The first "Hangover" was a surprise smash, an R-rated comedy that raked in more than $277 million at the domestic box office. So, a sequel was inevitable. And judging from the first day's box office, people are awaiting it with open arms.
But is it any good? That's another story.
Most are like Times critic Betsy Sharkey, accusing the film of existing purely as a crass cash-grab without any good comedy to justify itself. She writes, "Me, I'm left with morning-after regrets. Lost is the fresh, perverse, painfully politically incorrect R-rated pleasure that came when 'The Hangover' ate up the summer of 2009."
Leonard Maltin disliked the film as well, but he's been around too long to exert much effort bashing it. This is one of those critic-proof movies. "In a more perfect world, customers who feel burned by second- and third-rate sequels would be wary the next time a number 2, 3, or 4 came to their neighborhood multiplex. But you know what Barnum said...."
Manohla Dargis earns her New York Times paycheck by going a little "Da Vinci Code" on the film: "If you superimposed a diagram that mapped out all the narrative beats, characters and jokes in 'The Hangover Part II' over one for 'The Hangover,' the two would align almost perfectly."
Roger Ebert's two-star review gives the film credit for having a few laughs (mostly because of Zach Galifianakis), but Ebert takes offense at one photograph, seen during the film's closing credits. Like the first one, "The Hangover Part II" saves the final revelations of the boys' wild night out for a montage at the end. "It's not that I was shocked. This is a raunch fest, yes, but not an offense against humanity (except for that photo, which is a desecration of one of the two most famous photos to come out of the Vietnam War). The movie has its share of laughs."
"The Hangover Part II" does have its defenders, and not just in the quote machines and junketeers that you'd normally expect to like the film. Critic Christopher Orr, at that bastion of highbrow reportage and opinion the Atlantic, is a fan. He writes, "Despite its slavish fidelity to the structure of its predecessor, Phillips's sequel manages to take each plot twist and twist it further.... It's a testament to the strength of that model, though, that despite its derivative nature and other shortcomings, 'The Hangover Part II' is brutally funny. Again."
Critic Ben Mankiewicz, host from another bastion, this time of "good cinema," Turner Classic Movies, is also a fan. He defends the movie in his review on Huffington Post, acknowledging its critical drubbing while pointing out the bright spots that actually make the film work (in his opinion). "As for the rest of the movie, eh, not so much, but hardly a disaster. Think of it as a decent high school football player who suffers from having an older brother who was all-state two years earlier."
Did you see "The Hangover Part II"? Did you find it to be a wild night out or reason for next-day regrets?
Saturday, May 28, 2011
Spoken-word musician Gil Scott-Heron dies in NYC
NEW YORK — Musician Gil Scott-Heron, who helped lay the groundwork for rap by fusing minimalistic percussion, political expression and spoken-word poetry on songs such as "The Revolution Will Not Be Televised," died Friday at age 62.
A friend, Doris C. Nolan, who answered the telephone listed for his Manhattan recording company, said he died in the afternoon at St. Luke's Hospital after becoming sick upon returning from a European trip.
"We're all sort of shattered," she said.
Scott-Heron's influence on rap was such that he sometimes was referred to as the Godfather of Rap, a title he rejected.
"If there was any individual initiative that I was responsible for it might have been that there was music in certain poems of mine, with complete progression and repeating 'hooks,' which made them more like songs than just recitations with percussion," he wrote in the introduction to his 1990 collection of poems, "Now and Then."
He referred to his signature mix of percussion, politics and performed poetry as bluesology or Third World music. But then he said it was simply "black music or black American music."
"Because Black Americans are now a tremendously diverse essence of all the places we've come from and the music and rhythms we brought with us," he wrote.
Nevertheless, his influence on generations of rappers has been demonstrated through sampling of his recordings by artists, including Kanye West.
Scott-Heron recorded the song that would make him famous, "The Revolution Will Not Be Televised," which critiqued mass media, for the album "125th and Lenox" in Harlem in the 1970s. He followed up that recording with more than a dozen albums, initially collaborating with musician Brian Jackson. His most recent album was "I'm New Here," which he began recording in 2007 and was released in 2010.
Throughout his musical career, he took on political issues of his time, including apartheid in South Africa and nuclear arms. He had been shaped by the politics of the 1960s and the black literature, especially of the Harlem Renaissance.
Scott-Heron was born in Chicago on April 1, 1949. He was raised in Jackson, Tenn., and in New York before attending college at Lincoln University in Pennsylvania.
Before turning to music, he was a novelist, at age 19, with the publication of "The Vulture," a murder mystery.
He also was the author of "The Nigger Factory," a social satire.
A friend, Doris C. Nolan, who answered the telephone listed for his Manhattan recording company, said he died in the afternoon at St. Luke's Hospital after becoming sick upon returning from a European trip.
"We're all sort of shattered," she said.
Scott-Heron's influence on rap was such that he sometimes was referred to as the Godfather of Rap, a title he rejected.
"If there was any individual initiative that I was responsible for it might have been that there was music in certain poems of mine, with complete progression and repeating 'hooks,' which made them more like songs than just recitations with percussion," he wrote in the introduction to his 1990 collection of poems, "Now and Then."
He referred to his signature mix of percussion, politics and performed poetry as bluesology or Third World music. But then he said it was simply "black music or black American music."
"Because Black Americans are now a tremendously diverse essence of all the places we've come from and the music and rhythms we brought with us," he wrote.
Nevertheless, his influence on generations of rappers has been demonstrated through sampling of his recordings by artists, including Kanye West.
Scott-Heron recorded the song that would make him famous, "The Revolution Will Not Be Televised," which critiqued mass media, for the album "125th and Lenox" in Harlem in the 1970s. He followed up that recording with more than a dozen albums, initially collaborating with musician Brian Jackson. His most recent album was "I'm New Here," which he began recording in 2007 and was released in 2010.
Throughout his musical career, he took on political issues of his time, including apartheid in South Africa and nuclear arms. He had been shaped by the politics of the 1960s and the black literature, especially of the Harlem Renaissance.
Scott-Heron was born in Chicago on April 1, 1949. He was raised in Jackson, Tenn., and in New York before attending college at Lincoln University in Pennsylvania.
Before turning to music, he was a novelist, at age 19, with the publication of "The Vulture," a murder mystery.
He also was the author of "The Nigger Factory," a social satire.
Jeff Conaway
Jeff Conaway, who has died aged 60, was a Hollywood actor best known for his role as Kenickie, leader of the T-birds, in the film Grease (1978), starring John Travolta and Olivia Newton-John.
Something of heart-throb in the 1980s, Conaway regularly appeared on hit television shows, including four seasons playing the out-of-work actor Bobby Wheeler in Taxi, alongside Danny DeVito, Andy Kaufman and Judd Hirsch.
Both Grease and Taxi were hugely successful, and Conaway was seldom out of work, appearing in most of the popular television shows of his time, including Murder She Wrote and The Love Boat. A fan of science fiction, in the 1990s he visited the set of the television series Babylon 5, and while there was offered a bit part which grew into a regular role as the recurring character Zack Allen. He was eventually given a full-time role in the series.
Jeffrey Charles William Michael Conaway was born in New York on October 5 1950 . Having an uncle who worked for Nasa, as a boy Jeff read books on jet propulsion. His ambition was to be an astronaut, but then an optician told him that he required glasses. “My dream died before it started — acting hadn’t been an option, but I was desperate for adventure,” he said in 2002.
Conaway made his showbusiness debut on Broadway at the age of 10 in All the Way Home (1961), alongside Lillian Gish, Aline MacMahon and Colleen Dewhurst. After a year at North Carolina School of the Arts, he returned to New York to study film and theatre while also playing in a rock band. In his final year at college, 1972, he replaced Timothy Meyers in the lead role of Danny Zuko in the Broadway production of the musical Grease.
After some early television appearances in shows such as The Mary Tyler Moore Show, Kojak and Happy Days, he appeared with Michael Caine in the Second World War thriller The Eagle Has Landed (1976). He was then offered the role of Kenickie in the film of Grease (1978), which became an international hit. Although he said he enjoyed working with John Travolta, Conaway thereafter felt typecast: “I couldn’t shake it off. I couldn’t go to the john without being sung a tune from Grease by fans.”
None the less, he joined the cast of Taxi, and in later years he appeared in films such as The Patriot (1986); Elvira: The Mistress of the Dark (1988); and in Ghost Writer (1989), as Tom Farrell. Two of his films — Sunset Strip (1993) and The Last Embrace (1997) — were widely regarded as flops, but he won praise for his performance in Shadow of Doubt (1998), alongside Melanie Griffith and Tom Berenger.
Conaway went on to direct music videos and plays in small theatres in Los Angeles. In 2006 he was in the reality television programme Celebrity Fit Club, but walked out after only three weeks. Two years later, on Celebrity Rehab with Dr David Drew Pinsky (better known as “Dr Drew”), he explored live on air his addiction to prescription opiates and his turbulent relationship with his on-off girlfriend, the singer Vikki Lizzi.
Despite his problems, Conaway continued to work, completing a series of low-budget films.
Jeff Conaway — who claimed to have attempted suicide on 21 occasions — was found unconscious on May 11, and is thought to have taken an overdose of prescription medication. He never regained consciousness and was taken off his life support machine on May 27.
After a brief first marriage, in 1980 he married the actress Rona Newton-John, sister of Olivia Newton-John. They divorced five years later, and in 1990 he married Keri Young; that union was also dissolved.
Something of heart-throb in the 1980s, Conaway regularly appeared on hit television shows, including four seasons playing the out-of-work actor Bobby Wheeler in Taxi, alongside Danny DeVito, Andy Kaufman and Judd Hirsch.
Both Grease and Taxi were hugely successful, and Conaway was seldom out of work, appearing in most of the popular television shows of his time, including Murder She Wrote and The Love Boat. A fan of science fiction, in the 1990s he visited the set of the television series Babylon 5, and while there was offered a bit part which grew into a regular role as the recurring character Zack Allen. He was eventually given a full-time role in the series.
Jeffrey Charles William Michael Conaway was born in New York on October 5 1950 . Having an uncle who worked for Nasa, as a boy Jeff read books on jet propulsion. His ambition was to be an astronaut, but then an optician told him that he required glasses. “My dream died before it started — acting hadn’t been an option, but I was desperate for adventure,” he said in 2002.
Conaway made his showbusiness debut on Broadway at the age of 10 in All the Way Home (1961), alongside Lillian Gish, Aline MacMahon and Colleen Dewhurst. After a year at North Carolina School of the Arts, he returned to New York to study film and theatre while also playing in a rock band. In his final year at college, 1972, he replaced Timothy Meyers in the lead role of Danny Zuko in the Broadway production of the musical Grease.
After some early television appearances in shows such as The Mary Tyler Moore Show, Kojak and Happy Days, he appeared with Michael Caine in the Second World War thriller The Eagle Has Landed (1976). He was then offered the role of Kenickie in the film of Grease (1978), which became an international hit. Although he said he enjoyed working with John Travolta, Conaway thereafter felt typecast: “I couldn’t shake it off. I couldn’t go to the john without being sung a tune from Grease by fans.”
None the less, he joined the cast of Taxi, and in later years he appeared in films such as The Patriot (1986); Elvira: The Mistress of the Dark (1988); and in Ghost Writer (1989), as Tom Farrell. Two of his films — Sunset Strip (1993) and The Last Embrace (1997) — were widely regarded as flops, but he won praise for his performance in Shadow of Doubt (1998), alongside Melanie Griffith and Tom Berenger.
Conaway went on to direct music videos and plays in small theatres in Los Angeles. In 2006 he was in the reality television programme Celebrity Fit Club, but walked out after only three weeks. Two years later, on Celebrity Rehab with Dr David Drew Pinsky (better known as “Dr Drew”), he explored live on air his addiction to prescription opiates and his turbulent relationship with his on-off girlfriend, the singer Vikki Lizzi.
Despite his problems, Conaway continued to work, completing a series of low-budget films.
Jeff Conaway — who claimed to have attempted suicide on 21 occasions — was found unconscious on May 11, and is thought to have taken an overdose of prescription medication. He never regained consciousness and was taken off his life support machine on May 27.
After a brief first marriage, in 1980 he married the actress Rona Newton-John, sister of Olivia Newton-John. They divorced five years later, and in 1990 he married Keri Young; that union was also dissolved.
Tuesday, May 24, 2011
'Real Housewives of New Jersey' recap: Are they still talking about the christening brawl?
When you start a season with a raging brawl in the middle of a baby christening, there’s nowhere to go but up. Or is that down?
The calm after the Jersey Housewife storm is filled with fall-out: As Teresa tells her friends, the fight between her husband (Joe Guidice) and her brother (Joe Gorga) at her nephew’s christening party was like "a bad bad dream." A bad bad dream in which her brother pounds his fists on the banquet table until a mob erupts into violence so chaotic and widespread that even Bravo’s multiple cameras can’t show us what exactly is going on.
Which is just as well — if we knew exactly what had happened, it wouldn’t be as much fun to hear the different parties trotting out their own versions of how things unraveled last week.
Joe Giudice — the instigator of the violence, according to some — says understatedly: "I got a little upset because [Joe Gorga] banged the table."
Caroline, seemingly playing the voice of reason this season, doesn't care who started it. She tells Teresa that she and her sister-in-law, Melissa Gorga, better make up fast: The two are scheduled to walk in the Posh Fashion Show together a few days later.
Teresa brushes her off. "I know how to handle my family. I'm the matriarch of my family," she announces.
Cut to the Gorga household members, who are seething over all the times that Teresa slighted them in the past and rehashing the christening throwdown.
"I looked at her with my eyes," says Joe Gorga. "[Teresa] knows me." Chimes in Melissa’s cousin Kathy (she of the enormous pop-eyes): "He gave her the warning. She should have known. He's a Gorga.”
At this point, Gorga starts banging the table again. Is table-banging going to be his version of a catchphrase?
Even though it's Halloween, there's little time spent on trick or treating. Instead, the episode careens toward the Posh Fashion Show, signaling that fur will fly there.
Caroline’s husband, owner of the club hosting the event, offers her a seat in the middle of the room. "That's not the best seat,” Caroline says with a laugh, showing the only shred of humor in the episode. “I want to be by the door for a quick escape."
At the event, dueling conversations ratchet up the tension. While getting her hair done, Melissa tells Kathy, “I want the acknowledgement of what happened and you [Teresa] caused it and Joe charging my husband caused a ruckus."
On the other side of the wall, Teresa tells Jacqueline, “The fashion show is not the place for a family thing to be spoken about.”
And then the two angry posses collide in makeup room. Fake air kiss ensues before they retreat to their corners.
"She acted exactly how I expected," Melissa simpers.
“Melissa doesn’t faze me,” Teresa snarls. “Do I look fazed? Nuh-unh.”
The fashion show itself barely registers — Melissa flounces down the runway wearing something that looks like an exploded pigeon, and Teresa follows suit in a black, wet-look minidress. (Caroline notes sadly that Teresa’s heart isn’t in it: "She's got a lot on her mind.... I felt bad for her.")
But how can we even mock the tacky couture when Teresa’s voiceover is promising some kind of vicious resolution?
"Tick tick tick," she mutters.
The suspense is suspended 30 seconds later as Kathy pulls Teresa aside and tries to defuse (or is it ignite?) the situation. "I see the lights on but — knock knock knock — is anyone home?" Kathy taunts.
It’s back to contrasting she said/she said accounts of the fight until Kathy makes the mistake of mentioning that Teresa wasn’t looking after her baby daughter during the christening melee.
“Do. Not. Go. There!” Teresa bellows. Caroline takes the ongoing bickering as a cue to send Teresa’s mother and mother-in-law out of the room for a drink. "As a mother, I don't want to see family made a mockery."
Until next week, that is.
The calm after the Jersey Housewife storm is filled with fall-out: As Teresa tells her friends, the fight between her husband (Joe Guidice) and her brother (Joe Gorga) at her nephew’s christening party was like "a bad bad dream." A bad bad dream in which her brother pounds his fists on the banquet table until a mob erupts into violence so chaotic and widespread that even Bravo’s multiple cameras can’t show us what exactly is going on.
Which is just as well — if we knew exactly what had happened, it wouldn’t be as much fun to hear the different parties trotting out their own versions of how things unraveled last week.
Joe Giudice — the instigator of the violence, according to some — says understatedly: "I got a little upset because [Joe Gorga] banged the table."
Caroline, seemingly playing the voice of reason this season, doesn't care who started it. She tells Teresa that she and her sister-in-law, Melissa Gorga, better make up fast: The two are scheduled to walk in the Posh Fashion Show together a few days later.
Teresa brushes her off. "I know how to handle my family. I'm the matriarch of my family," she announces.
Cut to the Gorga household members, who are seething over all the times that Teresa slighted them in the past and rehashing the christening throwdown.
"I looked at her with my eyes," says Joe Gorga. "[Teresa] knows me." Chimes in Melissa’s cousin Kathy (she of the enormous pop-eyes): "He gave her the warning. She should have known. He's a Gorga.”
At this point, Gorga starts banging the table again. Is table-banging going to be his version of a catchphrase?
Even though it's Halloween, there's little time spent on trick or treating. Instead, the episode careens toward the Posh Fashion Show, signaling that fur will fly there.
Caroline’s husband, owner of the club hosting the event, offers her a seat in the middle of the room. "That's not the best seat,” Caroline says with a laugh, showing the only shred of humor in the episode. “I want to be by the door for a quick escape."
At the event, dueling conversations ratchet up the tension. While getting her hair done, Melissa tells Kathy, “I want the acknowledgement of what happened and you [Teresa] caused it and Joe charging my husband caused a ruckus."
On the other side of the wall, Teresa tells Jacqueline, “The fashion show is not the place for a family thing to be spoken about.”
And then the two angry posses collide in makeup room. Fake air kiss ensues before they retreat to their corners.
"She acted exactly how I expected," Melissa simpers.
“Melissa doesn’t faze me,” Teresa snarls. “Do I look fazed? Nuh-unh.”
The fashion show itself barely registers — Melissa flounces down the runway wearing something that looks like an exploded pigeon, and Teresa follows suit in a black, wet-look minidress. (Caroline notes sadly that Teresa’s heart isn’t in it: "She's got a lot on her mind.... I felt bad for her.")
But how can we even mock the tacky couture when Teresa’s voiceover is promising some kind of vicious resolution?
"Tick tick tick," she mutters.
The suspense is suspended 30 seconds later as Kathy pulls Teresa aside and tries to defuse (or is it ignite?) the situation. "I see the lights on but — knock knock knock — is anyone home?" Kathy taunts.
It’s back to contrasting she said/she said accounts of the fight until Kathy makes the mistake of mentioning that Teresa wasn’t looking after her baby daughter during the christening melee.
“Do. Not. Go. There!” Teresa bellows. Caroline takes the ongoing bickering as a cue to send Teresa’s mother and mother-in-law out of the room for a drink. "As a mother, I don't want to see family made a mockery."
Until next week, that is.
DANCING WITH THE STARS Showdown: And the Winner Is...
And the winner is...football player Hines Ward, with runner up Kirstie Alley, and third place finisher Chelsea Kane. Keep reading for a recap!
Tonight's the DANCING WITH THE STARS season finale! Whether your favorite left early in the competition, or danced for the title last night, all three of the finalists have shown determination, energy, and poise to make it this far.
They're not done yet, though - even though all the votes have been counted, and yesterday's dances are long since over, there's still one more round of scored competition for the contestants to raise or lower their standings.
First, of course, we have to have our weekly dose of starry entertainment. Taking the stage this week are The Black Eyed Peas (who perform their recently released "Don't Stop the Party") and this season's first eliminee Psycho Mike Catherwood performing a skit with some of the troupe. The eliminated contestants also perform takes on their "greatest hits" so to speak, notably Petra and Dmitry performing to Josh Groban's "You Raise Me Up" - with a surprise appearance from Groban himself. Finishing out the entertainment set are the Go-Gos (with their 1980 hit "We Got the Beat") and Sara Evans (performing "A Little Bit Stronger" to a montage of the finalists' highlights from this season).
Read more: http://tv.broadwayworld.com/article/DANCING-WITH-THE-STARS-Showdown-And-the-Winner-Is-20110524#ixzz1NKXIvS7J
Tonight's the DANCING WITH THE STARS season finale! Whether your favorite left early in the competition, or danced for the title last night, all three of the finalists have shown determination, energy, and poise to make it this far.
They're not done yet, though - even though all the votes have been counted, and yesterday's dances are long since over, there's still one more round of scored competition for the contestants to raise or lower their standings.
First, of course, we have to have our weekly dose of starry entertainment. Taking the stage this week are The Black Eyed Peas (who perform their recently released "Don't Stop the Party") and this season's first eliminee Psycho Mike Catherwood performing a skit with some of the troupe. The eliminated contestants also perform takes on their "greatest hits" so to speak, notably Petra and Dmitry performing to Josh Groban's "You Raise Me Up" - with a surprise appearance from Groban himself. Finishing out the entertainment set are the Go-Gos (with their 1980 hit "We Got the Beat") and Sara Evans (performing "A Little Bit Stronger" to a montage of the finalists' highlights from this season).
Read more: http://tv.broadwayworld.com/article/DANCING-WITH-THE-STARS-Showdown-And-the-Winner-Is-20110524#ixzz1NKXIvS7J
Scotty McCreery and Lauren Alaina Compete in American Idol Finale
At the start of the final showdown at L.A.'s Nokia Theatre, Ryan Seacrest described the faceoff between Scotty McCreery and Lauren Alaina as "the boy-next-door versus the Southern belle."
Lauren, unfortunately, had also been doing battle with her own voice – or, more accurately, her voice had been doing battle with her.
During rehearsal she'd blown out a vocal cord. A doctor in black scrubs – wouldn't that cheer you up in the ER? – came out and explained that she'd been treated and would do "great."
Said Lauren: "I'm here, I'm ready to sing, and I'm fine. Don't worry about it."
She said this with a brave smile that was actually not all that reassuring.
But this was live TV, and we were off. And Lauren was right.
The night was broken down into three rounds: 1) The contestants encored their favorite songs from the season; 2) They sang a number chosen by their personal idols – Carrie Underwood for Lauren, George Strait for Scotty; and 3) They performed what would become their first single, should they win.
Round One
Scotty McCreery: Montgomery Gentry's "Gone." Well, he was impeccably smooth. This was even smoother than I remember his original performance, and cool as a sheriff at high noon.
Lauren: Underwood's "Flat on the Floor." Her voice seemed to get lost in the tumbling lyrics, but then a fast tempo has never done her any favors. She's better when she can slowly pour syrup over everything. (I mean that in a good way.)
Jennifer Lopez gave her a standing ovation, but during the performance the camera kept cutting to her in close-up: She had the stern, concerned look of a tree surgeon wondering if branches would have to be cut.
Round Two
Scotty: Strait's "Check Yes or No." Even better, more confident than "Gone," with nice little hiccups in tone. You probably could have told him a country-seeking missile was heading straight for him, and he'd have given the same performance.
Lauren: Pam Tillis's "Maybe It Was Memphis," which she sang in a poufy gold party dress and boots. Much better, because it was more in her wheelhouse, as Randy Jackson might say – she connects better to an undercurrent of emotion.
At that point, Ryan asked the judges to assess the first two rounds.
Praising both singers as "incredible," Randy Jackson gave Round One to Scotty with a slight edge, and Round Two to Lauren, again with a slight edge. Jennifer described the opening round as "explosive," and agreed with Randy's verdicts.
Steven Tyler gave both rounds to Lauren, "but only because she's prettier."
Round Three
Scotty's single: "I Love You This Big." Producer Jimmy Iovine told Scotty it was "a big moment and a big song, and you've got a big voice." Beats me: It was a slow, sincere, porous marshmallow of a song that soaked up a lot of Scotty's ornery strength.
"The range was great," said Randy. Jennifer: "A really amazing job." Steven: "You nailed it again."
Lauren: "Like My Mother Does." Another marshmallow, but melodically richer, and Lauren's a natural for this kind of ballad. Most important, perhaps, she was allowed the supremely sentimental moment of being led by Ryan down into the audience and hugging her own mother, who mouthed "Thank you" to her.
Lauren cried, her mother cried, her dad cried. I mean, come on, didn't you cry? As Iovine put it: "Moms are the bedrock of American society, and they're all going to be moved by this song like crazy."
The judges all loved it, too. Randy gave the round to Lauren with a slight edge, Steven said she'd won it "hands down," and Jennifer concluded: "With that song, you may have just won."
Think Jennifer's right.
Lauren, unfortunately, had also been doing battle with her own voice – or, more accurately, her voice had been doing battle with her.
During rehearsal she'd blown out a vocal cord. A doctor in black scrubs – wouldn't that cheer you up in the ER? – came out and explained that she'd been treated and would do "great."
Said Lauren: "I'm here, I'm ready to sing, and I'm fine. Don't worry about it."
She said this with a brave smile that was actually not all that reassuring.
But this was live TV, and we were off. And Lauren was right.
The night was broken down into three rounds: 1) The contestants encored their favorite songs from the season; 2) They sang a number chosen by their personal idols – Carrie Underwood for Lauren, George Strait for Scotty; and 3) They performed what would become their first single, should they win.
Round One
Scotty McCreery: Montgomery Gentry's "Gone." Well, he was impeccably smooth. This was even smoother than I remember his original performance, and cool as a sheriff at high noon.
Lauren: Underwood's "Flat on the Floor." Her voice seemed to get lost in the tumbling lyrics, but then a fast tempo has never done her any favors. She's better when she can slowly pour syrup over everything. (I mean that in a good way.)
Jennifer Lopez gave her a standing ovation, but during the performance the camera kept cutting to her in close-up: She had the stern, concerned look of a tree surgeon wondering if branches would have to be cut.
Round Two
Scotty: Strait's "Check Yes or No." Even better, more confident than "Gone," with nice little hiccups in tone. You probably could have told him a country-seeking missile was heading straight for him, and he'd have given the same performance.
Lauren: Pam Tillis's "Maybe It Was Memphis," which she sang in a poufy gold party dress and boots. Much better, because it was more in her wheelhouse, as Randy Jackson might say – she connects better to an undercurrent of emotion.
At that point, Ryan asked the judges to assess the first two rounds.
Praising both singers as "incredible," Randy Jackson gave Round One to Scotty with a slight edge, and Round Two to Lauren, again with a slight edge. Jennifer described the opening round as "explosive," and agreed with Randy's verdicts.
Steven Tyler gave both rounds to Lauren, "but only because she's prettier."
Round Three
Scotty's single: "I Love You This Big." Producer Jimmy Iovine told Scotty it was "a big moment and a big song, and you've got a big voice." Beats me: It was a slow, sincere, porous marshmallow of a song that soaked up a lot of Scotty's ornery strength.
"The range was great," said Randy. Jennifer: "A really amazing job." Steven: "You nailed it again."
Lauren: "Like My Mother Does." Another marshmallow, but melodically richer, and Lauren's a natural for this kind of ballad. Most important, perhaps, she was allowed the supremely sentimental moment of being led by Ryan down into the audience and hugging her own mother, who mouthed "Thank you" to her.
Lauren cried, her mother cried, her dad cried. I mean, come on, didn't you cry? As Iovine put it: "Moms are the bedrock of American society, and they're all going to be moved by this song like crazy."
The judges all loved it, too. Randy gave the round to Lauren with a slight edge, Steven said she'd won it "hands down," and Jennifer concluded: "With that song, you may have just won."
Think Jennifer's right.
Sunday, May 22, 2011
Taylor Swift Wins 2011 Billboard Music Awards Top Artist
Honored with the grand prize upon show's end, Taylor Swift was crowned as Top Artist at the 2011 Billboard Music Awards in Las Vegas, Nevada on Sunday evening (May 22).
With the ceremony being held at the MGM Grand, the country darling took home the trophy after beating out fellow nominees Justin Bieber, Eminem, Lady Gaga and Rihanna.
As for the show, the Ken Jeong hosted Billboard Music Awards featured performances by big names including Ke$ha, Nicki Minaj, the Black Eyed Peas, Lil Wayne and numerous other top acts.
With presenters including Selena Gomez, Joe Jonas and Matthew Morrison, the Billboard Music Awards also featured a special tribute to Beyonce Knowles - as she was presented with the Billboard Millenium Award for her undeniably successful career achievements.
Hollywood Gossip
Enjoy the pictures of Taylor Swift at the 2011 Billboard Music Awards (May 22).
With the ceremony being held at the MGM Grand, the country darling took home the trophy after beating out fellow nominees Justin Bieber, Eminem, Lady Gaga and Rihanna.
As for the show, the Ken Jeong hosted Billboard Music Awards featured performances by big names including Ke$ha, Nicki Minaj, the Black Eyed Peas, Lil Wayne and numerous other top acts.
With presenters including Selena Gomez, Joe Jonas and Matthew Morrison, the Billboard Music Awards also featured a special tribute to Beyonce Knowles - as she was presented with the Billboard Millenium Award for her undeniably successful career achievements.
Hollywood Gossip
Enjoy the pictures of Taylor Swift at the 2011 Billboard Music Awards (May 22).
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