Archive for February, 2007

American Idol: Top 10 Girls

Quickie recap, because, unfortunately, life beckons.

Simon warns the contestanst against “not giving themselves an identity” — i.e., not pigeonholing themselves into some preconceived stereotype. Heh. Heh heh.

Gina Glocksen’s song is dedicated to her boyfriend, who encouraged her to try out for Idol again. He’s the best thing that’s ever happened to her, blah blah blah. She sings “Alone” by Heart in a very cool red dress. She’s got major pitch problems, and…whoa…talk about karaoke. Talk about drunk karaoke. Not sayin’ that Gina’s drunk, but instead sayin’ that this is the type of performance you usually get when a gal gets drunk at karaoke night. She barely hits the major note at the end. Randy likes it, Paula calls it excellent (? I don’t think she hit like half the notes), Simon says that the vocals felt forced at the end and that he’s a little confused as to “who Gina is.” Sigh. Seacrest uncomfortably implores Gina’s boyfriend to propose to her.

Lakisha Jones tells Seacrest that she’s pretty unaware of all the media buzz surrounding her performance. Alaina Alexander, looking very pretty in her curly hair and slate-blue dress, dedcates her performance to her mom, who worked four jobs (well, “like four jobs”) to support her children. That’s great. She sings The Dixie Chicks’ “I’m Not Ready to Make Nice” and as much as Alaina’s mother is really sweet, Alaina is just not a good singer. She’s still fish-out-of-water gaspy, she’s very shouty, and I don’t think she’s hitting a single freakin’ note. It’s just bad all around. At the end, she has this really sad, pissed-off look on her face. Why? I dunno. Randy says she lost the tuning and the pitch at the chorus, and calls the song “a mess.” Alaina makes Katharine-McPhee-like “bitch, whatchoo talkin’ bout?” faces, clearly buying into the delusion of her own greatness, and firmly cementing my hatred for her. She even throws in an “I had a little trouble hearing” excuse toward the end of Paula’s critique. Gah! Simon says she ran out of steam three-quarters of the way. The “she looks amazing” criticisms dribble out of Paula’s mouth as Alaina makes more nose-wrinkling “how dare you critize moi” faces. Ugh. Get off my TV.

Lakisha Jones dedicates her performance to her grandmother, who doesn’t let her walker slow her down. Awesome. Lakisha looks killer, as her short skirt and shapely-but-not-clingy top accentuate her full figure in a surprisingly pleasing way. Her “Midnight Train to Georgia” sounds effortless in the beginning, but is — as I feared — kind of one-note throughout. Randy loves it, Paula loves it, Simon calls her a “phenomenally good singer” but doesn’t think had the “I’m in it to win it” attitude she had last week. He implores her to “act like a star” and tells her that he didn’t like her outfit, calling it “too colorful.” In the words of Dr. Evil, “rrrrriiiiggghhhttt.” Seacrest and Ryan continue their “we are totally heterosexual” banter by debating whether Lakisha’s sweater is orange or salmon.

Melinda Doolittle dedicates the song to her two best friends, a vocal coach and a stylist. I wish MY two best friends were a vocal coach and a stylist. She’s dressed in a fantastic shiny denim suit that I covet, but would never wear on American Idol. She sings “My Funny Valentine,” all classic-soul style, and while she’s still having perma-smile issues, her voice is nearly flawless. It does amazing dips and peaks and valleys, and I think she’s one of the few belters I’d actually listen to recreationally. Randy loves it, Paula is amazed by her unique phrasing, Simon calls it “incredible” and the best vocal in the competition so far. Aww.

Alaina Alexander Antonella Barba (well, aren’t they practically just the same person anyway?) says she’s picked a better song this week. She dedicates the song to her brother, a musician. “Because You Loved Me” is her choice tonight, and it’s not really much better than last week. She’s really just not that great of a singer. And her dress looks like something I bought at Wet Seal ten years ago. However, when she hits the high note, she sounds really wonderful. So maybe the solution here is to get her singing in her higher soprano range. But I don’t think the note was enough to save the song. Randy says the song is too big for her, and Alaina makes this face like “eh, maybe so, Jackson, but I’ve firmly secured the Horny Males of America vote, muahahaha!” Simon says Antonella was worse than last week. Antonella says that she’ll listen to the judges, but that “Simon was wrong about Jennifer Hudson, so…” Jeebus, what is it with these obnoxious chicks and their entitlement? Why are Antonella and Alaina so convinced of their own greatness when, in fact, they are middling talents at best?

Jordin Sparks dedicates her song to her brother. She’s singing “Reflection,” which I will forever associate with Ayla Brown and Teenage Botness, but Jordin does a serviceable job, and tears up at the end. Randy really likes it, Paula calls her “infectious” and a “good human being,” and Simon says it wasn’t her best, but it was excellent compared to a lot of other people.

Up next is Stephanie Edwards, singing the first song of the evening I don’t recognize, “Dangerously in Love,” I’m going to take a wild stab and say it’s something by Mary J. Blige, though. It sounds Mary J.-ish. (ETA: Oh, Beyonce.) Anyway, I don’t think Stephanie is that great on it, unfortunately. She’s got a lovely voice, but I don’t think she can quite keep up with the stattaco pacing of the verses. Ah well. Randy calls it “Beyonce light,” Paula says it was fantastic, brilliant, bla blah blah, Simon really liked it.

Adorable Leslie Hunt recognizes that her “flapping” works for gigs, but maybe not for the Idol stage. She dedicates her song to her grandfather, calling him “the definition of unconditional love.” She sings Nina Simon’s “Feeling Good” (yes, the same song AJ drag-queen-revued last night). Her miniskirt-and-leggings combination is a little trend overload for my tastes. I love her voice, and I think she sounds fantastic, even if her Nina-esque scatting kind of tends to lose it towards the end. Randy says it’s good to see Leslie return to her jazzy roots, but that the song was pitchy, which I disagree with. Paula loved it. Simon compares Leslie’s scatting to Paula’s talking, and says that Leslie’s getting a little bit lost in the competition because of all the belters. Which maybe is true, but doesn’t make her any less talented, and besides, some people don’t friggin’ like to be yelled at every week. Seacrest cutely reads the scat lyrics as prose. Sometimes Seacrest is awesome. I hope Leslie sticks around, although I have a feeling that should she go far in this competition, she could be as polarizing as Taylor Hicks was last year. At this point in time I hope that photos of Leslie rubbing her naughty bits against a revered memorial surface, if that’s what it takes to keep her in the competition.

Haley Scarnato dedicates the song to her fiance, then launches into “Queen of the Night.” She’s better than Alaina and Antonella, to be sure, but I don’t think that’s saying a whole lot. This is a singer who gets lost in the mix, to me. At least Leslie has something to make her stand out. This is just blah to me, and kind of like she’s channelling Nicole Tranquillo from last night. Randy doesn’t think it was great, and Simon says she’s vulnerable tonight. Haley is crying, which is sad, because she seems like a sweet girl, but she’s still just meh.

Sabrina Sloan is another one whose personality rubs me the wrong way. (Yeah, remember when I wrote last night that Chris Richardson was the only one so far who actively annoyed me? He’s gaining some competition.) She seems entitled to me, and she has this very forced coy/sexy vibe about her. Anyway, this is another song devoted to dear grams. She sings something, I don’t know what. As far as the belters go, I think she’s outclassed by Stephanie, Lakisha, and Melinda. Also, when she hits the modulation, she starts getting very, very strident. Definitely not as good as last week. Randy calls it “very nice overall” with somem pitch problems here and there, Paula loves it (what doesn’t Paula love?), Simon says she was right on the limit of confusing power with shouting, but that she’ll be back next week.

Vote Leslie, kids. Let’s round out this competition with a little something interesting. Or, if you must choose a belter, go with Melinda, whose my pick to win it all, and who will get all my (dispassionate and uninvested) support should Leslie get the boot.


Mobile lurves Taylor (well, obviously).

The Press-Register reviews Taylors Hicks’ Mobile concert:

By any measure, the enthusiasm was off the charts. Many an artist with more critical acclaim struggles to generate as much fervor in an audience. Hicks has drawn his share of criticism since Fox’s “American Idol” launched him to national stardom, in particular for his herky-jerky dancing and for a soul-music affinity that strikes some as derivative. Still, millions voted for him in the televised talent program. And as he performed Tuesday, it was easy to see why: The man seems to have found a way to bottle exuberance…But in the music, he let himself go. The staging was minimal and the sound quality was no better than average, but on sheer personal energy Hicks kept many of his 1,900-plus listeners on their feet throughout…More to the point, perhaps, was the way Hicks delivered “Just to Feel That Way”: face anguished, body straining, at times standing on tiptoes on the edge of the stage. For an audience of avid fans who indeed just wanted to feel that way, Hicks was just the man to take them there.

American Idol: Top 10 Boys

Roll tape! Kelly, Ruben, Fantasia, Carrie, and Taylor (soon to be replaced by Chris, no doubt). Ryan begins by congratulating Jennifer Hudson on her Oscar. Jeff Foxworthy (!)…(?) claps in the audience.

Conga line of men. Sanjaya and Blake are wearing stupid hats, Sligh does a fey little skip, and Chris Richardson still pisses me off for no reason.

Phil Stacey is dedicating his song to the Navy band back home. Aww. He sings “I Ain’t Missin’ You” and I think he sounds pretty good. I’ve really come around to liking his voice, although I don’t think I’d ever buy an album of his or anything. Randy and Paula love it, but Simon says he’s not jumping out of his chair. Likes him as a person, but not sold on the originality of the voice, he says. Phil smiles. He looks so nice when he smiles. He’s got kind of an odd look to him — he can go from quite strikingly handsome to vampirish with the flick of a camera angle. Kind of like one of Jerry’s girlfriends in an old Seinfeld episode.

Ryan would like to know what people were saying after last week’s performances. Sundance told him that the advice he received was “stop being so crappy.” Awww…poor Sundance.

Jared Cotter dedicates his performance to his mom and his dad. His mom apparently woke him out of bed and forced him to audition. Hey, Jared is McPhee Redux! I never saw that one coming. He sings “Let’s Get it On,” but he’s not as hot as Jenry Bejarano. Technically, this is a good performance, but it’s just a little bit too showboaty (and, frankly, not sexy enough) for a sensual song like this. He starts bringing it home a little bit towards the end, but it’s still waaaay too hammy for my tastes. Up in the rafters, Sundance is enjoying this just a little bit too much. Randy, predictably, loves the hamminess. Paula begins to (brace yourself) make a whole lot of sense by telling Jared that this isn’t the type of song you need to push, but she loses herself giggling at her inadvertent double entendre, because she is twelve, and also drunk. Simon agrees with me, in that he’s glad Jared made the effort, but thought it was more appropriate for the Love Boat than for Idol. Seacrest makes a comment about “Wow…the things we’ve all done to that song. Memories.” Ryan, I just don’t wanna know.

Dedicating this song to…his parents…is AJ Tabaldo. He sings “Feelin’ Good,” which nobody sings like Nina Simone, and while he’s not technically terrible vocally, I’m getting…well, let me put it this way: I have no idea which way AJ swings, and I frankly don’t care, but I’m just getting a complete drag queen revue from this performance. The sashaying, the hip-twirling, the finger-snapping…this is not to say it’s a bad performance, but it was just odd. The judges all really like it, though, even though Simon manages to subtly work in the fact that he’s getting that vibe from AJ. Oh well. Happiness all around, and I enjoyed AJ tonight, and I hope he sticks around.

We cut to Sanjaya Malakar, who I swear to God is the product of a genetic experiment that involved splicing the DNA of Donny Osmond, Leif Garrett, and Sendhil Ramamurthy (because yeah, the kid could be Sendhil-hot when he grows up). Sanjaya dedicates his song to his grandfather, which is a nice change of pace, and the baby-photo montage reveals that Sanjaya has always had beautiful flowing locks. He sings “Steppin’ Out,” his hat cocked at an oh-so-Mario Vazquez angle. Yawn. I’m sorry. This child is previous, and I really, really want to like him and see him as more than an adorable puppy, but this is just terribly boring. I think it’s a lazy performance, as if Sanjaya thinks that the crooner-type intonations don’t actually require him to hit the notes. Randy kind of sums up my thoughts exactly. “Bad high school talent show,” he calls it. Sanjaya smiles in a transparent attempt to not cry, which is terribly heartbreaking. Simon agrees with Randy, calling it a “ghastly lunch” where the parents ask the children to dress up and sing. Where does he get these metaphors? Is there a manual? Can he publish a book? I’d buy it. Sanjaya says he picked the song to celebrate the great classics of music and dedicate it to his grandfather. Simon looks completely dumbfounded by that. He also says that he knows he needs to step it up, though his voice is really, really gulpy at this point.

Chris Sligh has made the inexplicable decision to sing Ray LaMontagne’s “Trouble,” which Taylor Hicks popularized — and killed on — last year. This is gonna be interesting, to say the least. Sligh says that he loves his song pick and hopes America will love it too. He dedicates it to his wife Sarah, who is…wow, really hot. Go ‘head, Sligh! And he does “Trouble.” It’s closer to Ray’s original version than Taylor’s was, to the point where Chris is actually trying to imitate Ray’s unique tone. Anyway, he really doesn’t do much with the song, except tack a completely inappropriate glory note on the end that totally destroys the raw emotional impact of the song. Boo! Randy says he liked it, as did Paula, but she tells him to watch pitchiness and getting ahead of the music. Simon says the song proved that Sligh was a “very good singer.” Seacrest mentions that Taylor did it last year, and Sligh, ever the deft politician, calls his version “different,” which it was. And truth be told, it was a superior arrangement. But I still give Taylor the upper hand here for sheer rawness and emotion. Sligh is just a dude who sings to me right now, although thus far he’s definitely the best of the night.

Nick Pedro dedicates his song choice to his adorable girlfriend Caitlin. Awww. He’s gonna sing “Fever,” as done last year by Paris Bennett. Hmm. He’s got some wonky facial expressions going on, and I think this song is revealing just how weak Nick’s voice is. Either that or he’s deliberately trying to sound hoarse for effect. Simon is snapping along to it, though, which is kind of cute. He brings it home in the end, though, with a little raspiness, and it’s at that point that I figure out who he reminds me of vocally: Vic Fontaine. Sci fi geeks unite! Randy and Paula approve. Simon thought it was good, but that it was a bit lacking in the charisma (and wardrobe) department. Simon gives props to the drummer, though. Oh, looks like he’s running with “Vote For Pedro.” Shocker.

Bringing us some “Virtual Insanity” is Blake Lewis. The song is dedicated to his parents. Hey, there’s Blake with his hair flattened down, and totally not as cute. But I’m really beginning to warm up to him, so it’s all good. Personality-wise, anyway. I think the song’s a bit too high for him, and he’s speak-singing, which is my personal annoyance. He scats and beatboxes, and it’s excellent, as it always is, but again, I’d put him in the class of good-but-not-great vocalists. Aside from the beatboxing, he just sounds like…a guy singing. Randy and Paula love it (do they dislike anything?); Simon thinks that the first part of the song was pure imitation, the second was great, and the third part was a freefall of pitch problems. It’s always nice to be backed up by Simon. I disagreed with him a lot last season, particularly when it came to Taylor, but I think he’s pretty well spot-on this season. Cut back to Blake, doing an Ashlee-Simspon-style hoedown, calling his singing style a “vocal entendre,” and cutely beatboxing with Seacrest. Aww. I really do like the guy more and more each week, even if I’m not 100% sold on the singing.

Brandon Rogers’ song is dedicated to his grandmother. He turns in a ballady version of “Time After Time,” and…okay, I just love Brandon’s voice, but he always sounds like he’s blending in. I guess it’s just the background singer in him, or it could be the pleasant softness of his vocals. Randy doesn’t think the song did enough to show what Brandon has. Brandon responds that he was trying to put his heart into the song, and that he didn’t think it needed a whole lot of “extra.” And you know? I totally agree with that sentiment, but I think he might have gone a little too deep into the emotion. Simon calls Brandon’s emotive plea “rubbish,” and Paula vehemently disagrees. Hmm. Interesting little debate here. On the one hand, being a Taylor fan, I’m totally all for emotion and nuance trumping glory notes. On the other hand, you can bring emotion and nuance and all that jazz and still sound fantastic vocally. It’s not a zero-sum game between “emotion” and “glory noting.” There is a happy medium. Brandon calls out his father’s birthday; Simon announces that he likes puppies. Adorable.

Chris Richardson has also dedicated a song to his grandmother, who is apparently a sparkplug who “lives like she’s 20.” Does she work at Hooters? Sorry, I can’t resist. It’s so easy. And so disgusting. Richardson is singing “Geek in the Pink” by Jason Mraz, doing his stupid little dance that’s like a combination of Fantasia’s Bobo, Elliott’s Hobbit Hop (which Elliott sloughed off mid-season), and delirium tremens. He’s such a boy band reject and I just don’t get his appeal at all, and I don’t think he’s a particularly good singer, particularly because he sounds less like he’s singing and more like he’s blowing his nose. Inexplicably, Randy says it was hotter than the original. Ugh. Figures. He’s the only one in the competition I don’t like, which naturally, because karma has afforded me one victory, means that he’ll win. Well, good for Idol for shamelessly cashing in on the fame of existing artists and producing rote copycats, I guess. First Daughtry, who is more Nickelback than Nickelback is these days, now Chris Richardson, the incarnate Second Coming of Justin Timberlake. Yawn.

Wrapping up the episode in the pimp spot is Sundance Head. He dedicates the song to his son Levi. Pictures of Sundance, his baby, and his wife, who is also really adorable. Sundance gets all teary thinking about how he’s missing his child’s first smile. And he brings a little “Mustang Sally.” It starts off meh, but he hits some nice raw notes in there. Too bad the song’s so one-note, though. I do love when Sundance gets a little gruff, though. That’s where his voice needs to be. He pulls off a great scream, no doubt in tribute to his dad’s “Treat Her Right” wail, and all in all, I think the song really showed off Sundance’s talent, if it wasn’t a bit gimmicky. Simon says it was really good, which it was, but that he also thinks Sundance can do better, which he can. Sundance, whose hair looks a lot better tonight, talks about his son some more, and Seacrest directs him to the viewscreen, where a large picture of Levi — with a painted-on goatee — is being flashed. Hee.

Best of the night: Either Phil or Sundance.
Best performance of the night: Blake Lewis. Not sold on the vocals, but love the style.
Worst of the night: …sorry, Sanjaya. You’re a cute kid and all, but your time is up.
Weirdest of the night: AJ Tablado. A good performance, to be sure, but just so strange!

On the horizon.

Not too many spoilers floating around out there, and much of what I’ve found is just speculation and conjecture at this point, so I wouldn’t exactly attach a lot of reliablity to them. But here’s what I’ve got so far:

Sundance Head: May be singing “Mustang Sally.” Eep. In my opinion, this is waaaay too gimmicky of a song for him, and he needs to return to the type of languid, bluesy songs that he navigated so well during his audition. On the other hand, you know VFTW is loving this.

Chris Sligh: “Trouble” by Ray LaMontagne. Heh. I still haven’t warmed up to Sligh and his strategery, but if this is true, then in the chess game that is American Idol, this is one baaad move. Taylor Hicks kicked ass on this song last year — even Simon Cowell called it an “excellent vocal” (before, of course, proceeding to dis Taylor’s strange leather jacket. I, personally, found the leather jacket strangely hot, if perhaps a size too small…). Even attempting to do this song is going to cause rumblings among Taylor’s fanbase, which I kind of thought Sligh was trying to court, what with his anti-Idol image and all. If he falls short of Taylor’s excellent version, he falls short. Or, God forbid, he’s better than Taylor, or different enough to render any comparisons moot, or the judges don’t care and just decide to use this as an excuse to rag on Taylor some more, he runs the risk of really alienating Taylor’s fans, which could spell trouble for him. After all, he didn’t do so hot on DialIdol last week.


Recaps may be a bit slow this week…it’s paper-writing season, so unfortunately, form and style must take precedence over American Idol.

For now, check out this interview USA Today snagged with Roy Head. Apparently, Sundance isn’t the younger Head’s birthname after all; it’s a nickname that Daddy Roy gave him at birth, but legally, the kid’s name is Jason. A shame, really.

Tampa loves Taylor.

From Tampa Bay Online:

Watching Taylor Hicks strut, hunch, wiggle and shake his booty is so much more fun than listening to his “Taylor Hicks” CD which is a rather bland mix of blues and pop…The [Soul] Patrol was out in full force at the Tampa Theatre Thursday night. The place was sold out and Hicks brought them to their feet often. The audience looked considerably older than the fans of previous “American Idol” winners. You wonder how Hicks won the season five “Idol” competition when his audience of more than 1,400 was much more senior and smaller than the 18,000 who watched Justin Timberlake Thursday night just down the street…(Ed. note — de facto winner DAUGHTRY! is playing even smaller venues.)

Yeah, it’s amazing, isn’t it? I still can’t wrap my mind around how all those arthritic geezers managed to pick up a phone and punch in a number without having to take a handful of medication, or even a nap in between.

Don’t get me wrong. I like Taylor Hicks, especially when he cuts loose and covers Ray Charles or does the Doobie Brothers’ “Takin’ It to the Streets.” He also threw in a little “Tupelo Honey” and “Brown-eyed Handsome Man” Thursday night…It’s great that Hicks won “Idol” because he is such an anti-Idol type. This 29-year-old good ol’ Alabama boy has a decent voice and his musical heart is in the right place. That post “Idol” album was probably more reflective of what Hicks’ music producer Clive Davis felt was commercial. Hicks told the crowd that his new single off the album, “Just to Feel That Way,” almost didn’t make the cut. He said he wasn’t sold on it but “Clive called and said “You need to do this’ and I said ‘Yes, Boss’.” (emphasis added)

And yet, he managed to save that song. I’d totally hate it if it weren’t for the life and feeling Taylor manages to inject into it.

As for the rest of the review…I don’t think it’s really up for debate anymore that people much prefer seeing Taylor live to listening to him on a CD. I like them both equally, but I realize that I’m in the minority, and that’s fine. Taylor will do okay, even if he doesn’t manage to outsell High School Musical.

Shoes and ships and sealing wax.

I didn’t want to address this, but looking at my blog stats, I feel like I have to. Unless American Idol takes some sort of official action, I won’t be addressing the Antonella Barba scandal. You won’t find pictures (or links to the pictures) of her here, nor will you find long, drawn-out analyses of her behavior. If you want that, go to TWoP.

Check out the Taylor Hicks with Taylor comments on the ongoing “who’s the real Idol” debate:

In an interview, Hicks said that to measure him against, say, Daughtry or Underwood is a case of apples and oranges. “You know, it’s funny: People want to try and compare us, and that’s hard to do because I’m not singing rock and I’m not singing country,” he said. “So to compare us — I find that interesting because we’re in different genres.” Hicks said “interesting” with a droll air that suggested what he meant was “inappropriate” or “misinformed.” “If I was a rocker, I could see that [comparison],” he said. “But I’m a blue-eyed soul performer.”

Hee. This was also an interesting tidbit:

Whatever the size of the audience for his brand of contemporary blue-eyed soul, Hicks called the album “definitely a step in the right direction,” adding, “I worked very closely with that producer to capture who I am as an artist and who I was as an American Idol.”

A “step in the right direction,” not, note, “the embodiment of who I am musically and professionally.”

Entertainment Weekly continues it’s tradition of scoring the first round of Idol post-bootee interviews. This week, Shirley Halperin spoke to Paul Kim, Rudy Cardenas, Amy Krebs and Nicole Tranquillo about their short runs on the show. Paul Kim insists that he’s been singing barefooted for five years and that it wasn’t a “gimmick,” just him being him. (Note to Paul — longevity does not a personality trait make; a gimmick’s a gimmick). Kim also reveals that “Careless Whisper” was only his sixth song choice, the first being a Donny Hathawy number (the first five wouldn’t clear), and that he was sick with bronchitis before the performance. Despite his illness, Kim says that at the end of the day, he just didn’t sing as well as he needed to, and that’s why he got booted off. (Hee. Refreshing to see an Idol take personal responsibility for a sucky performance, isn’t it?) Rudy Cardenas is keeping his chin up — he says his performance was “a little much,” but at the same time, he completely embraces the cheesiness that is American Idol. Aww. I kind of like him now.

Amy Krebs wishes Paula had stuck up for her a little bit more (um… you weren’t entitled to it, sweetie), but seems to have taken the judges’ criticisms to heart, noting that she’s always struggled with feeling comfortable in her own skin. Oh, and if she were a scented candle, she’d be cinnamon. And Nicole Tranquillo stands by her song choice, regardless of Randy’s “too urban” criticism. I kind of like that attitude — upon replay, her performance wasn’t that bad, certainly no worse than certain people who should have gone home in her place, and it’s just too damn bad that she didn’t fit into the little pre-packaged box the judges had already picked out for her.

Please to enjoy Katharine McPhee’s new video for “Over It.” I guess the plot revolves around her filming a little video (video within a video — how very meta!) about how — you guessed it — “over it” she is, and then giving it to some guy who dissed her. The video in and of itself is done fairly well, although the plot is asinine, as any woman worth her salt knows that giving a dude a DVD of you moping around on a couch over him is just going to make him all the more glad that he got the hell away from you as quickly as he did. But whatever, it’s TRL. Anyway, the weird thing about this video is that Katharine’s face is kind of blank throughout. She does okay as an actress during the plot scenes, when she’s laughing in a car with her friends, then seems a little deflated when she sees the offending dude at a party. But during the narration, she’s like a zombie. Is she wistful and over it? Is she angry and over it? Does she want the guy to know that she wants nothing to do with him again, or does she hope that the DVD of her rolling around on the carpet in a backless dress, hiking her skirt up to mid-thigh, will entice Cheaty McCheatser to come back to her? I don’t get it, and it’s not really Katharine’s fault as much as it is the director’s. I had the same problem with Daughtry’s video. But then again, videos (or songs, for that matter) don’t serve to tell stories these days so much as they serve as a miniature photo shoot for the singer. Meh.

February 2007
« Jan   Mar »

What the kids are sayin’

"I hate them all. The judges, TPTB, the blatant manipulation, the songs, the contestants, everything. I'm a die-hard Cook fan, but for the love of god, at least try to look like you're enjoying yourself up there! Please? Syesha was awesome but she ruined it by being completely shameless and disgusting. Yes, being on American Idol is exactly like the civil rights movement, except for the part where you're fighting to make the world a better place."

"All I can say after the disgusting display tonight of favoritism towards the mediocrity that is David A. - good luck trying to market and make money off of that kid, American Idol. (Not to mention good luck dealing with his father.) All the teeny boppers may buy up his American Idol coronation single, but they will quickly forget about him before the album comes out. And I shudder to think of a David A. album - song after song of unrelenting sameness and heavy breathing. Why they are pimping him for the win is beyond me."

"This show was simply a hot buttered mess tonight. And Jason "needs to be arrested for what he did to I Shot the Sheriff. But I hope he stays. He amuses me. "