Got No, Virginia. Love the songs, but it really does come across as a collection of individual songs rather than a full album. Admittedly, yes, that's what it is since they're a handful of newly recorded tracks and older material. It has a very mixtape quality about it. I may've been able to come up with a "better" track order. But everything sounds good. Even "Pretty In Pink," the sole cover doesn't seem out of place, really. Best bits are "The Mouse and the Model," "The Gardener," "Dear Jenny," and "Ultima Esperanza." It craves to be played loud.

Ironically, I'm starting to think they may really have been better off releasing 2 EPs. But I'll take what I can get. :)

EP 1: Dear Jenny, Night Recon, The Gardener, The Mouse and the Model, The Sheep Song

EP 2: Lonesome Organist Rapes Page Turner, Ultima Esperanza, Sorry Bunch, The Kill, Boston

I guess at that point, "Pretty In Pink" wouldn't fit very well. Ok, bravo.

New Madonna...

In 1994, Madonna released a very R&B-themed Bedtime Stories, which also featured some of her very first dabbles in electronica. From the leaked demo Shep Pettibone-penned "Love Won't Wait," or the eventually released b-side "Your Honesty," you'll hear that Madonna was going for an occasional old-school disco sound in addition to the friendly R&B and lite electronica. One track, "Don't Stop" is actually the only really hold-over from the sound, and it's a good change of pace on a really great album. It sounds like with Confessions Madonna finally got to make her dark disco album, and Hard Candy is her ultra-bright disco album.

First track "Candy Shop" is sprinkled with some candy-sex metaphors but too many to be clever and too few to be consistent. The beats are decent, and her lower range vocals sound great. Her high vocals, however, are a mess. The last minute is pretty painful, and while it sets the album up to be less impressive than one would hope, it doesn't even musically fit that well.

"Give It 2 Me" (which I can't help but think is a way better version of Britney Spears' "Gimme More") doesn't sound like a first track, admittedly, but it would've been a better foot to start on. Scissor Sisters would rock the hell out that song, and that's a really big compliment, you'll learn. For Madonna, the only folly is a Gwen Stefani-interlude (seriously, it's straight out of "Yummy") bit that kills the fun. She quickly recovers, but it's a sharp veer for what was looking to be the song to beat, for best track. It'll end up being #4 best by album's end.

If Stefani had done "Confessions on a Dancefloor," it would have included "Heartbeat." Good beat, good layered vocals (again she's singing a little high but it's processed better), but dumb-as-bricks lyrics. Admittedly, this is is probably her 19th song that is dedicated to the subject of dance as freedom (and "Into the Groove," "Music," "Everybody," "Jump," and "Don't Stop" all did it better), so maybe she's running out of ideas. If that is true, then maybe she should start writing songs about something else.

"Miles Away" has a similar riff as "Love Profusion," which may be intentional (and if it is, that's brilliant; sorta like "Love Profusion" 5 years later). It's a pretty, early 00's-sounding Madonna song that would sit comfortably with "Gone," or "Intervention," but with a bit more of a groove to it. Lyrically, it has a lot of repetition, but it's still one of the strongest. It will also probably be one of the most talked-about even if it never gets released as a single, as it seems pretty clearly about Guy Ritchie, who she is often separated from due to their busy lives. The media will have a field day picking apart the heavy-hearted sigh that comes with lines like "I guess we're at our best when we're miles away... so far away."

The clap-clap-clap of "She's Not Me" is infectious, and her verses are solid. The choruses sound a bit strained, vocally, again. It's also far too long, and features a cameo from Pharrell that needs to be edited out immediately; it is AWFUL. During the bridge, which is pretty decent, she deadpans "I know I can do it better," and she's absolutely right.

A much-hyped track called "Incredible" features the line "sex with you is incredible," but otherwise, it's pretty lame. A stuttering beat that doesn't ever seem comfortable with the melody or the lyrics, it's is long and uninteresting. The synth at mid-point is fun, but it just doesn't go anywhere.

When "Beat Goes On" was leaked on the internet as a demo, it was a pretty low point in Madonna's career. In finished form, with it's bells and glass-clinks, it's better, but still somewhat anemic. Again, better processed higher vocals, tho. A Kanye West cameo actually makes it more interesting; the ONE time a rapper's cameo improves the song. Don't get too used to it, Madonna.

"Dance 2Night" is THIRD dance-is-freedom track of the album, following "Beat Goes On" and "Heartbeat," and it's definitely the most solid. It's got a really cute chorus sound to it and will get your head bopping. Justin Timberlake, who also appears on the single "4 Minutes," adds a bit of "Rock Your Body" disco sweetness to it. If "4 Minutes," with it's Missy Elliot-cribbing horns, had any of it's charm, we'd have a much stronger first single.

Timberlake has a good effect on "Devil Wouldn't Recognize You," which is very much like Timberlake's work with Rihanna ("Rehab") and his own solo material ("What Goes Around...", "Cry Me a River"). It is excellent, and the best song on the album. Apparently when Madonna tries to be Justin Timberlake, it works. When she tries to be Nelly Furtado, it doesn't. Next time: work with Timberlake (or, don't) but leave Pharrell and Timbaland to the nasal, midriff crowd.

Pharrell's "Spanish Lesson" fails on almost every level outside of the beat. Madonna's vocal sucks, the lyrics are painfully bad, and the music is not interesting enough to make up for it.

Final track "Voices" is a better version of Confessions' "Like it Or Not," or a more cynical "Gone" from Music Madonna has made a habit of ending her albums on a quietly anthemic, somewhat reserved downer ever since 1992's "Secret Garden" from Erotica. The methodology is working; they are often some of the best material on the albums. Indeed, "Voices" is very good.

Since Madonna is so versatile, it isn't a big deal to mention that her albums are only as good as her producers. They have all been appropriate for the time, all perfect for the songs, and all exactly where she needed to be, whether she was a lounge singer or in a lace wedding bodice. Hard Candy is a big misstep that may very well score her some hits, but will probably instead just allow media outlets to lace into her for trying so very, very hard to be sexy. She's never had to try so hard before.

Even Erotica, her most sexually upfront and sweatiest adventure, seemed effortless with it's gravelly vox and amazing songwriting. Hard Candy is probably going to just get a whole bunch of people thinking Madonna's the next Dina Lohan: trying very hard to wear the sexy mom jeans and hanging with the DJs at the club. I'm not saying she has to wrap herself in a mumu and sew up her vagina... I'm just saying that what is disposable pop music is acceptable for the wannabes of modern pop; it's a little off-putting from a woman who they will never live up to.

Album: C+

New Dresden Dolls Songs:

"The Kill"
I really liked this song when I had the solo Amanda version. It retains it's slightly menacing, quiet sound, I wish the vocals were a little louder (but that may be a compromise from getting a leaked copy). The lyrics are curious, "I fought the British and I won," "I am... a closeted misogynist." I've never been ooh-ahh about the bridge, "Put Pat Sajak back in office." Mainly because I don't get it. It's an odd-ball, but a good track. The vocal effects are especially welcome, with the echos at mid-point. B+

"Dear Jenny"
An instant favorite, and in the same class as "Necessary Evil" or "Shores of California." Very repeatable, and could make for a good single... well, as good a single as the Dresden Dolls seem to get (little airplay, rare physical discs, and online-only music videos). Love it. A-

"Night Reconnaissance"
Again, another I first new from Amanda doing it solo (and this was one I saw her do live). A lot of fun, but perhaps I've heard it so often already with my solo Amanda-boots so it just seems less shiny compared to the completely virginal "Jenny." I know I love it, tho. A-

Can't wait for the rest of it all.

(for the record, I HAVE heard two other tracks from the 11-track album that were previously made available, "Pretty In Pink" which is cute B-side level track and "Lonesome Organist Rapes Page Turner" which is one of my favorite Dresden Dolls songs... so there are 6 more surprises for me.)

The new Madonna song:

"4 Minutes" features a minute-long intro from Timbaland that does nothing to really introduce the track... the lyrics don't make any sense: "We only got 4 minutes to save the world." Save the world from what? Why do you have 4 minutes? Is the idea that this song is the last hope to save the music world or something? 'Cause, well, you lost. And you only had 4 minutes and wasted 1 on Timbaland robotically saying the main line over and over? Talk about slacker saviors.

It's not an awful song. The horns are cute, if dated, and sound a lot like Missy Elliot 4 years ago. Missy Elliot was good 4 years ago, so no foul. But we've got lame lyrics and self-referential name dropping between Madonna and guest Justin Timberlake that makes "Me Against the Music" sound introspective. Justin Timberlake's only real purpose is to act as MC as he hypes Madonna's name, or well, "muh-DONN-uh" as he calls her. The radio edit (amusingly brief at 3:11) is a better bet as it avoids the initial sounds of what Nelly Furtado thought better to avoid on her last album.

Madonna croons at one point, "The road to hell is paved with good intentions." Bottom line: this song is very well-intended, and somewhere between heaven and hell.

Grade: C

Tracklisting for the Dresden Dolls' upcoming No, Virginia album:

1. Dear Jenny
2. Night Reconnaissance
3. Mouse And The Model
4. Ultima Esperanza
5. Gardener
6. Lonesome Organist Rapes Page Turner
7. Sorry Bunch
8. Pretty in Pink
9. The Kill
10. The Sheep Song
11. Boston

Release date: May 20

Woohoo.

First actual review I've written in months... I was feeling somewhat catty I guess.

( Janet Jackson: Discipline )

Wrote this for Matt's site, outtonight.mobi (which I hadn't written for since September... I do the blog of the mascot). I have to go back and write some post-dated blogs. Actually, a lot of post-dated blogs. Oh, well, here's one... for the present.

Concerts coming up:

- The Dresden Dolls in Norfolk, VA (1/13)

- The Spice Girls in Newark, NJ (2/10)

Hell yes. Spice Girls comes the day after (or potentially 2 days after, depending on scheduling) the Wicked Faire where the White Elephants are performing. Busy weekend. And then Colorado is the week after, for work.

Naturally.

Songs I sang at karaoke tonight:

1. "My Happy Ending" by Avril Lavigne
2. "Like the Way I Do" by Melissa Etheridge
3. "Alone" by Heart
4. "Hey Pretty" by Poe
5. "Right Through You" by Alanis Morissette

(songs I have done previously, for those keeping track at home: "Material Girl" by Madonna, "Papa Don't Preach" by Madonna, "You Oughta Know" by Alanis Morissette, and the Columbia verse of "The Time Warp" with Syler and Jamie)

Comment to this post and I'll give you a letter. In your journal, list 10 of your favorite songs that begin with that letter. Then, offer to give letters to other folks, if you see fit.
Feel free to also post me letters.
To add a bit more depth, I will mention something about the song, whether it's a memory or an association, or a fact that I happen to appreciate.

Joe assigned the letter "P."

- "Papa Don't Preach" by Madonna
The strings, the production, the vocals... there's nothing wrong with this track at all. Definitely one of her strongest mid-80's numbers. Also: "The Power of Goodbye."

- "Paper Bag" by Fiona Apple
Another Mike-from-high-school song. I had a lot of songs for a boy I never never felt reciprocation from. It set me up for a long line of them. This one is just another too-clever-for-it's-own-good Fiona tracks. Very catchy, too.

- "Parasol" by Tori Amos
One of Tori's most straightforward (somewhat), this is one of my very favorites of hers from the 00's. I have identified with the lyrics daily. Also: "The Power of Orange Knickers," "Precious Things," "Purple People," "Putting the Damage On," and "Playboy Mommy."

- "Pavement Cracks" by Annie Lennox
I really like the vocals in this one. Again, great production with this; the transition from subtle soliloquy to uptempo anthem is strong.

- "The Pearl" by Fleming and John
I think my favorite song that's based on a book, this one has gorgeous instrumentation and great vocals. The lyrics sum up the book perfectly and bring the concept behind it a more widespread message. Really great, and a lot of fun to sing to.

- "Poisoning Pigeons in the Park" by Tom Lehrer
My father loved Tom Lehrer when I was growing up. He used this to set the mood for the play that I was in with him, Eugene Ionesco's Rhinoceros. I learned the lyrics young and still love them.

- "Picture" by Kid Rock and Sheryl Crow
I only listen to it on occasion, but this song holds a memory of being with Jay (Boyfriend #2) while pining over Matt, "I can't look at you while I'm lyin' next to him." How far we've come.

- "Pilate's Dream" from Jesus Christ Superstar
One of the best solos from a Broadway show, and my favorite from this one. I just really like the simplicity of it. My favorite version is from the Resurrection recording.

- "Play Dead" by Bjork
I don't like a lot of Bjork if you compare what I truly enjoy compared to her huge, daunting body of work, but what I like, I very much like. This one has some gorgeous instrumentation and really fear and angst in the vocals.

- "Poor Unfortunate Souls" from The Little Mermaid
Sherie Rene Scott has some huge tentacles to fill. Ursula's number is my hands-down favorite Disney song. Pat Carroll is amazing. What I also find fabulous is that two other women I love, Elaine Stritch and Bea Arthur, were considered for the role. I would've loved to hear Stritch's sessions (Bea Arthur never accepted the role).

Other great ones to choose from: "The Past Is Another Land" from Aida, "Party Girl" by Laura Dawn, "Party Generation" by Dar Williams, "Pavlov's Bell" by Aimee Mann, "Petals" by Hole, "Pink" by Aerosmith, "Pinch Me" by Barenaked Ladies, "Piranha Women of the Avocado Jungle of Death" by Christine Lavin, "Playing Cards with Judas" by Sarah Slean, "Plenty" by Sarah McLachlan, "Perfect" by Alanis Morissette, "Polyester Bride" by Liz Phair, "Portions for Foxes" by Rilo Kiley, "Pulse" by Ani DiFranco, and "The Point of It All" by Amanda Palmer.

Comment to this post and I'll give you a letter. In your journal, list 10 of your favorite songs that begin with that letter. Then, offer to give letters to other folks, if you see fit.
Feel free to also post me letters.
To add a bit more depth, I will mention something about the song, whether it's a memory or an association, or a fact that I happen to appreciate.

"N" was suggested by Regina.

- "Never Is a Promise" by Fiona Apple
Likely my favorite Fiona song period, this song resonates a lot lately (and has for about a year an a half, actually). While I can't say that I agree or am affected by 100% of the song, it's masterfully written.

- "Napoleon" by Ani DiFranco
This was an instant favorite when I first listened to Dilate, which is probably Ani's best album (if not my favorite, which is Little Plastic Castle)... this one is very cynical about "the establishment" of fame and it's pitfalls. I am neither famous nor particularly cynical about being so, but it's a good song.

- "New World" by Bjork
At the end of Dancer in the Dark, I just feel drained. My head is a foggy, wet mess. As soon as the credits start, the color rushes back for one of Bjork's very best songs. I listened to this a lot in high school. It proposes death as just one more great adventure, which is not something I am particularly striving for, but it's so sweeping and majestic. Love it.

- "No Good Deed" from Wicked
Idina Menzel sings the fuck out of this piece and I love singing along with it. The best track from Wicked, and painfully true.

- "Not the Doctor" and "Narcissus"
Both great non-singles that show a sarcastic Alanis Morissette just dripping in venom. It's not about her being angry, it's about her being so entirely frustrated and baffled by the men in her life. I relate. And have since high school; "Narcissus" was a song I equated with Mike McL-----n.

- "New" by No Doubt
My favorite No Doubt song (apparently a lot of my favorites actually start with n, although I had a hard time coming up with them) and full of energy. Again, high school. Won't be listening to it for a little(?) while, but great.

- "Necessary Evil" and "Night at the Roses" by the Dresden Dolls
Beach Party and Solemn Nightclub Hymn. Fantastic.

- "Not Ready to Make Nice" by the Dixie Chicks
This is a really well written song that can either be taken literally (Natalie Maines' backlash during the Iraq insurgence) or personally (rebellion against several people who would simply like me "get over it" -- and there are a lot of it's.)

- "Never Let Them See You Cry" by Billie Myers
Her best Tina Turner impression, the ending of this is so guttural and glorious.

- "Never Seen Blue" by Tori Amos
A neglected b-side, this one is quite gorgeous. It does not belong on an album--it stands quietly alone.

Comment to this post and I'll give you a letter. In your journal, list 10 of your favorite songs that begin with that letter. Then, offer to give letters to other folks, if you see fit.
Feel free to also post me letters.
To add a bit more depth, I will mention something about the song, whether it's a memory or an association, or a fact that I happen to appreciate.

Ashley gave me "G" more than a month ago.

- "Galileo" by Indigo Girls
I first heard this song I guess in 1992 or 1993. My sister Sharon really liked it, and I remember watching the music video on MTV. It's stuck with me ever since and it will probably always be linked with Sharon. "How long til my soul gets it right." There are more apt songs for Sharon, but not many.

- "Gardenia" by Garrison Starr
Genevieve got Garrison Starr's CD and while I only know this and one other song ("Madness") by Garrison, I really like this one especially. It's a pretty gorgeous unconventional love song (my favorite type) and basically reminds me that pretty much nothing in my love life has ever been planned.

- "The General" by Dispatch
Yet another song that I learned from a friend, this one was Chris's. It's a low-fi anti-war tune from a band I've never heard of otherwise and I've always just liked the sound of it. I sing the chorus to myself a lot.

- "Girl Anachronism" by the Dresden Dolls
Anyone who has listened to this song and not at least identified a little bit isn't paying attention. Also notable: "Glass Slipper," which breaks my heart and makes me not listen to it too much; "Good Day" which is also classic.

- "Girlfriend" by Avril Lavigne
Don't judge me. This is a perfect pop song.

- "Gloria" by Laura Branigan
I remember loving this song for years before I knew who it was. It's just this anthem that may not truly mean anything specifically but ultimately is universal.

- "Glory of the 80's" by Tori Amos
When getting ready for every winter formal in high school, I listened to this song. It made me feel good.

- "Going Under" by Evanescence
My favorite by this band, it'll always be the song I intentionally put on when interested in hearing them. I just lover her vocals set to this music.

- "Gold Digger" by Kanye West
He may have the ego that makes him generally unappealing, but this is simply irresistable. You'll catch me singing every word if it comes on.

- "Goodbye Love" from Rent
Jonathan Larson's most heartbreaking track. Rosario and Daphne both rocked this.

Letter B from Jordana

- "Baby, Don't You Break My Heart Slow" by Vonda Shepherd and Emily Saliers
Again, another song I listened to a lot when Jake broke up with me; I haven't really listened to it a lot since, but I do like the track.

- "Back to Black" by Amy Winehouse
I think this is one of Wineho's best tracks, actually. It's just this solid break-up track that hurts me so good.

- "Bad Girl" by Madonna
I like the extended version of this a bit more than the album version if only because I love the music so much so a six-minute version just continues it for me. While I can't say I've ever identified with it, it's on one of my favorite Madonna albums, so I hear it a lot. I did get the single when it came out in 1992. I've never understood why Joyce objected to me getting the single "Erotica" when she willingly shelled out for "Bad Girl," which featured Madonna clearly naked, smoking a cigarette under a title that was just as suggestive.

- "The Ballad of Mary Magdalene" by Cry Cry Cry
This song just breaks my heart. Dar Williams is awesome. I first heard this on a tape in Genevieve's car in like 2003. I knew immediately I had to pass it on to Amy and my father, and they both loved it too.

- "Barbie Girl" by Aqua
This is probably one of the best pop songs ever. I think it's actually pretty brilliant. I loved this in 1998, and I still do.

- "Behind Blue Eyes" by Limp Bizkit
I'm a little annoyed that Limp Bizkit covered this because I hate them, but I really like this version, actually more than the Who version. I like to sing along with the staccato "I-I-I" parts.

- "Bitter" by Jill Sobule
One of my favorites by her in general, this one's gotten me through some difficult times on cast.

- "The Boys of Summer" by Bree Summer
Don Henley and the Ataris are fine and all, but the best version of this track is certainly Bree Sharp's. I love this one.

- "Burning Up" by Madonna
This is the best rock song Madonna's ever done.

- "By My Side" from the musical Godspell
This is pretty gorgeous. My favorite version is from the 2001 touring company, although I remember being somewhat fascinated with my father's cassette from it's 1971 run.

Comment to this post and I'll give you a letter. In your journal, list 10 of your favorite songs that begin with that letter. Then, offer to give letters to other folks, if you see fit.
Feel free to also post me letters.
To add a bit more depth, I will mention something about the song, whether it's a memory or an association, or a fact that I happen to appreciate.

Emily gave me "D."

- "David" by Nellie McKay
Self-referential and irreverent, this is one of the songs I will first think to put on when in the mood for Nellie.

- "Dead Is the New Alive" by Emilie Autumn
Sardonic, almost bored, this one's too clever for it's own good.

- "Deeper and Deeper" by Madonna
This is my favorite post-70's disco songs and one of my very favorites of Madonna's, ever. On a school trip (I forget where exactly but something like an aquarium or a sea village), I played the edit and the instrumental on cassette single over and over. I was very gay in 1993.

- "Delilah" by the Dresden Dolls
One of my top 3 favorite Dresden Dolls songs.

- "Dilate" by Ani DiFranco
When Jake broke up with me in 2002, Dilate was tremendously useful.

- "Don't Drink the Water" by Dave Matthews Band
I love Alanis' vocals in this track. Back when I was working on Figg (late 90's or early 00's), I thought of this as a great song to represent the villains' points of view.

- "Don't Leave Me This Way" by Thelma Houston
This is my favorite 70's-era disco song.

- "Don't Talk Just Kiss" by Right Said Fred
Amy, who appreciated the Doors and Mr. Big right about then, rolled her eyes when she discovered I very much liked this song and taped it off the radio. When I was in my earliest taping phase (1991, 1992?), I recorded an innocuous conversation between her and Sharon. Amy, rightfully annoyed, took the mix tape and taped over their discussion, so right before this song came a blast of "Break On Through."

- "The Dope Show" by Marilyn Manson
It scared me how much I liked this song when it first came out in 1998, having sworn to be disgusted by Manson's screams and howls. The accompanying album is brilliant. Someone (Peter?) from high school borrowed my CD single and I never got it back. To this day I swear that the version on that single is different than the album version and can't find it. I don't really want to re-buy the single considering I didn't like the b-sides.

- "Dying (Demo)" by Hole
Bleak and beautiful, this song helped me write a short story for freshman year English class ("Claire") for which I got an A.

Garbage Retrospective out July 19!

CD: Vow, Queer, Only Happy When it Rains, Stupid Girl, Milk, #1 Crush, Push It, I Think I'm Paranoid, Special, When I Grow Up, You Look So Fine, The World Is Not Enough, Cherry Lips (Go Baby Go!), Shut Your Mouth, Why Do You Love Me, Bleed Like Me, Tell Me Where It Hurts, It's All Over But the Crying

I wouldn't take a track off that; it's an excellent collection. Yeah, some singles aren't on it ("Androgyny," "The Trick is To Keep Breathing") but it's packed to the gills as is.

BONUS REMIX CD: The World Is Not Enough (UNKLE remix), When I Grow Up (Jagz Kooner remix), Special (Brothers In Rhythm remix), Breaking Up The Girl (Timo Maas remix), Milk (Massive Attack remix), Cherry Lips (Roger Sanchez remix), Androgyny (Felix da Housecat remix), Queer (Rabbit in the Moon remix), I Think I'm Paranoid (Crystal Method remix), Stupid Girl (Todd Terry remix), Androgyny (The Neptunes remix), You Look So Fine (Fun Lovin' Criminals remix), Push It (Boom Boom Satellites remix), Bad Boyfriend (Garbage remix)

Good mix of released and unreleased mixes and "Androgyny" is represented twice to make up for it being slighted on the first disc (whatever, it's not that great a song).

DVD VIDEO COLLECTION: Vow, Queer, Only Happy When It Rains, Stupid Girl, Milk, Push It, I Think I'm Paranoid, Special, When I Grow Up, You Look So Fine, The World Is Not Enough, Cherry Lips (Go Baby Go!), Shut Your Mouth, Why Do You Love Me, Bleed Like Me, Tell Me Where It Hurts; bonus footage.

Very exciting; I haven't seen half of these.

Haven't written very much as of late. More tired and busy than anything else. And when I'm at the computer, I find myself rarely really interested in typing anything out.

So, selections from the original cast recording:

- Lost my wallet. I'm hoping in my house. I last used it on Monday, I think. I am baffled... I would really like to find it, right now. I have looked what I consider everywhere, but not what the wallet considers everywhere. Because then I would have found it. Right. Fuck.

- I like the new Tori Amos. Maybe a long, rambling review later, but I think it's pretty solid. However, as it has been since Scarlet's Walk, it's far too long. If Tori was still making singles, I could have come up with some awesome track listings that would have kept all the tracks (well, most of them) and presented them in a way that her fans would have creamed over, and wouldn't have cluttered up an album. But what's good is really good. Best: "Bouncing Off Clouds," "Almost Rosey," "Mr. Bad Man," "Digital Ghost," "Body and Soul," and "Smokey Joe."

- Saw Spider-Man 3 and will be in the minority when I say that didn't suck, and that I liked it more than the first two. That said, it wasn't that great (a B- at best) and suffered from pacing, bad casting (Kirsten Dunst, your services are no longer required here), and packing in too many okay subplots instead of one great main one. Tobey Maguire was annoying as ever, Topher Grace was actually quite excellent (I admit, I had my doubts), and while James Franco is quite dreamy, his turn from bad to good was the exact opposite of Hayden Christensen's Anakin from Revenge of the Sith. Just exchange devious Palpatine with dark mojo for unimportant butler with 3 lines of "wisdom."

- Watched Cellular with Matt. While it grows tiresome to hear Kim Basinger exclaim "Oh my God" every few minutes, it was an entertaining 2 hours. Chris Evans was quite likable, and made the picture. And, aw, William H. Macy, you are so cute and clueless. Has he yet played an actual puppy yet, 'cause he could do it!

- Fairytale Night came and went. A lot of work went into it, and the planning for it was so longterm that it's bizarre for it to be over. I actually hesitated in throwing away notes I made for it months ago; I had to remind myself it already happened. It was a good show, though, and I was very happy with each performance. I also enjoyed deviating from the normal Riff Raff of mine and playing the Mad Hatter. My Riff had never been more of a loon. My face did hurt from all that smiling, though. I haven't seen one photo from the actual show, though, which makes me sad since there were a million taken for Zombie Night (awesome in it's own right).

- Went to Switch on Sunday with Jamie. I thoroughly enjoyed myself. I don't think I'm going again any time soon, but I really had fun.

I honestly thought more had happened since last week, but maybe not? Just getting through it all as usual.

The 2nd Dresden Dolls DVD is coming out July 10, and the tracklisting is awesome!

1: Sex Changes, 2: Gravity, 3: Modern Moonlight, 4: Mrs O, 5: Backstabber, 6: Coin-Operated Boy, 7: Two-Headed Boy, 8: Mandy Goes To Med School, 9: Lonesome Organist Rapes Page Turner, 10: Slide, 11: The Jeep Song, 12: Dirty Business, 13: Shores Of California, 14: Sing, 15: Mein Herr, 16: Mad World, 17: Girl Anachronism

* 2 Bonus tracks from the concert
* 26 minute documentary on the creation of the Roundhouse show.

Caught the Dixie Chicks documentary, Shut Up and SIng on my Netflix tonight and I thoroughly loved it. It was a pretty fascinating collection of video footage from 2003 through 2006 and avoided Behind-the-Music type biographing and sentimentalism. It also presented a group of artists that I enjoy musically but don't know much about. As bitchy as I expected Natalie to be (just because I had my own prejudging of her outspoken nature) and Emily and Martie to be eye-rolling after every comment, I found myself really fascinated with all facets it presented.

And multi-faceted it was; it included the footage from the UK concert where Natalie Maines said "Just so you know, we're on the good side with y'all. We do not want this war, this violence, and we're ashamed that the President of the United States is from Texas" and it also included private meetings between the Chicks and their publicists, managers, and other people behind the scenes. To see Maines look like she wants to wretch when it's suggested that The View is willing to include an interview with them as long as it's just an interview (no song), and their own production crew works on the segment, and only Barbara Walters is involved, is just fascinating you-don't-get-to-see-this type footage.

I thoroughly recommend it to Dixie Chicks fans, because while at least a third of it covers the production of their first album after the controversy, it goes beyond the Chicks' music and really is a really interesting story of an artist and her supportive band mates caught in a PR cyclone for a statement made outside the medium that their fans and supporting radio stations started to protest in retaliation. Not bi-partisan by any means (Maines calls George W. Bush a "dumbfuck," for example), but a great cohesive, interesting documentary that never got boring or pandered.

Some stuff...

I - Zombie Night, now a week past, was excellent. I was never really that excited about it, but I managed to channel something into that night (rage, grief, and frustration among them) and it came off splendidly. It ended a bit abruptly, but otherwise a solid night. More importantly, a great show. Among the highlights:

A. "Thriller" as Floorshow going down without a hitch
B. Trixie with me and Genevieve coming out better than either of us could have expected (we did "Bring Me to Life" as a sound drop)
C. all-around Transylvanian-as-Zombies goofiness
D. Liz's lack-of-eyes (Casey is awesome--it came out just as effective as it did for Halloween, and was perfect for Magenta)
E. Regina as a speechless, glaring dead Frank
F. The show belonged to Richy, who folded his legs backwards in half in pants to create a Dr. Scott severed at the knee. It was thoroughly horrifying and delightful.
G. Really, everyone was on their game.


II - Last night's show was also good. It was, uh, intimate, but despite the small numbers, I enjoyed myself. Another coo about Richy: he is one of the Frank's that I've seen that truly 'gets it.' He is never off when off stage, and remains consistent throughout. Jordana's lack-of-eyebrows also looked good, I'm pretty sure Dante could manage to make playing an embalmed gerbil look cluelessly adorable (he filled in for Dr. Scott), and Danielle and I had our usual party for two as Magenta and Riff Raff.


III - HUMANWINE last Tuesday was great! They did a flawless performance.

A. We also got to see NaNuchKa, an predominantly Israeli-born trio (their drummer was American) who were fabulous on stage (even if their CD failed to sound much like the qualities that made me like them on stage) and HUMANWINE themselves were delish. The show was at a bowling ally of all places, in Asbury Park. The stage was ON the allies. I didn't really understand. But, Holly was like inches away from me (I sat on a platform; Holly and M@ on the floor, Brian and the bassist on the stage) and sang her heart out. I even re-listened to For Burning Cities Present (their debut) and realized I liked it after dismissing it earlier. Their new album, FIghting Naked is pretty great with the exception of "Rivolta Silenziosa." I do not like the new version of that.

B. I got to help them carry stuff out to their van afterward, and spend time fawning over Brian Viglione, who signed a drumstick for me. The first opening act's Shannon (her band is Strange Things Done in the Midnight Sun... decent noise with a great female vocalist) told Brian that I was trying to find a way to make Brian homosexual; he was gracious and flattered (shook my hand four or so times during the conversation) and said he was sorry he could not reciprocate but loved me back as a music lover. Ah, well. They are all class acts.


IV - The Rocky Horror Tribute Show on Broadway was a bit of a let-down, even if I consider the moral benefits to raise breast cancer awareness that it was really for. Admittedly, I was not there for that; I was there for Rocky Horror. The $50 ticket seemed a bit steep, but it looked to be a fun night. It was in fact, though short. Neil Patrick Harris performed as the Narrator with this wonderful British accent. He was fantastic; taking AP in stride, commenting on the goings-on, and presenting himself very professionally and faux-stoically. Loved him. Hey, he's gay--forget you Brian! Yeah! Meh, my heart belongs to another. The Eddie was awful, the Janet decent, the Brad blecch, the Rocky great, the Frank (Kevin Cahoon!!) amazing, the Magenta great, the Columbia decent, the Dr. Scott decent, and the Riff Raff (Harris' boyfriend) ok. I did have a great time there; it just seemed to end to quickly, and well, nothing can beat the Broadway cast from 2000. It just cannot be done... and from the sound of some vocal theatrics (namely Janet in "Toucha" and Riff Raff in "Spaceship"), they were trying.

That sums up most of last week (not covered: home life, writing, and work--which all happened, too.) In completely wrong order. I've been cleaning. I'm all sweaty.

"Hey George,
Thank you for the kind words, my friend.
I'm really happy that you liked the HUMANWINE show tonight, we all had a blast.
It's to have a word with fine folks as yourself afterward, too, and I hope the show energizes the rest of your week. We'll see you soon!
Take care! "

-- Brian Viglione on my MySpace, after I posted a thank-you to him for a great show tonight.

More later.