Sunday, January 31, 2010

[American_Idol_Extra] SING ALONG SUNDAY: "Respect" by Aretha Franklin for the Grammy Awards




SING ALONG SUNDAY: "Respect" by Aretha Franklin for the Grammy Awards
 
 
Grammy Awards
 
File:Grammy.jpg
 

The Grammy Awards (originally called the Gramophone Awards)—or Grammys—are presented annually by the National Academy of Recording Arts and Sciences of the United States for outstanding achievements in the music industry. The awards ceremony features performances by prominent artists, and some of the awards of more popular interest are presented in a widely-viewed televised ceremony.

The awards were established in 1958. Prior to the first live Grammys telecast in 1971 on ABC, a series of taped annual specials in the 1960s called The Best on Record were broadcast on NBC. The first Grammy Award telecast took place on the night of November 29, 1959, as an episode of the NBC anthology series Sunday Showcase, which was normally devoted to plays, original TV dramas, and variety shows. Until 1971, awards ceremonies were held in both New York and Los Angeles, with winners accepting at one of the two. Pierre Cossette bought the rights to broadcast the ceremony from the National Academy of Recording Arts and Sciences and organized the first live telecast.[1] CBS bought the rights in 1973 after moving the ceremony to Nashville, Tennessee; the American Music Awards were created for ABC as a result.

The 52nd Grammy Awards ceremony is scheduled to be held on January 31, 2010 at the Los Angeles' Staples Center.

Source:

http://en.wikipedia.org/wiki/Grammy_Awards

 
 
File:Aretha Franklin on January 20, 2009.jpg

Aretha Louise Franklin (born March 25, 1942) is an American singer, songwriter and pianist commonly referred to as "The Queen of Soul". Although renowned for her soul recordings, Franklin is also adept at jazz, rock, blues, pop, R&B and Gospel music. In 2008, the American music magazine Rolling Stone ranked Franklin #1 on its list of The Greatest Singers of All Time.[1]

Franklin is one of the most honored artists by the Grammy Awards, with 18 Grammys to date, which include the Living Legend Grammy and the Lifetime Achievement Grammy. She has scored a total of 20 #1 singles on the Billboard R&B Singles Chart, one of which also became her first #1 hit on the Billboard Hot 100: "Respect" (1967). "I Knew You Were Waiting (For Me)" (1987), a duet with George Michael, became her second #1 on the latter chart. Since 1961, Franklin has scored a total of 45 "Top 40" hits on the Billboard Hot 100 chart.

In 1987, Franklin became the first female artist to be entered into the Rock and Roll Hall of Fame.[2]

Franklin was the only featured singer at the 2009 Presidential inauguration ceremony for Barack Obama.

Grammy Awards

Franklin has won eighteen (18) Grammy Awards in total during her nearly half-century long career (she first charted in 1961) and holds the record for most Best Female R&B Vocal Performance awards with eleven to her name (including eight consecutive awards from 1968 to 1975—the first eight awarded in that category).

1968 Grammy Best Rhythm & Blues Recording  and Best Female R&B Vocal Performance Respect

 

RESPECT

"Respect" is a song written and originally released by Stax recording artist Otis Redding in 1965. "Respect" became a 1967 hit and signature song for R&B singer Aretha Franklin. While Redding wrote the song as a man's plea for respect and recognition from a woman, the roles were reversed for Franklin's version. Franklin's cover was a landmark for the feminist movement, and is often considered as one of the best songs of the R&B era,[by whom?][<--by everyone, duh] earning her two Grammy Awards in 1968 for "Best Rhythm & Blues Recording" and "Best Rhythm & Blues Solo Vocal Performance, Female", and was inducted in the Grammy Hall of Fame in 1998. In 2002, the Library of Congress honored Franklin's version by adding it to the National Recording Registry. It is number five on Rolling Stone's list of The 500 Greatest Songs of All Time.[1] It was also included in the list of Songs of the Century, by the Recording Industry of America and the National Endowment for the Arts.

Respect lyrics


Songwriters: Redding, Otis;

What you want, baby, I got it
What's you need? You know I got it
All I'm askin' is for a little respect when you get home
Hey baby, when you get home, mister

I ain't gonna do you wrong while you're gone
I ain't gonna do you wrong because I don't wanna
All I'm askin' is for a little respect when you get home
Hey baby, when you get home, listen

I'm about to give all of my money
And all I'm askin' in return, honey
You give me my profits when you get there
Yeah baby, when you get home, oh, yeah, ooh

Your kiss is sweeter than honey
Guess what? So here's my money
All I need is just a little respect when you get home
Baby, when you get home
[Incomprehensible] on me

R E S P E C T
Find out what it means to me
R E S P E C T
Take care, T C B

Oh, a little respect
Yeah, baby, I want a little respect
Now, I get tired, but I keep on tryin'
Runnin' out of foolin', I ain't lyin'
Yes, respect, all I need is respect

All I want, ooh yeah, I want little respect
Yeah, baby, a little respect
Oh honey, sock it to me
[Incomprehensible]
Ooh, I want a little respect

 
Click These Links and Sing Along:
 
 
Aretha Franklin - Respect 1967
 
 
 
 
Aretha Franklin Respect on The Rosie O'Donnell Show
 
 

Aretha Franklin - "Respect" @ Early Show 2008
 
 
 
 
 
Bonus Video:
 
13th Grammy 1970 R&B Female Aretha Franklin
 
 

 


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[American_Idol_Extra] Television: Grammys Sunday 8 Eastern: Beyoncé, Taylor Swift and Lady Gaga lead the way at 52nd Grammys



Beyoncé, Taylor Swift and Lady Gaga lead the way at 52nd Grammys IF YOU WATCH

The 52nd annual Grammy Awards will air from 8 to 11 p.m. Sunday on WFOR-CBS 4.

Similar stories:

jlevin@MiamiHerald.com

Divas and dance pop will rule the 52nd Grammy Awards Sunday. Whether their prominence says something about the need for escapism after a year in which reality TV shows were better than brutal reality or about the music industry's glomming onto pop success in an attempt to shore up its ever-shrinking bottom line, is anyone's guess.

At this year's popular-music celebration -- airing live from L.A.'s Staples Center at 8 p.m. on WFOR-CBS 4 -- Beyoncé, with 10 nods for I Am . . . Sasha Fierce, tops the nominations the way she has topped the charts and pop consciousness. Country-pop teen queen Taylor Swift follows with eight for Fearless, and Lady Gaga, who makes drag queens look demure, has five for The Fame. All three are up for the big categories of Album, Record and Song of the Year.

Ruling urban dance tribe Black Eyed Peas (with trademark femme Fergie) has six nods, including Album and Record of the Year, for The E.N.D. So does misbehaving rapper Kanye West, but his nominations are mostly for rap collaborations rather than for the major categories he has dominated in the past. No rap artists are nominated in the big, general categories, in contrast to recent years when Lil Wayne and West were widely lauded.

Most of the top nominees will perform Sunday night: Beyoncé, the Peas, Swift and Gaga. Dave Matthews Band, the lone rockers up for Album of the Year, will also play, as will Southern rock newbies Zac Brown Band, the token Best New Artist nominee.

A tribute to Michael Jackson features Celine Dion, Jennifer Hudson, Smokey Robinson, Carrie Underwood and Usher and will include the premiere of a 3-D mini-movie for Earth Song that Jackson created for his This Is It tour. And the Recording Academy, in a bid for relevance and digital visibility, will let fans follow the awards on Facebook and Twitter.

Nominations are comparatively light for the traditional rockers who have been a Grammy mainstay -- Bruce Springsteen, with six nominations, is the only classic rocker with so many, and in the rock rather than the general categories. The biggest nomination for perennial Grammy darlings U2 is Best Rock Album for No Line on the Horizon. Southern-rock bad boys and chart newcomers Kings of Leon got four nominations, including for Record and Song of the Year, on the strength of Use Somebody, their passionate power hit.

But the rock categories look more establishment than ever. All the artists nominated for Best Solo Rock Vocal Performance -- Springsteen, Bob Dylan, John Fogerty, Prince and Neil Young -- are veterans. And the Yeah Yeah Yeah's, formed in 2000, are as recent as the Alternative Album category gets.

There's more recognition for musical substance and innovation in R&B. The biggest surprise is the six nominations for singer Maxwell, who came back from an eight-year absence with a compelling and grown-up album, Blacksummer's Night.

South Florida makes a splash in the Latin-music categories: Miami-based Issac Delgado, Luis Enrique and Tiempo Libre are all up for Best Latin Tropical Album. And Cuba is in the mix with singer Omara Portuondo's Gracias, nominated for Latin Tropical Album, and Bebo and Chucho Valdes' Juntos . . . Para Siempre, up for Best Latin Jazz Album.

So sit back and enjoy the glamour emanating from your flat screen. Reality returns at 11 p.m.


 
More:
http://www.miamiherald.com/living/story/1452985.html
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Thursday, January 28, 2010

[American_Idol_Extra] American Idol: The Complete Joe Jonas Transcript



American Idol: The Complete Joe Jonas Transcript

 

You thought all evidence of Joe Jonas' near-catatonic appearance on last night's American Idol would disintegrate into the ether? Yeah, well, not so fast, history, because PopWatch has exhumed the EXCLUSIVE COMPLETE JOE JONAS 'IDOL' TRANSCRIPT. Make your best guess as to how many words the low-impact guest judge uttered during last night's telecast of the Dallas auditions, then click through for the chance to hold on to the Brother's riveting prose forever.

How many words did Joe Jonas say on 'American Idol'?




Quantcast

JOE JONAS' RIVETING 'IDOL' TRANSCRIPT: EXHUMED!

"This is actually our hometown, so to see future stars hopefully coming out of Dallas is always exciting for us."

"It was awesome, man, definitely, you have star power for sure."

"Yeah."

"Yeah."

"I'd say yeah." [Off-camera; going on faith]

[Giggle/short expulsion of air after Kara raves to Maegan Wright, "And then you opened your mouth like that...."]

"Yeah."

[Presence of Joe Jonas confirmed by eye-grabbing cute wave in shot of all four judges; "Nice to meet you!" appears to go along with cute wave but upon closer inspection was actually uttered by Randy Jackson]

"Wow."

"Definitely yes." [Bonus thumbs-up]

That's a clean 40 words, Idolooonies. Did you guess correctly? Why or why not?

Annie on Twitter: @EWAnnieBarrett

More:

http://popwatch.ew.com/2010/01/28/joe-jonas-american-idol-guest-judge/


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[American_Idol_Extra] 'American Idol' recap: Whips, Smarts, Neil Patrick Harris



'American Idol' recap: Whips, Smarts

Neil Patrick Harris' legendary guest-judging stint makes the so-so talent in Dallas a little less hard to swallow

TEXAS TOASTS | (clockwise from top left) Erica Rhodes lashes out; Neil Patrick Harris fits in; Lloyd Thomas gets his Golden Ticket; David... | American Idol

TEXAS TOASTS

(clockwise from top left) Erica Rhodes lashes out; Neil Patrick Harris fits in; Lloyd Thomas gets his Golden Ticket; David Pittman sails through to Hollywood, too

An American Idol audition episode is like a can of Diet Coke ([un]official sponsor of this late-night writing session): No matter where you pick one up — Boston, Atlanta, Chicago, Orlando, Los Angeles, or Dallas — it's going to pretty much look and taste the same as the next one.

Things will kick off with a grim joke of a tryout. There'll be at least one crying montage in which a third of the weeping rejects will be full-figured women. Any soul who is revealed as ''the last singer of the day,'' or whose intro package contains sentimental music, a story about triumphing over adversity, and/or a phrase that sounds like it could end up appearing in the season 9 victory anthem (i.e. ''the odds were stacked against him'') will make it to Hollywood. And Randy will defy basic mathematic principles (''one billion percent yes, dude'') and the laws of grammar (pick a critique, any critique).

Tonight, however, the standard operating sameness got a needed twist of lemon in the form of guest judge Neil Patrick Harris. No, he didn't reinvent the audition-episode wheel (he was only filling Paula Abdul's chair, after all, not Ken Warwick's). But the How I Met Your Mother star's presence added biting wit and insight to even the most tiresome moments.

Take, for example, this evening's opening act, starring repeat audition offender Julie Kerelighan, who brought the same brand of delusional desperation to the show this year as she did in season 1. For her second trip to the rodeo, Julie also carried a homemade sign declaring ''This Is My (Last) Year (to Get on National Television Before I Age Out of Idol Eligibility).'' (For the record, those are my parentheticals, not hers.) The brilliance of NPH, though, was the way he immediately honed in on the fact that Julie's poorly planned and executed poster — with her surname scrunched uncomfortably in the bottom corner — was more offensive than her butchery of Alannah Miles' ''Black Velvet.'' Because, in all seriousness, if you know you have no business singing outside the shower, and you're going to be one of those annoying fameosexuals who's just hoping to score yourself a bit part as ''Simon's Punching Bag No. 874,'' you should dig into said role with the fury of Paula Abdul driving needles into her Ellen DeGeneres doll. Buy a couple extra pieces of poster-board from your local Target and make your signage a week early — don't just throw it together in the parking lot outside the audition venue. In other words, commit!

NEXT: Erica Rhodes whips the panel into submission, just not with that voice

I  guess, in light of that rant, I should give at least a half-clap to Erica Rhodes (AKA Whippi Longstocking), who entered the audition room with a crack of leather to the floor and the drop of Simon's jaw, thanks to an outfit ordered direct from the Frederick's of Hollywood Dominatrix Collection (and paired with a thigh-high, spiky-all-over boot whose hotness even I can't refute). Even more impressively, though, Erica came equipped with a ''former-child-star-gone-bad'' story arc that was so prurient — she used to be on Barney, you see, and now she's all grown up (wink wink) — that no one on the panel noticed her renditions of the Prehistoric Purple Devil's theme song and En Vogue's ''Free Your Mind'' were shrill, lightweight, and relatively rote.

Simon, at least, made me chuckle when he asked Whippi, ''What's the big dream here? I know what mine is.'' But for the life of me, I cannot fathom why Kara showered the following bit of praise on the young woman: ''It's really rare that someone comes in here and they're like, 'I'm just gonna do my thing. This is who I am. And here it comes.' And I really like that about you.''

Really, Kara? Really? Are we going to laud Erica's authenticity for using her looks to distract from her middling talent? And do you think that in all actuality, in the best of all possible scenarios that Erica might imagine for herself, that she'd need to resort to driving home the base message that even dinosaur-loving, overall-clad little girls grow up to be voracious sex machines? Sorry, Kara (and Kara fans), I know it seems like I'm obsessed with tearing down the ''fourth judge'' like Ali does with Vienna on the current season of The Bachelor (Read my Idolatry cohost Kristen Baldwin's recap). But every time I tell myself that I'm taking a night off from Kara-bashing, the woman goes and says some nonsense that demands a harshly worded paragraph. Aaaand...exhale.

I'm also gonna just throw it out there that, flanked by her buddy NPH, Kara seemed far more relaxed and less desperate-to-please than she has all season. Look at me, accentuating the positive!

But on the flip side of WhipGate, a couple of other hopefuls tonight decided to rely on their reserves of creativity (as opposed to bared flesh and cheap ploys), using self-penned songs to try to score their Golden Tickets. And while I'm not completely convinced Todrick Hall or Kimberly Carver have the inherent charisma and/or the vocal firepower to be true Top 12 contenders, I'm at least curious to see how they'll fare in Hell Week. Todrick, who apparently appeared with Fantasia in The Color Purple, wrote an Idol-themed ditty that was, as Simon called it, ''cutesy,'' but that I'd have to describe as clever and entertaining. Sample verse: ''Kara decked and dressed/ Simon's face lookin' so unimpressed/ Sitting there like a bump on a log/ Randy what I gotta do to be your dawg?''

Kimberly, meanwhile, split the panel 3-1 with her original jazz composition; Randy, Kara, and NPH (who took control of the table with a breezily delivered ''let's take a vote'') saying ''yes,'' and Simon offering the only dissenting note: ''If it was 'Jazz TV,' yes.'' In Kimberly's case, I'd have to side with the cranky Brit — not because I think jazz singers shouldn't have a shot in the Idolverse, but because I found the tone of Kimberly's voice to be slightly strident, bordering on grating. I wonder if NPH would've changed course, too, if he could have seen Kimberly diss the latter half of his acting career by squealing ''I'm gonna have to go back and watch Doogie Howser again.'' Yikes.

NEXT: Michael Tweets the contestant reviews

The two singers I liked best all night, though, brought enough charm and natural vocal ability that they didn't really need any gimmicky outfits or accouterments. Dock worker Lloyd Thomas — cue Kara cooing, ''This guy is working the docks!'' Yes! That is what dock workers do, woman! — showed off a surprisingly polished vocal on Stevie Wonder's tricky ''Overjoyed,'' and had me howling with laughter when, after Simon declared him his favorite of the day thus far, he shouted ''You better leave right now!'' Meanwhile, Dave Pittman's countrified twist on Sam Cooke's ''Bring It on Home to Me'' and effortless eye appeal made his battle with Tourette syndrome almost an afterthought.

The remainder of the night's Golden Ticket recipients came off more as Hell Week pawns than legitimate heirs to the Kradison throne, and therefore, I'm gonna review 'em Twitter-style, in 140 characters or less. (If you don't already, you can get updates on all my Idol coverage, including galleries like my 15 Best Idol Auditions Ever, by following me @EWMichaelSlezak.) Okay, enough shameless self-promotion... without further ado:

Maegan Wright: Looked a mess in white cutoffs, blue tee. Nice Ronstadt-esque quality to vocal though. Howz divorced-parents story relevant?

Dawntoya Thomason: Her name wins my award for ''Best Future Pop-Diva Monkier,'' but correspondingly unique vocal not included.

Stephanie Daulong: Blonde with wacky headband showcased sexy, husky instrument, but we only got to hear her for 5 seconds. Pourquoi?

Christian Spear: Lovely teen inspired w/story of beating Leukemia, but not w/a wispy wannabe-Beyonce cover of Etta James tune.

Joe Jonas: Nonverbal member of something called JoBros offered feedback using complex method of Morse code w/ eyebrows. Why'd he replace NPH?

Oh, whoops, that last dude there was a guest judge, but you might've mistaken him for Kara's bright-eyed personal assistant, given his utter lack of instructive and/or opinionated comments. Why not cut footage of the Jonas youth altogether and let us hear a few seconds of singing from Michael Castro — brother of season 7 finalist Jason Castro — who made it to Hollywood last year, and was shown getting a Golden Ticket again tonight without so much as a peep from his mouth? I did, however, like Joe's introductory comment, ''to see future stars coming out of Dallas, it's really exciting for us,'' in which he continued to speak in the plural, clearly unable to separate himself from his sibling counterparts. That eventual solo transition will not be an easy one, especially since he's going to have to cross ''reality show judge'' off his list of possible future gigs.

What did you think of tonight's show? Anyone else actually find themselves laughing at Randy's funny about pink-clad Vanessa Johnston physically moving around and looking for notes while she sang ''At Last''? (I actually found it as amusing as Simon's freaky Clint Eastwood impression!) Who else is up for a ''Hire NPH/Shania in 2010!'' petition? And who just wants to get to Hollywood Week already? Share your thoughts in the comments below, and if you'd like to be on a future episode of Idolatry, email me your burning questions and passionate theories at idolatry@ew.com! Our latest episode (covering Chicago and Orlando rounds) is embedded below!

More:
http://www.ew.com/ew/article/0,,20312226_20339891_3,00.html

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Tommy



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Wednesday, January 27, 2010

[American_Idol_Extra] 'American Idol' recap: California Screamin'



'American Idol' recap: California Screamin'

Bad attitudes! Bum notes! Squabbling! And that just describes the scene at the judges' table as the Audition Express arrives in Los Angeles

 

NOT YOUR AVRIL AUDITIONS | Tasha Layton uses her big voice to minister to hurting ears; Kara has a big problem with Katy Perry; A.J.... | American Idol

NOT YOUR AVRIL AUDITIONS

Tasha Layton uses her big voice to minister to hurting ears; Kara has a big problem with Katy Perry; A.J. Mendoza tries to fill some big shoes; and Andrew Garcia leaves a big impression.

It's time for an American Idol pop quiz. Grab your No. 2 pencils and get ready to answer the following ''True or False'' questions:
A) There is a federal law against people with spouses and/or children signing major-label record deals.
B) People employed by churches are essentially turning their backs on God by auditioning for Idol.
C) Professional women working side-by-side must either behave like giggling Harajuku-obsessed besties or bitter, sniping rivals.
D) ''Girl Power'' is defined by slobbering and blind agreement among humans who do not possess a Y chromosome.
E) Idoloonies would not be interested in seeing a season 9 audition segment starring season 6 ''Crying Girl'' Ashley Ferl.

Okay, pencils down. That was easy, right? If you answered ''False'' to all of the above — and I believe in my heart that you did — you've scored a perfect 100 on your exam. If, however, you happen to be an alien visiting Earth for the first time tonight (and, naturally, had your spacecraft's entertainment system tuned in to Fox), you're probably crying bitter tears over all the red ink on your paper. But that's not really your fault, E.T.: Verbal nonsense and sociological idiocy were the overarching themes of tonight's let-down of an audition show, with the nation's ongoing search for its next musical superstar getting shunted to the footnotes.

So cue the sad trombone, and let's talk about some of the more maddening/ridiculous goings-on from the season 9 Los Angeles tryouts.

Shall we start with that sour-patch kid in the ''hip'' black hoodie with ''amusing'' devil horns? To be fair, I don't think there was a person on the planet (with the possible exception of Cecile Frot-Coutaz) who anticipated that Avril Lavigne would provide witty and/or insightful commentary during her trial run in the Paula Abdul Commemorative Swivel-Chair. But low expectations aside, I'm still having difficulty grasping how and why Avril implied that bearded ''worship pastor'' Jim Ranger shouldn't get a Golden Ticket because he was (gasp!) married, and (oh-em-gee!) said marriage had produced three (how do we say this politely?) child-type creatures! Okay, so that's not exactly how Avril put it, but her weirdly dismissive questions about Jim's brood, and her condescending newsflash that ''to be a pop-star you have to travel'' seriously rubbed me the wrong way.

Now, look, I would've had no problem whatsoever had Avril voted ''no'' to a Golden Ticket and explained that she didn't think Jim's singing or songwriting skills were on par with what it takes to be a viable pop star. In fact, I half-wanted to score her five cool points — which, given the aforementioned hoodie would've left her at -20, but I digress... — just for voting ''No'' immediately after Simon said ''Yes.'' Because, really, it was nice to see someone (anyone!) finally break the unwritten rule that you can only disagree with Simon's audition-round opinions in those instances when he's dissing a singer you like, but that you should automatically join in a rousing chorus of ''yeses'' if he deems someone Golden Ticket-worthy. (Question for all you ''history'' buffs: Have Simon's fellow panelists ever ganged up against him and stopped a contestant he enjoyed from going to Hollywood? If so, who? I don't think it's ever happened, but if you recall any instance, please shoot me an email at idolatry@ew.com or shoot me a message on Twitter — I'm @EWMichaelSlezak.)

NEXT: Tasha Layton and Andrew Garcia make their marks

But let's get back to the audition at hand. While Jim indeed had adorable children and a better-than-average voice, I'd be lying if I didn't point out that he lacked the innate charisma you need to activate the speed-dialing masses. And while I admired the pluck it took to make his first impression with an original song called ''Drive,'' it unfortunately reminded me of ''Life Is a Highway,'' with a chorus that was 67 percent less catchy. Then again, it's hard not to root for the guy a little given the way the show portrayed his family and his career as if they were inconvenient obstacles to fame and fortune. Did anyone else see God (a known fan of the reality-show genre) giving the side-eye when Kara declared: ''I don't really know how you really can do everything at once if you were to go through this. How can you really be dedicated to your church?''

Um, y'know, I'm going to force myself not to spend another paragraph ranting against She Who Must Not Be Allowed to Write Another Idol Victory Anthem. The good news is that tonight's non-starter of a show at least presented two viable top 12 contenders in the form of Tasha Layton and Andrew Garcia.

Not only was Tasha's choice of Joss Stone's non-hit ''Baby Baby Baby'' brave and unexpected, but she delivered it impeccably, even giving the audition a little rhythm with some enthusiastic finger-snaps. I had to agree with Simon that if Tasha does indeed make the season 9 finals, that an ''Oh Happy Day'' medley is pretty much a guarantee. (Anyone else catch that the cranky British judge came thisclose to singing a few bars of the gospel classic?)

And I wouldn't be surprised if Andrew provides Tasha with some stiff competition in the weeks ahead. The bespectacled young father — whose orange and blue plaid shirt looked like it might've come from the Kris Allen Collection — injected Maroon 5's ''Sunday Morning'' with a soulfulness that exceeded Adam Levine's original, and exuded the kind of nice-guy vibes that had Simon delivering almost Paula-esque lines like ''I can tell you like music.'' What's more, Andrew was aided by ''weeping parent'' footage — a time-honored get-out-the-vote technique that's been employed liberally throughout the show's history. Granted, I didn't quite get the same feeling of warm-fuzzies from those blurred out shots of mom and dad back in their gang-member days, but spun into a classic ''up by the bootstraps'' tale, this uncomfortable bit of family history shouldn't harm Andrew's Idol cause.

L.A.'s two remaining success stories — Mary Powers and Chris Golightly — gave the kind of solid-but-unspectacular auditions that could get them as far as a dreary Hollywood Week holding room, but probably not much further. I didn't really take umbrage with Mary's Hot Topic-approved outfit — although the single sock-glove thingy looked like it might've fallen off an extra from Beverly Hills: 90201 — but it's going to be tough for her to get past the first impression of Simon declaring ''everything about you is clichéd,'' not matter how technically solid she was on Pat Benatar's ''Love Is a Battlefield.'' (Good thing Avril didn't automatically disqualify Mary for having an adorable eight-year-old daughter!)

NEXT: The big catfight

Chris, meanwhile, had the unfortunate distinction of watching his quite nice rendition of ''Stand by Me'' get overshadowed by a nasty-edged verbal bout between Kara and the evening's second guest judge, Katy Perry. Let's roll tape:

Kara: ''We may look back on this audition and go 'Wow.' Because you're the kind of kid who has just enough talent, and just enough of a story and pain and stuff that you've gone through in your life to really connect with it. And I think you're only gonna get better.''
Katy: ''This is not a Lifetime movie, sweetheart.''

I know Kara's taken quite a beating in my recaps over the past year, but I've got to call it a TKO for Ms. Perry, with several key asterisks.

* In this instance, I actually think Kara's inability to articulate her thoughts (or her inability to think about what she's saying before she opens her pie-hole) made her critique of Chris sound more idiotic than she intended. I'm actually in agreement with Kara — if she meant that Chris' difficult life experiences could help him bring to his performances a kind of intangible depth and soul that's often lacking in the pre-programmed fame-bots that sometimes make their way to Idol. Of course, if she just meant ''good backstory = votes,'' then she deserved all the bitchery Katy had to offer.

**As much as I'd like to get through a column this season without a full-paragraph tirade against Kara — hey, a boy can dream — my inner feminist is seething with rage over her repeated insistence that female guest judges should align themselves with her in an effort to counterbalance ''the boys'' on the panel. Um, because why? Does Kara, an accomplished songwriter-producer-businesswoman truly believe that ''girl power'' is nothing more than the continuation of grade-school recess gender lines? Does she not believe that there's nothing more damaging to the ongoing quest for gender equality than for a woman — even if her job is as ultimately as ''silly'' as judging American Idol auditions — to cast aside her individuality, her own moral/artistic/intellectual compass, under the ''boys suck'' banner?

*** Maybe because my mother would (rightfully) send my 37-year-old behind to the naughty step if she discovered I'd been impolite as a guest in someone else's home, but I flinched a little when Katy scoffed at Kara to not ever ''put someone through just because you feel bad [for them].'' But then I remembered Katy was actually (brace for incoming Randy idiocy) two-hundred-bazillion percent right, and I didn't have any trouble the next time Katy launched a mean-girl barb at her table-mate. My personal favorite? A bewildered Katy asking ''Is she talking to a puppy?'' when Kara did that bizarre scrunch-mouth speak while talking to Jason Greene.

****Can we maybe permanently retire the word ''catty''/''catfight'' from all future episodes of Idol featuring a disagreement between women? (This rule can be voided only if said women rumble Dynasty-style in a public fountain.)

NEXT: Time for the ''funny'' auditions

I'd also like to propose an actual law that Idol not be allowed to make Adam Lambert share the stage with any of the so-called ''lookalikes'' featured on tonight's show. (My hawk-eyed colleague Kate Ward observed one of 'em was Project Runway's Daniel Franco!) Which isn't to say I didn't get a laugh from A.J. Mendoza's audition, which began with his tale of ''shopping'' a ''demo'' to Adam (my best-guess translation: during an autograph signing on the Idol summer tour, A.J. forced a homemade CD into Adam's hand) and ended with a rendition of Living Color's ''Cult of Personallll-ittt-ttaaayyy-uhhh'' that was so overwrought, even Von Smith would declare it 1-800-too-much.

Aside from hapless A.J., though, who remained committed to his ''I'm a really good singer'' mantra as he exited stage daft, the other ''funny'' L.A. auditions all seemed to focus way too much camera time on folks who were trying way too hard to be wacky enough for television. I have to give Jason Greene a little credit for referencing the salmon-colored sling that was hanging on for dear life to Katy's heaving bazooms, but why devote more than three minutes to a guy trying to wring a laugh out of an ''I Touch Myself'' joke that probably wasn't funny back in 1991 when (hello!) we didn't get to see why/how the aforementioned Crying Girl was reduced to tears after her own audition attempt. Did she sing ''You Really Got Me''? Did someone show her the Nielsen SoundScan data for Sanjaya Malakar's Dancing to the Music in My Head EP? Or is it possible little Ashley is just proving she hasn't lost the ability to cry on command? If it's the latter option, here's a couple bits of advice for the waterworks-spewing teen: If you ever need tear-duct stimulation, think back to tonight's Idol episode, and the disappointment will take you to the land of 10,000 tears. Oh, and also, get a new shtick!

What did you think of tonight's Los Angeles auditions? How did the Katy-vs.-Kara footage make you feel? Were you as underwhelemed as I was by Avril? And do you think any of the Golden Ticket getters from tonight has a chance at the season 9 crown? Holla back in the comments below, but first, watch our latest edition of Idolatry embedded below. Part 1 finds Jessica Shaw and myself discussing Friday the 13th death scenes and their pertinence to Idol, Part 2 focuses on some of our favorite Hell Week hopefuls, and part three is all about Shania's dominance over Kara and Randy. Enjoy!

Video and More:

http://www.ew.com/ew/article/0,,20312226_20339613_4,00.html
--
Together, we can change the world, one mind at a time.
Have a great day,
Tommy



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[American_Idol_Extra] Adam Lambert : Buy his underwear to help Haiti, new photos, freezing in Toronto (slideshow)



Adam Lambert : Buy his underwear to help Haiti, new photos, freezing in Toronto (slideshow)
 

Adam Lambert in VMan magazine
Adam Lambert in VMan magazine

Following his recent appearance at the Screen Actors Guild Awards, where he had to dodged rumors that he his ex Drake LaBry were back together (not true),  Adam Lambert appeared on The Ellen Degeneres Show on Tuesday to wish her a happy birthday, and fete her with  his newest single "Strut".  Adam was on hand along with Harry Connick Jr. and Corring Bailey Ray to help the world's funniest host celebrate her 52nd year. 

Congratulations Ellen, we love you!!!

Adam even threw in a beautifully framed, autographed photo for auction to help the victims of the Haiti earthquake, and best of all, he was wearing signature Ellen Degeneres Show underwear during his performance, which we understand became quite sweaty, and autographed those for action as well!  What a perfect gift for a true Glambert, and for a good cause, no less.

In other Adam news, the singer-superstar extraordinaire has some new pictures in V-Man Magazine, along with Cobra Starship's Gabe Saporta and Gerard and Mikey Way from My Chemical Romance.
(Be sure to see slide show below to see Adam's photos).

Today, Adam was freezing his ass off in Toronto, where he's in town to promote his new album, For Your Entertainment.  However, despite the frigid temps, Adam's mood was described as "chipper".  Adam told reporters, "There are projects I want to work on. But ultimately just going for the ride and being in the moment is the most important thing."

Slideshow and More:

 


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Together, we can change the world, one mind at a time.
Have a great day,
Tommy


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Sunday, January 24, 2010

[American_Idol_Extra] Sing Along Sunday: "EASY TO BE HARD" from "HAIR"





Sing Along Sunday
 
"EASY TO BE HARD" from "HAIR" 
 
File:Hairmovieposter.jpg
 

Hair: The American Tribal Love-Rock Musical is a rock musical with a book and lyrics by James Rado and Gerome Ragni and music by Galt MacDermot. A product of the hippie counter-culture and sexual revolution of the 1960s, several of its songs became anthems of the anti-Vietnam War peace movement. The musical's profanity, its depiction of the use of illegal drugs, its treatment of sexuality, its irreverence for the American flag, and its nude scene caused much comment and controversy.[1] The musical broke new ground in musical theatre by defining the genre of "rock musical", using a racially integrated cast, and inviting the audience onstage for a "Be-In" finale.[2]

Hair tells the story of the "tribe", a group of politically active, long-haired hippies of the "Age of Aquarius" living a bohemian life in New York City and fighting against conscription into the Vietnam War. Claude, his good friend Berger, their roommate Sheila and their friends struggle to balance their young lives, loves and the sexual revolution with their rebellion against the war and their conservative parents and society. Ultimately, Claude must decide whether to resist the draft as his friends have done, or to compromise his pacifistic principles and risk his life by serving in Vietnam.

After an off-Broadway debut in October 1967 at Joseph Papp's Public Theater and a subsequent run in a midtown discothèque space, the show opened on Broadway in April 1968 and ran for 1,750 performances. Simultaneous productions in cities across the United States and Europe followed shortly thereafter, including a successful London production, which ran for 1,997 performances. Since then, numerous productions have been staged around the world, spawning dozens of recordings of the musical. Some of the songs from its score became Top 10 hits, and a feature film adaptation was released in 1979. A Broadway revival opened on March 31, 2009, earning strong reviews and winning the Tony Award and Drama Desk Award for best revival of a musical. In 2008, Time magazine wrote, "Today Hair seems, if anything, more daring than ever."[3]

Source:

http://en.wikipedia.org/wiki/Hair_(musical)

File:Hairposter.jpg

Literary themes and symbolism

Hair makes many references to Shakespeare's plays, especially Romeo and Juliet and Hamlet, and, at times, takes lyrical material directly from Shakespeare.[49] For example, the lyrics to the song "What a Piece of Work Is Man" is from Hamlet (II: scene 2) and portions of "Flesh Failures" ("the rest is silence") are from Hamlet's final lines. In "Flesh Failures/Let The Sun Shine In", the lyrics "Eyes, look your last!/ Arms, take your last embrace! And lips, O you/ The doors of breath, seal with a righteous kiss" are from Romeo and Juliet (V: iii, 111–14).[78] According to Miller, the Romeo suicide imagery makes the point that, with our complicity in war, we are killing ourselves.[49]

Symbolically, the running plot of Claude's indecision, especially his resistance to burning his draft card, which ultimately causes his demise, has been seen as a parallel to Hamlet: "the melancholy hippie".[79] The symbolism is carried into the last scene, where Claude appears as a ghostly spirit among his friends wearing an army uniform in an ironic echo of an earlier scene, where he says, "I know what I want to be ... invisible". According to Public Theater Artistic Director Oskar Eustis, "Both [Hair and Hamlet] center on idealistic brilliant men as they struggle to find their place in a world marred by war, violence, and venal politics. They see both the luminous possibilities and the harshest realities of being human. In the end, unable to effectively combat the evil around them, they tragically succumb."[80]

Other literary references include the song "Three-Five-Zero-Zero", based on Ginsberg's poem "Wichita Vortex Sutra",[81] and, in the psychedelic drug trip sequence, the portrayal of Scarlett O'Hara, from Gone with the Wind, and activist African-American poet LeRoi Jones.[51]

File:CheetahPoster12lowres.jpg

Partial Plot, Act One :

Two tribe members dressed as tourists come down the aisle to ask the tribe why they have such long hair. In answer, Claude and Berger lead the tribe in explaining the significance of their "Hair". The tourist lady states that kids should "be free, no guilt" and should "do whatever you want, just so long as you don't hurt anyone." She observes that long hair is natural, like the "elegant plumage" of male birds ("My Conviction"). She opens her coat to reveal that she's a man in drag. As the couple leaves, the tribe calls her Margaret Mead.

Sheila gives Berger a yellow shirt. He goofs around and ends up tearing it in two. Sheila voices her distress that Berger seems to care more about the "bleeding crowd" than about her ("Easy to be Hard"). Jeanie summarizes everyone's romantic entanglements: "I'm hung up on Claude, Sheila's hung up on Berger, Berger is hung up everywhere. Claude is hung up on a cross over Sheila and Berger." The tribe runs out to the audience with fliers inviting them to a Be-In. Berger, Woof and another tribe member pay satiric tribute to the American flag as they fold it ("Don't Put it Down"). After young and innocent Crissy describes "Frank Mills", a boy she's looking for, the tribe participates in the "Be-In". The men of the tribe burn their draft cards. Claude puts his card in the fire, then changes his mind and pulls it out. He asks, "where is the something, where is the someone, that tells me why I live and die?" ("Where Do I Go"). The tribe emerges naked, intoning "beads, flowers, freedom, happiness."

More:

http://en.wikipedia.org/wiki/Hair_(musical)

 
Three Dog Night
 
Three Dog Night is an American rock band best known for their music from 1968 to 1975. As of 2010, they are still recording and making live appearances.
 
The official commentary included in the CD set Celebrate: The Three Dog Night Story, 1965-1975 states that vocalist Danny Hutton's then-girlfriend June Fairchild suggested the name after reading a magazine article about indigenous Australians, in which it was explained that on cold nights they would customarily sleep in a hole in the ground whilst embracing a dingo, a native species of wild dog. On colder nights they would sleep with two dogs and if a night was especially cold, it was a "three dog night".
 
The band started in 1968 with three lead vocalists, Danny Hutton (who got his start with Hanna-Barbera Records in 1965), Chuck Negron, and Cory Wells (who landed a recording contract with Dunhill Records). They had made some early recordings in 1967 with Brian Wilson and initially went by the name of Redwood. Shortly after abandoning the Redwood moniker, the vocalists hired a group of backing musicians--Michael Allsup on guitar, Floyd Sneed on drums, Joe Schermie from the Cory Wells Blues Band on bass, and Jimmy Greenspoon on keyboards--and soon became one of the most successful bands in the United States during the late 1960s and early 1970s.
 
Source:
 
 
 
Easy To Be Hard  Lyrics

How can people be so heartless
How can people be so cruel
Easy to be hard, easy to be cold

How can people have no feelings
How can they ignore their friends
Easy to be proud, easy to say no

Especially people who care about strangers
Who care about evil and social injustice
Do you only care about bleeding crowd
How about a needing friend, I need a friend

How can people be so heartless
You know I'm hung up on you
Easy to be proud, easy to say no

Especially people who care about strangers
Who care about evil and social injustice
Do you only care about bleeding crowd
How about a needing friend, we all need a friend

How can people be so heartless
How can people be so cruel
Easy to be proud, easy to say no
Easy to be cold, easy to say no
Come, on, easy to give in, easy to say no
Easy to be cold, easy to say no
Much too easy to say no
 

Click These Links and Sing Along:
 
Three Dog Night - "Easy To Be Hard" (Suitable for Framing LP, 1969)
 
 
File:Three Dog Night - Suitable for Framing.jpg
 
 
Three Dog Night - Easy To Be Hard, 1970 Television Appearance
 
 
 
Hair The Musical - Easy To Be Hard
 
 
 
 
 
Easy To Be Hard - Hair the movie musical
Cheryl Barnes as Hud's Fiance and Dorsey Wright as Hud(Lafayette)
 
 
 
 
EASY TO BE HARD by 3 Dog Night, Recent Concert
 
 


--
Together, we can change the world, one mind at a time.
Have a great day,
Tommy


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