights haven’t attempted any dramatic artistic changes, the improvement on vocals with Thompson allow Fights to remain in your head.After a quick intro, the album gets off to a rousing start with three solid tracks, “Breathe In,” “Stay Out” and “Drop the Girl.” Each track includes solid, biting guitar work and heavy-hitting drums as Thompson delivers tales about great weekends and lackluster women. “Drop the Girl” is certainly the album’s high-mark, featuring just enough handclaps and “Whoa oh’s” to keep the chorus spinning in your ears. Yet when they try anything different, the results are somewhat mixed. The mid-tempo “Tell Me Where You Are” drags but is saved by its great chorus, while the drone-like vocals on the almost-ballad “Don’t Wait” brings the album to a near halt. Midway through, the sameness of the tracks confuses the ear; it’s sometimes hard to decipher when you’re hearing something new.Hit The Lights have delivered a quality pop-punk album that’s catchy and full of energy, but it’s also cursed by the genre, so much that eventually things bleed together. It might not make you want to skip school or start a fight, but you’ll at least want to roll down the windows and jam.
(07/16/08 10:11pm)
____simple_html_dom__voku__html_wrapper____>There’s not much that can ruin a college basketball game, no matter who is playing or what the outcome is, especially during March Madness. But each and every year, there is one thing – a man actually – who ruins everyone’s viewing experience: Billy Packer.For fans like me, today couldn’t be better. The sun is shining, there are no clouds in the sky and Billy Packer was finally removed from his position at CBS as main college basketball analyst. It’s not polite to celebrate when someone loses their job, especially in dire economic times, but I’m guessing millions breathed a sigh of relief when they heard this news. Watching games called by Packer required either one of three things from the viewer: an unorthodox amount of patience, a bottle of over-the-counter pain reliever or hefty amounts of alcohol. During his 34 straight years of calling the Final Four, Packer was never embraced by anyone. Most announcers with that type of tenure are, at their worst, at least universally respected. Fans don’t necessarily like old stalwarts like John Madden, but we understand what he’s accomplished. But Packer always rubbed fans the wrong way. There are probably three generations of college basketball diehards that have wanted to pop Packer at least once.A majority of the anti-Packer rhetoric spawned from his undying love for any Atlantic Coast Conference team, the conference Packer happened to play in during his time as a guard with Wake Forest in the 1960s. Announcers tend to have some bias towards major programs like Duke, North Carolina or Kentucky, but Packer’s frothing at the mouth for even ACC bottom feeders like Florida State was just too much.No stranger to controversy, he’s been attacked in recent years by more than just angry fans starting petitions online. His outbursts stemmed from his apparent hate for the mid-major schools (schools not quite as big as the Big Ten, but not quite Division II) making it to the NCAA tournament, but luckily his dumb comments ended up being terribly wrong. In 2004, he bashed Saint Joseph’s because he didn’t think a small school deserved a number-one seed. The team went on to make it to the Elite Eight. Then just two years later, he hammered the selection committee for selecting too many mid-majors which he didn’t believe could win against his favored powers. That year, two mid-majors, Bradley and Wichita State, made the Sweet 16, and one, George Mason, made it all the way to the Final Four. And finally, this past year during the Final Four, he claimed that “this game is over” when North Carolina (an ACC school) was up 38-12 to Kansas with a lot of time to go in the first half. Who were the National Champs again? The Kansas Jayhawks. Whether he was fired for sending too many fans away with his call in the UNC-KU game this year or just because he was too rough around the edges, not many college basketball fans are going to be sad to see Billy Packer go. He might have known a lot about the X’s and O’s, but he’ll never get any hugs and kisses from fans.
(07/10/08 8:14pm)
____simple_html_dom__voku__html_wrapper____>After being pigeonholed by the “Christian rock” title, Relient K burst onto the mainstream scene with 2004’s Mmhmm, one of the best pop/rock records of recent memory. All the while, the group has always been one of the most fan-friendly acts around, releasing all sorts of B-sides and EPs between major records. Their newest double-disc, 26-song effort, The Bird and The Bee Sides accumulates a lot of those special tracks onto one album, as well as delivering 13 new tracks sure to tide any fan over.Although Relient K’s most recent effort, Five Score and Seven Years Ago wasn’t as commercially viable as Mmhmm, the band continued their musical progression by completely ditching the kitschy pop culture references from their earlier career and focusing on a more serious and polished sound. The new tracks here, known as The Nashville Tennis EP, continue that trend while adding another layer to the band’s pop sensibilities. This part of the release also sees each member of the band perform lead vocals for a track, which produces interesting results. Drummer Ethan Luck dabbles in 311-esque reggae-pop on “No Reaction,” while guitarist Matt Hoopes provides some good-natured fun with “You’ll Always Be My Best Friend.”Yet the band still shines when vocalist/pianist Matt Thiessen delivers his usual delicate-yet-subtly strong vocal performance on tracks like “There Was No Thief” and “I Just Want You To Know.” His humor isn’t completely gone either, as lyrics like “And I’m sorrowed that you probably/ Magically got this song for free/ I’m not sure if it bothers me, it seems fine/ Cause I’m having a good time” (on “The Scene & Herd”) pinpoint his tongue-in-cheek demeanor.The B-sides portion of the album provides remastered versions of previously released material, acoustic tracks and demos that most major Relient K fans have. If anything, they provide a nice scope to compare where the band’s been and where they’re going.The Bird and The Bee Sides delivers anything Relient K fans could ever ask for, especially the brand-new songs. Goofy title aside, the album sees the band continue to prove they’re one of the most consistent acts around.
(07/10/08 3:02pm)
____simple_html_dom__voku__html_wrapper____>After being pigeonholed by the “Christian rock” title, Relient K burst onto the mainstream scene with 2004’s Mmhmm, one of the best pop/rock records of recent memory. All the while, the group has always been one of the most fan-friendly acts around, releasing all sorts of B-sides and EPs between major records. Their newest double-disc, 26-song effort, The Bird and The Bee Sides accumulates a lot of those special tracks onto one album, as well as delivering 13 new tracks sure to tide any fan over.Although Relient K’s most recent effort, Five Score and Seven Years Ago wasn’t as commercially viable as Mmhmm, the band continued their musical progression by completely ditching the kitschy pop culture references from their earlier career and focusing on a more serious and polished sound. The new tracks here, known as The Nashville Tennis EP, continue that trend while adding another layer to the band’s pop sensibilities. This part of the release also sees each member of the band perform lead vocals for a track, which produces interesting results. Drummer Ethan Luck dabbles in 311-esque reggae-pop on “No Reaction,” while guitarist Matt Hoopes provides some good-natured fun with “You’ll Always Be My Best Friend.”Yet the band still shines when vocalist/pianist Matt Thiessen delivers his usual delicate-yet-subtly strong vocal performance on tracks like “There Was No Thief” and “I Just Want You To Know.” His humor isn’t completely gone either, as lyrics like “And I’m sorrowed that you probably/ Magically got this song for free/ I’m not sure if it bothers me, it seems fine/ Cause I’m having a good time” (on “The Scene & Herd”) pinpoint his tongue-in-cheek demeanor. The B-sides portion of the album provides remastered versions of previously released material, acoustic tracks and demos that most major Relient K fans have. If anything, they provide a nice scope to compare where the band’s been and where they’re going.The Bird and The Bee Sides delivers anything Relient K fans could ever ask for, especially the brand-new songs. Goofy title aside, the album sees the band continue to prove they’re one of the most consistent acts around.
(07/10/08 1:19am)
____simple_html_dom__voku__html_wrapper____>After months of viral marketing, cryptic trailers and impatient waiting, “The Dark Knight” is almost here. The film and the buzz surrounding it are virtually everywhere as we enter the final marketing stretch. Everyone is talking about it, describing it as possibly the best comic-book movie ever and even a solid candidate as a “great film.” But in all honesty, I’m a bit a worried; at least as worried as you can be about a film that’s about to make lots of people very happy and lots of people very wealthy. But still a little worried. Can “The Dark Knight” truly live up to the hype? This film has so many things going for it. It’s a sequel to “Batman Begins,” one of the most critically acclaimed comic-book films ever, and the film that restored the character of Batman to his rightful, dark place. The cast is as good as it gets, including the additions of Heath Ledger and Aaron Eckhart this time around. And it’s quite possible that no other film like this has ever used viral marketing quite the way “The Dark Knight” has. The marketers behind this film have been ringing that creepy “Why so serious?” tagline bell for almost a year now and their target demographic, Internet-savvy fanboys, are still salivating like Pavlov’s dogs. Since the summer movie season began, people frustrated with this year’s crop have gone to “The Dark Knight” in an attempt to restore their faith in the blockbuster. Whereas “The Incredible Hulk” or “Speed Racer” disappointed some, this new Batman epic is something we could all anticipate. And with various early reviews coming out stuffed with hyberbole about “Knight” being a “masterpiece” and “revolutionary,” everyone is looking forward to this film. All of this means that some people are going to hate it. Too many people are expecting this film to change their lives, restore their faith in Hollywood, or cure deadly disease. But as good as this film may be (and chances are it is truly pretty freaking good), at the end of the day it’s still just a movie; a movie about a fairly one-dimensional character who dresses up in a cape and cowl. And when this film doesn’t deliver on the exact expectations of those fans who’ve been running around major cities in Joker makeup, the backlash might be as epic as the hype. In another instance, certain non-fans who see the film might hitch on to the idea that the role of the Joker killed Ledger. We could see people complaining about how certain aspects of his performance drove him to overdose on prescription medications. Chances are also good that there will be a parental outcry over the violence in the film, even though it’s rated PG-13. With a movie this large, there’s always someone with a bone to pick. The box office numbers of “The Dark Knight” are going to be overwhelmingly positive, but the backlash could, and probably will, come. Those disappointed with the film must ask themselves one question: Why so serious? It’s just a movie.
(07/07/08 2:59pm)
With the punk/emo genre becoming more immersed in the mainstream over the past few years, it has been expected to see the so-called “scene” itself changing. In the last three or four years, the atmosphere within the emo scene has morphed dramatically, and sadly, not for the better. \n Without trying to sound like a jaded older fan of music that’s now just as popular with early middle school girls as Hanna Montana, I’d like to take a moment to map out what’s happened recently and why nothing good ha s come of it. \n In the early years of this millennium, pop punk and emo were just smoldering below the awareness of the mainstream public. There were a few acts that “made it big” in those years like Blink 182, Dashboard Confessional and New Found Glory, but most of the bands survived by touring their rears off and making it onto solid indie labels. Sometimes smaller acts blipped on the mainstream radar with modest hits (think Midtown, Thursday or Saves The Day). In those days, there didn’t seem to be much pressure on bands to have a “look” or create a persona that could attract fans. Everyone – the fans, the bands, the crews – all wore T shirts and played their music. \n But since 2005, about the time that acts like Fall Out Boy, My Chemical Romance and Panic At The Disco became mainstream sensations, the dynamics have been altered. I think there are a few major factors of this mutation, but the primary criminal must be the World Wide Web. \n 2005 happened to be the year that MySpace really took off, and its rise has been in conjuncture with the rise of all these homogenous bands that sound and look essentially the same. The online community of choice brought millions of young teens to bands who could throw up one catchy song, a few choreographed cute pictures, and a stellar layout to become overnight sensations. \nBands could pick up a record deal, a clothing line deal, and a spot on the site’s main page before they even played more than five live shows. Once acts like Panic and Cute Is What We Aim For figured this out, the gates burst open to everyone, not just musicians. Suddenly, what each band member wears is extremely crucial, whether it be their shirt or their headbands, because there are now “cool” clothing lines within the scene that used MySpace and simple print screening to make it as well. \nNow, the teens that grew up with MySpace and such an online savvy are ruining this scene with all this posturing. The acts coming out now aren’t much more than this generation’s boy bands. They’re all chock-full of attractive young guys wearing all the right clothes that barely play their instruments, sing over-simplified and over-produced pop songs about girls. All the while, acts with real talent get brushed aside because they just like to play quality songs. \nExcept for they’re not even as talented as Justin Timberlake, or maybe even Joey Fatone
(07/02/08 10:39pm)
This week, the contract between the Screen Actors Guild, the primary labor union representing actors, and the Alliance of Motion Picture and Television Producers, the organization consisting of producers and power players, ended. Yet another strike looms within the film and television industries, which are still recovering from the Writer’s Guild strike that ended only five months ago.\nJust like any sequel, the details this go-around are a bit different, and the stakes have been raised. Although SAG represents about 120,000 members of the acting community and roughly 90 percent of film and TV actors, another similar labor organization known as the American Federation of Television and Radio Artists represents the other 10 percent. Making matters worse is that 44,000 of AFTRA’s 70,000 members are members of both that organization and SAG.\nSo while AFTRA has been discussing a new contract with the AMPTP recently that mirrors the one the WGA signed after their 100-day strike, SAG members have been pushing to undercut that deal. The members of AFTRA are satisfied enough with the changes in DVD and new media residuals that they’ve called for all members to ratify it on July 7, but SAG seemingly wants more on the residual front, and are therefore trying to stop the AFTRA/AMPTP ratification.\nAfter the WGA strike ended, most assumed that the actor’s guild and producers would never want Hollywood to be crippled like that again, let alone just a few months later. However, we made the wrong assumption that some of the richest people in the world wouldn’t want to become even wealthier. How quickly they’ve forgotten that the writer’s strike cost the town of Los Angeles over $2 billion and that low-tier workers lost more than anyone.\nEven though everyone on the SAG side of things is saying that a strike will not happen and that they’re completely committed to negotiating even after the contract has ended, it’s not good news for Hollywood or fans.\nIf a strike or lockout happens, all of the TV shows that were shortchanged last season will not even get off the ground this year. Production on most shows haven’t yet started again, so they’d be set back that much more. Big-time films in production today with hundreds of crew members could be shut down tomorrow and everyone would be unemployed.\nHowever, SAG isn’t completely wrong for trying to get the best deal they can. The power hungry AMPTP obviously doesn’t like to budge on anything, and instead like to throw their power around in an attempt to bully the creative people into whatever deal they want. That’s essentially what they did to the WGA and want to do here, so the SAG does deserve some credit for standing tough.\nIn the end, it won’t matter which side is right or wrong. What matters is that people keep their jobs, audiences are entertained and everyone makes money. But sadly with Hollywood, the sequel is typically worse than the original, so we could be in for a very long summer.
(07/02/08 6:20pm)
____simple_html_dom__voku__html_wrapper____>Although his voice is still heard on Mayday Parade’s newest album, A Lesson In Romantics, Jason Lancaster left the band right before the album was released. But just as his former bandmates started to get some dap around the scene, Lancaster resurfaced with his new project, Go Radio. After some touring, the band has gotten around to releasing their debut EP, Welcome To Life.Welcome To Life features sounds that any fans of Lancaster’s previous work would expect. The guy has one of the most unique voices in the scene today. The EP is full of solid pop/rock tunes that might not quite have the sheen of Mayday Parade, but still satisfy just the same.“I Miss You” pretty much personifies Go Radio’s sound. It’s a track that is not blatantly catchy, but after a few listens the hooks stick with you. Each member of the band seems to be good at his instrument, but none of them are noteworthy. Again, it’s Lancaster’s deep voice that shines.And although Lancaster provides great vocals on more upbeat songs, the way he delivered on the ballads with Mayday Parade stood out. Thankfully, that doesn’t change here. “Forever My Father,” a bare track featuring only vocals and a piano, closes the album very well. He delivers the lines “I just needed you to pick me up/ Like you did when we were younger/ When the lightening and the thunder had me clinging to your heart” with an emotional ferocity not seldom seen.Ever since he left Mayday, many thought the band couldn’t survive with Lancaster’s vocals. But oddly enough, a few of Go Radio’s tracks feel empty without Mayday’s vocalist Derek Sanders complementing Lancaster. It seems their voices worked perfectly together and some tracks here aren’t as good as one would imagine. For a debut EP, Welcome To Life is a strong effort full of catchy melodies and sizable hooks. Major Mayday Parade fans might not be happy Lancaster is gone, but at least they now have another band that’s almost as good to enjoy.
(07/02/08 5:56pm)
____simple_html_dom__voku__html_wrapper____>Being friends with Pete Wentz always seems to pay off. Tyga, the cousin of Gym Class Heroes frontman Travis McCoy, hooked up with the Fall Out Boy bassist/entrepreneur through McCoy in 2007. Since then, Tyga’s received some mainstream attention for his performance of “This Aint A Scene, It’s An Arms Race” remix with rap monster Lil Wayne and McCoy during the 2007 MTV Video Music Awards, and signed to Wentz’s Decaydance label. Now the Compton, Calif., native has released his first album, No Introduction. Although he’s straight out of Compton, don’t waste breath comparing him to his local natives N.W.A. Tyga is definitely more Kanye West or even Soulja Boy than he is Ice Cube or Dr. Dre. No Introduction features lots of tracks that are fun-loving, upbeat and great to dance to. Tyga doesn’t waste time calling out any of his peers, but instead has made an album just about anyone can find somewhat enjoyable.“Coconut Juice” is the perfect example of Tyga’s dance-party motives. The lyrics are downright elementary (“Hold your cup high move ya body/ If you twist it scream it loudly/ ay, ay, ay hey”) and won’t ever be confused as good. However, the track features an above-average beat that’s sure to get people moving. A solid appearance from McCoy doesn’t hurt either. Tyga shows a faux soft side as well on a few tracks. “First Timers” is a joint that could get the attention of MTV or radio just because he flows about teenage love throughout. The beat is a little too carnival-esque in parts, but Tyga’s flow is at a high point here. The track can barely be considered rap, but it could be “Cupid’s Chokehold” big if Wentz pushes it right.His skills aren’t necessarily that impressive, but most of the tracks on Tyga’s debut are so catchy most people won’t notice. The production values are superb and the joints are light-hearted. And with the Wentz hype machine behind him, chances are Tyga and tracks from No Introduction will be everywhere very soon.
(06/25/08 9:39pm)
Summer is usually the time that everyone takes a break from the television set and does lame things like exercise or vacation, mostly because there are not any good programs left. Yet instead of a slate full of reality shows (although those are still definitely major summer TV players), some networks like to trot out some of their best scripted content during the sweltering summer months. The following are some of the shows that can help you stay cool during the heat waves and curb your appetite for awesome new TV.\n“Psych” – This USA Network comedy-cop show hybrid entering its third season is one of the funniest shows on TV, period. It follows wannabe sleuth Shawn (James Roday) that uses his heightened observational skills to both convince people he is psychic and solve some pretty interesting crimes. “Psych” includes a stellar supporting cast - Dule Hill, Maggie Lawson and Corbin Bernsen - that delivers the funny every single episode. It fills the void left by strong network comedies like “The Office” or “30 Rock.”\n“Weeds” – Showtime’s biggest hit returns this summer for more drug-dealing suburbanite antics. The show has been consistently rated one of the best on TV, at any time, summer or not, and although season four has been promised to bring big changes, chances are the show will still be loved. The writing and dark humor are some of the best around, and we know that won’t change. Although it’s only on Showtime, and is two episodes into the newest season, it’s easily found online.\n“Mad Men” – With each TV network seemingly dipping a toe in the scripted drama pool, shows that wouldn’t have ever made it to air before are actually getting their chance, even if it is on AMC. One of those such shows is “Mad Men,” which spotlights the advertising industry in the 1960s and obviously highlights the differences between the way we used to live back then and the way we live now. “Mad Men” is definitely one of the coolest shows on the airwaves, and is a really good bet for men looking for something to watch this summer. The plot moves a bit slow, but there’s a reason all the critics loved the first season. \n“The Closer” – The highest-rated cable series of all time is back for its fourth season this summer on TNT. And although it’s not much more than your basic cop procedural, the performances are all top-notch. The show is also great because due to its nonserialized plot, viewers are able to miss a few episodes while they’re out basking in the sun without being that lost. Moreover, it’s the most obvious choice of summer programming that feeds the hunger of people who live shows like “CSI,” “NCIS,” or “Law and Order.” \nSure, the summer is not the best time for high-quality TV, but it’s improving by the year. The above programs and many more are just enough to tide us over until fall. And if they’re not your flavor, there’s always reality gems like “America’s Top Dog.”
(06/25/08 6:22pm)
____simple_html_dom__voku__html_wrapper____>In a move that surprised no one, The Early November broke up in mid-2007. The band became another victim of the recent breakup bug within the “emo” scene ranks, where groups have too much given to them much too soon. However, the band’s frontman Ace Enders had already branched out before they even said goodbye with his 2004 solo act I Can Make A Mess Like Nobody’s Business. The project never succeeded, so post-Early November Enders has started another: Ace Enders and A Million Different People. The debut album of Enders’ new group, The Secret Wars, is just about what any fan of his previous work would hope for. The eight-track record is full of mellow-pop ditties that mostly twinkle and yet sometimes rock. It is, however, an improvement over the only album released under the I Can Make A Mess... moniker, which included too many hush and meandering jams. “Rain” stands out exponentially on Secret Wars because it’s so heavy and loud for Ace. After a quick acoustic-guitar intro, the track blows up with some fairly solid intensity that he’s never quite shown, including potent guitar riffs. It’s clearly not headbang worthy, but when he spits “Rain wash away my fears/ I’ll pour you an ocean full of guts and tears,” Enders’ aggressive side actually seeps through. Although, Ace steps out a bit on a few tracks like the aforementioned “Rain” and “Body Like Rain,” he fills most of the album with songs he does best. “Why Do You Run” is best of the more mid-tempo tracks, driven by a tingling piano performance. Enders delivers his best vocal in the track, especially in the latter half when he maneuvers through a few different octaves. It’s a shame that The Early November didn’t make it, but it’s clear that Ace Enders will be fine. He can pump out three-minute emo/indie pop gems at such an efficient rate that he’ll have a career for a long time. Yet it’s the tracks where he expands on his standard songwriting that really work; if he pursues those avenues a bit more, he won’t need a million different people to help him out.
(06/19/08 1:03am)
____simple_html_dom__voku__html_wrapper____>After a slow start to his solo career, Lil Wayne exploded into superstardom with his Tha Carter albums. Since Tha Carter was released in 2004, Weezy has been all over the place – delivering verses in numerous hit singles, dropping rhymes on mixtapes, etc. – to cement himself as one of the most critically received MCs of his generation. The third installment of Tha Carter series has been delayed numerous times over the past 18 months due to leaks – Wayne even released an EP called The Leak in late 2007 to usurp this, but after recording some more tracks, III has finally made its way to shelves. This new album isn’t Weezy’s best overall effort of his career, but it comes damn close. Although he fills the album with tracks from point of views of martians and doctors, and a 10-minute diatribe about Al Sharpton, it veers on uneven at points. But the thing is, when Lil Wayne lets loose with his crazy self, no one’s better. Tracks like “Got Money,” “3 Peat,” and “Phone Home” are fantastic. “Phone Home” sees Weezy flow from the point of view of an alien, and although it’s teetering on insane, it’s impossible not to get caught up in its genius. “Got Money” features T-Pain, which automatically means that it will be bumping in the clubs and on the airwaves for months. The standout track here is “Mr. Carter,” featuring Jay-Z. The track is epic – something you don’t see too often in hip-hop – including great-as-usual deliveries from Wayne and Jigga, as well as strong momentum that builds into a crescendo with a choir and handclaps. Simply awesome. However, pretty rough cuts like “A Milli,” “Comfortable” and “Tie My Hands” fail handily, mostly due to lackluster beats or a decelerated flow from Weezy. They aren’t awful, but considering the source, there’s a handful of disappointing tracks. Since he’s delivered numerous quality leaks and mixtapes since his last true album, Lil Wayne can be forgiven for the small missteps on Tha Carter III. For the most part, the album is superb, but not quite, “greatest of all time” good.
(06/19/08 12:09am)
s a big fan of Weezer since my older brother played their “Blue Album” for me in the mid-90s, I’ve unfortunately had to follow them during their so-called “weak years,” which has basically been everything post-”Pinkerton,” one of the best albums of all time, released in 1996. Sure, two of their releases since then – 2001’s “Green Album” and 2002’s “Maladroit” – are solid in their own ways, but all diehard Weez fans can’t stop clamoring for the past. \nAlthough it’s wrong to not want a band to progress naturally, my thoughts – and the thoughts of millions of other Weezer fans – were vindicated with 2005’s “Make Believe,” easily the worst album of the band’s career. At that point, the song “Beverly Hills” made Weezer dead to me. \nBut somehow, Rivers Cuomo and crew figured it out, and their newest record, “Red Album,” is the closest we’ll probably ever get to classic Weezer. And after so many years of disappointments, frustration and missed opportunities, people don’t have to be embarrassed to be fans of modern Weezer jams. \n“Red Album” features tracks that actually sound somewhat familiar to those that made the band emo-kid heroes for so many years, and as usual, most of the changes should be placed squarely on Cuomo’s shoulders. He’s taken all the criticisms for years, but slivers of maturity saved the band, in my eyes. \nMost importantly, Cuomo finally realizes pouring his heart out into the songs didn’t work too well at the time on “Pinkerton” – an album that was critically trashed 12 years ago. He doesn’t need to write witless, heartless garbage like he’s been doing since the dawn of the new millennium. There’s some heart in these songs, and that’s refreshing. It’s not “Pinkerton,” but it’ll do.\nMoreover, after years of hearing media reports about his egomaniacal behavior within the band, Rivers eventually let the reigns loose. It seemed to me that other members of the band started side projects just so they could delve into their own creative wishes. \nYet on the new album, all the other members – Patrick Wilson, Brian Bell and Scott Shriner – contribute and even shine on their own tracks. Although the tracks that the other guys have written and sing on are not the best in the band’s catalog, to even hear them on the album is awesome in its own right. \nAll of these elements within Cuomo have revamped Weezer. They’re never going to be as good as they were all those years ago, but it’s so great as a fan to experience Weezer when they’re actually good. This new album and surprisingly new outlook could actually keep them relevant for years to come, something no “Blue Album” or “Pinkerton” fan could have ever expected. \nBut please, no more \n“Beverly Hills.”
(06/18/08 9:45pm)
When most fans think about people who are important in the moviemaking process, typically the actors and directors come to mind, and almost no one else. They get a lot of the credit for a film’s success, even though there are hundreds of others doing some awesome things behind the scenes that really drive and shape the industry and the films it produces.\nOne of those people was special-effects master Stan Winston. \nSadly, Winston passed away this week, leaving behind an amazing legacy in film and a huge effect on me personally.\nWinston was a special-effects pioneer, especially when it came to really great practical effects. Sure, that doesn’t seem that special or amazing, but take a quick look at the characters that Winston helped create or bring to life over the past 30 years or so: the T-101 in “The Terminator;” The Predator in “Predator;” the aliens in “Aliens;” the dinosaurs in “Jurassic Park;” The Penguin in “Batman Returns;” and most recently, “Iron Man.” \nThese are arguably some of the most important characters in cinema from the past three decades, if not the most important. And although other people may have written their words and others embodied their image, Stan Winston brought them to life. \nIt’s odd to think that people would go see a movie because of who did the special effects, but that’s what I did because of Winston. I was a huge “Terminator” fan as a child, and after doing some research on who brought the character to life, I was mesmerized by how fantastic Winston and his work was. He worked on some questionable projects – Darkness Falls” and “Congo” – but eventually I watched these flicks because I wanted to see what type of effects Winston used. \nWinston’s work has seemed even more important in recent years because his practical effects were always up against CGI, which has dominated the film industry over the last decade. All the while, people like George Lucas were obsessed with green screens and having their actors perform while looking at nothing, Winston’s use of practicality looked even better. The suit he developed for “Iron Man” looked much better than it ever would have if it was all CGI. \nMaybe even more importantly, it seems Winston had a profound effect on his co-workers within the business, especially some of the big-time blockbuster directors he worked with. Since Monday, Hollywood titans like James Cameron (“Terminator”), Jon Favreau (“Iron Man”) and Frank Darabont (“The Shawshank Redemption”) have all released personal stories and heartfelt sentiments about Winston. These aren’t just atypical press release statements about someone they once worked with; they’re about a friend who changed their life in many ways. \nI obviously never met Stan Winston or anyone who ever worked with him. But in a way, his ideas were a catalyst for my love of movies. He did much more in his life, but for that alone, he deserved these 500 words. Goodbye Stan, you’ll definitely be missed.
(06/12/08 12:53am)
Even though it is the largest and most influential sports media outlet, ESPN has been thrashed in the blogosphere continually for a while now. People complain about the World Wide Leader in Sports’ blatant East Coast bias and over-reliance on the “Let’s put two guys together and let them yell at each other about every topic” format. \nHowever, I never supported the criticisms (although I could see viewer’s frustrations) and chalked it up to the usual jaded blog posters using their anonymity to rail on whatever they want. But I’ve seen the light. \nESPN is completely out of control, a shell of its former self. \nFormer Wide World of Sports anchor and downright awesome storyteller Jim McKay, who recently passed away, would be ashamed of ESPN’s current state. No longer does the network care about telling compelling sports stories or even reporting on them. Instead, they’d rather use their expansive reach and resources to create or kill whatever stories they see fit.\nThis past winter they essentially refused to acknowledge the major controversy surrounding football star Reggie Bush and whether or not he received gifts while at USC. When a book was released about the story in January, most major newspapers, as well as Sports Illustrated, CBS Sportsline and Yahoo Sports all ran investigatory pieces on the subject. \nESPN? They buried it at the bottom of their NCAA football page and didn’t allow the blowhards on “Around the Horn” or “First Take” to touch it, probably because Bush is a supposed superstar the kids are supposed to like. Who cares about the truth when you can sell jerseys, right?\nIn other respects, it truly does seems like their East Coast bias has been thrown into overdrive over the past year or so. More specifically, any news that deals with the city of Boston’s sport teams always seems to end up as a major “breaking news” story. \nWhen Boston Red Sox slugger David Ortiz hurt his wrist – an injury that may last longer than a month, but isn’t even career threatening – the folks up in Bristol tackled the issue as if Ortiz had just keeled over dead at home plate. During their 11 p.m. “Sportscenter,” the anchors mostly ignored the other stories just so random doctors could talk about Ortiz’s condition over a continuous loop of the injury footage. \nAnd although their Boston Celtics worship has continued all season, ESPN turned on one of their own when they wouldn’t let the Spygate/New England Patriots story die. The day turncoat Matt Walsh talked to NFL commissioner Goodell, ESPN featured the meeting all day. Pats coach Bill Belichick must have really ticked off the WWL, and ESPN tried to bury him. Even golden boy Tom Brady said ESPN needed to chill out with their incessant coverage.\nObviously, it’s not going anywhere, but ESPN is in a big hole with lots of sports fans. They need to just do their jobs by reporting on what’s going on, whether it fits their agenda or not. Either that or put Erin Andrews on-air for six hours a day.
(06/11/08 8:47pm)
On the most basic level, the sound of E For Explosion doesn’t deter too far from the sound Covington helped shape with JamisonParker; but that’s not a bad thing whatsoever. The album sees Covington breathily croon over songs that begin very quiet and eventually build to something a bit more. For the most part, Reinventing The Heartbeat is nothing more than album full of solid emo rock tracks, but it is put over the top by Covington’s intense emotion that saturates each cut.
(06/11/08 8:46pm)
Alesana’s new album, Where Myth Fades To Legend, combines loads of generic styles the band doesn’t do that well. There is nothing about the album that is better than mediocre, including the extremely dreadful lyrics and shriek-like screaming. Obviously the band themselves knew this and decided to use lyrics saying just that in the opening track, “This Is Usually The Part Where People Scream”: “Welcome to the show/ It’s a story you’ve heard a thousand times”. Yes it is.
(06/09/08 4:53pm)
Could it be that MTV has finally seen the error of its ways? After years of ignoring the music portion of their name, the network might be taking a step forward. They have announced the production of a new show, “F’n MTV,” hosted by Fall Out Boy’s Pete Wentz, that will play five new videos in their entirety, one old-school video, feature a live performance and have one of the worst names for a television show in history. \nNow, chances are that the new show will be MTV-ified just like anything else that sounds remotely cool on the network, and with Wentz at the helm it could be an awful train wreck. However, if it means that MTV plays videos and acknowledges music again, it’s about all we can ask for at this point due to the overwhelming lack of music in the channel’s recent history.\nEveryone has known for a very long time that MTV – also known as Music Television – seemingly no longer cares about playing music videos, doing news reports on music or really displaying that they know what music is. And the last few years have arguably been the worst in the channel’s history if you care about music; the only place to find new music is through whatever awful song they premiere on a new episode of “The Hills.” \nThe success of this show is really going to depend on how it is all set up, though. Chances are, there will be some sort of crowd present, but the show need not tread into “Total Request Live” territory by having them whoop and holler every time they’re on screen or do the lame dedications. Yet some live-energy atmosphere is almost necessary, especially when acts perform live. \nSecond, it would be really nice to have the videos played to feature bands and artists that are not extremely well-known. MTV needs to return to its roots as a network that unveils new talent if they ever want to be taken seriously as an authority on music again. They don’t need to have crazy obscure bands on air, but at least some that have underground or online buzz that could use a performance on MTV to put them over the top.\nThe show is reportedly also going to feature some kind of online elements as well. Although using a voting system would be directly like “TRL,” the show would be smart to allow online users to have some say in what videos get played or who performs. Without overdoing it, they could try something like having one video a week being a fan selection and one live performance a month being so as well. That way the network can still push their selected talent, but also give the audience a sense of input as well.\nWith this being MTV, the idea for this “F’n MTV” program could change drastically before it hits the airwaves this summer, and be nothing more than a way to promote the newest season of “Parental Control” or “Newport Harbor.” But if Wentz and company do what they say they’re going to do, having a video show on the network that basically created videos is nothing but a good thing. Just as long as Wentz doesn’t let his new wife perform live.
(06/05/08 6:32pm)
With the end of the fourth season of “Lost” a week ago and the calendar reading June, we’ve officially entered the worst time of the year for TV aficionados like myself: summer. \nNo more waiting each week for our favorite shows to come on, no more patrolling the message boards in search of common thought about that week’s episode. Instead, the waiting game begins until September premieres for most shows, and even longer for some others – January for “Lost,” and “24” won’t return until midseason. As far as TV, summer brings such a deflating, sickening feeling.\nBut there is one thing out there that can be the antidote for you fellow TV freaks like myself: TV on DVD.\nInstead of trying to drown your sorrows with summer programming like “So You Think You Can Dance?” or “Celebrity Circus,” try picking up some higher-brow material on DVD. Summertime is the perfect time to watch TV shows on DVD. The extended amount of free time allows for extended viewing. Chances are that a truly dedicated person could finish entire seasons at a one-per-week clip. \nWatching TV on DVD can help an individual in a variety of ways. First of all, someone can catch up on episodes or seasons of their favorite shows that they happened to miss because the show’s time slot changed or because their TiVo was just too packed. This seems to be the route a lot of viewers are taking nowadays, especially when it comes to more serialized shows like “Lost” or “Battlestar Galactica.” \nSecond, summer’s extended time can permit people to dive into a show that they’ve always wanted to watch, but never had the time or resources to do so. For example, never being an HBO subscriber, I’ve been unable to check out “The Wire” since its creation. I have been forced to sit idly by while other viewers and critics call it one of the best in TV history. But TV on DVD has given me the opportunity to do exactly as I wished. \nEven more, TV on DVD provides an opportunity to refresh on seasons past and get yourself excited for the premieres coming in the fall or winter. It’s like reuniting with an old friend that you haven’t spoken with in a long time. \nHowever, the mass intake of TV on DVD does have its detractions. Most season sets run at least $35 each, and the price of renting a disc at a time just almost doesn’t seem worth it. The semi-high prices could lead you down the sad road into illegal online streaming, but resist the temptation. Split the price with a friend or sign up for a Netflix account; don’t let the downturn in the economy stop important TV viewing.\nIf you’re a person who really enjoys television, there is no good reason that you should let it cease during the summer. And when the fall season rolls around and you realize that you are now watching 11 different programs, you’ll be proud. If you miss some episodes then, you can always catch up on DVD next summer.