10 Happiest Albums of the Decade

Two-thousand through 2010 was a thrilling decade for entertainment. Videogames continually defied storytelling expectation, film delivered both brains and brawn (albeit more clumsily), television consistently impressed both the public (the behemoth that is American Idol) and critics (Big Love), and novels like and Away and The Post Birthday World proved great authors still exist. The most creative growth, however, took place in the realm of music. From the anthem pep of the Red Hot Chili Peppers' Stadium Arcadium (2006) to Britney Spears' darkly futuristic pop in Blackout (2007), Shania Twain's genre-bending Up! (2002) and the solemn free-by-download In Rainbows by Radiohead (2007), music in the 2000s was as diverse as it was frighteningly similar. Shimmering electro-pop (Madonna's Confessions on a Dance Floor, 2005) and slinky throwback (Solange's Sol-Angel and the Hadley Street Dreams, 2008) were trends both widespread and pervasive, from superficial pop to underground hip-hop. But ten albums stand out in my mind as excellent, innovative from a creative standpoint and, as is most important to The Happiest Activist, a hell of a fun listen.

10. Kings of Leon, Only by the Night (2008)


















It's rumored Caleb Followill wrote Only in a single night, beginning with the haunting, desperate "Closer," about a vampire looking to feed. This is not their Happiest record of the decade, but the general tone and musicality of the album wins with major style points.

Happiest Track: "Revelry"


9. Sam Sparro, Sam Sparro (2008)


















Sparro's debut is unabashed 80's-style pop, but occasionally-deep lyrical content appears when least expected.

Happiest Track: "Too Many Questions"


8. Robyn, Robyn (2008)

















Simple, perfect pop.

Happiest Track: "Handle Me"


7. Feist, Let It Die (2004)

















Happiest Track: "Inside and Out"


6. Lady Gaga, The Fame Monster (2009)
















I was tempted to rank this higher on the list--no other female pop record was quite as fun in the 2000s--but the album is still fresh.

Happiest Track: "Bad Romance"


5. The Postal Service, Give Up (2003)

















Possibly also the Happiest Album Art Award?

Happiest Track: "Nothing Better"


4. Lily Allen, Alright, Still (2006)


















Lily Allen was and still is the most believable pop music brat. And her brand of humor has been copied again and again...(Katy Perry, Ke$ha, Kate Nash...lot's of K's, for some reason)

Happiest Track: "Knock 'Em Out"


3. Fiona Apple, Extraordinary Machine (2005)


















Happiest Track: "Better Version of Me"


2. The Killers, Hot Fuss (2004)


















There are a lot of faux-Brit rockers in the music world, but none as slick, sexual or pared down as Brandon Flowers and his less-relevant band members.

Happiest Track: "Smile Like You Mean It"


1. Amy Winehouse, Back to Black (2006)


















Cutting selections from this list--which began much larger than the ten you see here--took a lot of careful consideration and research. I wanted to include a Madonna album, simply for the impact she's had on my life in the past decade, but no single album is better than the above ten (2000's Music came close). I also wanted to throw in Rihanna's Rated R (2009), which is altogether a better record than The Fame Monster but, let's all be honest, the Lady deserves a spot here. There were a hundred others--Shakira (for She Wolf, 2009) and John Mayer (Continuum, 2006), M.I.A. (Kala, 2007) and even electro-pop goddess Annie for the dazzling, whirling disco of Anniemal (2004). But when I had to make a choice for Happiest album, there was no doubt in my mind. Amy Winehouse is a legend in the making. She has a voice without peer and an ability to write lyrics as sharp as shattered glass--and as heartbreaking as the worst breakup you've ever been through. Paired with Mark Ronson's addictive beats and as-of-yet-unmatched talent at mimicking the rasp of vintage recordings, one can only hope her heart is broken again. And that's black.

Happiest Track (of the Decade): "Back to Black"

New Music: Remix Update

Club music right now...not so hot. DJs, however, seem to be having a lot of fun remixing pop classics.

Remix #1: Katy Perry's "Hot N Cold" by Yelle. Stripping away the addictive chorus, Yelle's replaced the bubblegum for a little alternative Big League chew: "You're hot, hot, hot/Then you're cold, cold, cold/You tease me, tease me, tease me/Sayin' you'll call, call, call." It's not an improvement, necessarily, but the remix brings something fresh (and yes, French) to the pop feast offered by Perry's original. It's like bourbon in a Jell-O cake.

Remix #2: Madonna's "Miles Away" by Johnny Vicious. In contrast to Oakenfold's superior remix of "Give It 2 Me" earlier this year, Vicious has downplayed the vulnerable elements of "Miles Away" in favor of earthy beats and tropical sound effects. In a smart editing move, Vicious didn't remove any of the guitar strumming of the original. So, in a nutshell, Vicious implemented a few light tweaks in the bodice of the original, leaving a slightly more robotic (but nontheless more danceable) version of Madonna's failed second Hard Candy single.

Remix #3: Justin Timberlake's "LoveStoned/I Think She Knows" by Justice. The brizilliant French duo, seemingly unable to craft anything sub-par, took Justin's original--by far the most offbeat of Futuresex/Lovesounds' singles--and transformed the lazy inbetween-chorus valleys with vibrant string sections and a stunning musical breakdown as the finale. (Did that make any sense?) However, Justice outdid themselves with vintage Britney...

Remix #4: Britney Spears' "Me Against the Music" by Justice. Remixes as surprising and revolutionary (in accordance to the original) as Justice's take on "Music" are rare. With anthemic, urgent horn-like synths and breathing-in-reverse effects at every chorus, this is a redeaux only the French could put out. (Teehee!) Britney actually sounds better with a rougher production, with Madonna's section sounding right at home, and it leaves me wondering if hiring Justice as either of their primary producers for their next albums would be a forward-thinking move. For Madonna, a sound like Justice's seems like a natural next step in her evolution into post-apocalyptic football player, but with Britney this should probably stay a one-time deal. It's the best remix of the four, but Britney is sexy; Justice is sexy. Together, they're almost cliche.

Britney Spears' "Circus" Vid=Symbolically Meaningful?

This screen capture from Britney's "Circus" video is a beautiful emotional statement. It's about strength, and courage, and defiance. None of these things describe Britney Spears, but I love this image and I wanted to post it.

Almost like Annie Leibovitz' Vogue shoot for Baz Luhrman's failed "epic," Australia. Oh my god, does a "failed epic" also equal an epic fail??

Review: Circus, by Britney Spears

Realizing I'm way late on the Britney train, you know I would not be able to resist reviewing Brit's new album. Not only is it a source of massive buzz, but it's an exciting new beginning for Britney, musically--and before I start, I might as well acknowledge I won't be using "Spears" as Brit's designation in this review. Madonna's Madonna, Kanye is Kanye, and Britney is Britney.

Circus is a fun, no-holds-barred pop album. Musically, it is not as addictive as Britney's previous effort, the freakishly appropriate Blackout--she may never again have a song as instantly danceable as "Break The Ice" or as anthemic as "Piece of Me"--but there's no doubting the Princess of Pop has returned in full force, ready [for her puppeteers] to conquer the music world. Or, conquer in the sense that a half-crazy, white trash mother of two can.

Really, the songs on Circus are divided into two categories: pop-orgasm good and shoot-my-ears off bad. The head of the pack, "Kill the Lights," is a tragedy told through curtains of dark lace and some of the best vocal editing since Justin Timberlake's Futuresex/LoveSounds. Oddly, many of the cuts on Circus bring to mind Timberlake's strongest work; "Shattered Glass" contains portions that sound directly lifted off "LoveStoned," while the bass line of "Blur" could be swapped for "What Goes Around/Comes Around" and no one would think twice.

The album contains other obvious inspirations as well. "Lace and Leather," one of the sickest tracks on the album, begins with the same three notes as Madonna's "Dance 2night" off Hard Candy. This doesn't render Circus any less of an album, but it detracts from the overall experience when so many tracks seem bled off the bodies of other great works. The former track, despite its introduction, presents Britney at her sexiest. She's flirty and assertive, singing lyrics that perfectly illustrate the visual scene the producers are painting. "French fingertips/red lips/bitch is dangerous," she purrs, "Cotton candy kiss/can't wait/for my suger rush." (Candy? Really? Madonna alert number two!)

"Unusual You" is one of the few risks on Circus, and whether or not it pays off is up to individual interpretation. Personally, I find it kind of sad, Britney comparing herself to "a boxer in the ring." (Madonna alert number three!) I want happiness for Britney, as does most of the caring public, but I'm not sure she'll ever find it. A love like the kind she sings about in "Unusual You"--angelic, surprising, unworthy love--is something she has shown a knack for avoiding. Production-wise, it serves as a needed break in the loud pop extravaganzas of "If U Seek Amy" and "Shattered Glass," a kind of subdued confessional reminiscent of "Heaven On Earth," one of the few non-bare-it-all tracks on Blackout.

Without a doubt, the most musically, lyrically, vocally unique (and risque) song on Circus is, well, a bonus track. "Phonography" is a nearly flawless pop track, with an ice-cold synth and a roiling vocal sample pushing the TMI boundaries into overdrive. Written about a long distance lover, whom she hopes to keep that way, "Phonography" is just hot; it's "old Britney" by New Britney. Another example of her producers' kitschy use of verbiage, Britney sings (in a stagnant hum that works in context), "I like my Bluetooth, buttons coming loose/I need my hands free/then I let my mind roam, playing with my ring-tone/I've got serivice, you've got service/baby we can talk all night."

"Phonography" is clever. "If U Seek Amy" is clever. Tracks like these make a pop fan hope Britney truly is on her way to becoming The Artist of the New Millenium once again. This album may not fit the bill--"Mmm Papi" and "My Baby" pretty much diminish any hopes of an Oops!...I Did It Again kind of album--but Britney started in this business with the same core idea of beginning with something clever, something that catchtes the listeners' ears. All of Britney's biggest hits were made with metaphor and double entendres. "...One More Time," "Toxic," and "Slave 4 U" utilized a combination of Britney's sublime sexuality (that's the correct usage, by the way) and lyrics that just almost give it to you. Circus appears to be following a similar route, and is leagues better than Blackout.

If there's one thing Circus teaches us as a pop audience, it's "A Coherent Britney is a Better Britney." And a Circus is better than a Blackout.

I have entered the Circus

Circus is downloading--LEGALLY!!!--off iTunes as we speak. Full review by, oh, say...MORNING?

At this moment...

...I'm thinking Britney Spears' "Circus" (the track, not the album--yet) is one of the best pop tracks I've heard since "Toxic." With a breathy sample as a bass line, a characteristic slowly becoming Britney's signature, the track is consistently surprising. From the initial pitch rise, reminiscent of Madonna's "Miles Away," it's clear Dr. Luke wants to keep it all in the family. Bringing together the best of Katy Perry's crunchy samples off "I Kissed A Girl," the tenacious throbbing of Confessions on a Dance Floor, and even Paris Hilton's redunkulous pop ease, if you have any taste at all, you will hate this track.

But for the rest of us ear candy addicts, "Circus" could not be sweeter. It's better than "Womanizer," easily, and the lyrics are wholly believable: "All eyes on me/ in the center of the ring/ just like a circus."

In other news, I still haven't listened to The Killer's new album. Like, I have owned it for almost a week now--preordered it and everything--but I'm just way to preoccupied with vintage Madonna and Buckcherry's "Crazy Bitch."

Happy late Thanksgiving, btdubs!

Is Katy Perry the next Madonna?

Right now, everyone's "the next Madonna." Lady Gaga, Rihanna, and Britney Spears, the latter of which being the most realistic candidate, have been crowned the New Queens by blogs and newpapers and films and, in Britney's case, lyrically. There's a reason this debate is going on, too--with her last album, Madonna proved she has lasting power unlike what Confessions on a Dance Floor seemed to suggest. She's got radio power. At 50. With kids. And a divorce.

So, really, who's the next Madonna? (True answer: NO ONE! But let's forget that for a second.) In a moment of inspiration, like, three seconds ago, I decided that the wielder of the Madonna torch is Katy Perry. Think about it--how did Madonna start in this business? Stirring up controversy, courting the gay audience, and setting clothing trends. Granted, Madge had a flawless first album, while Perry's is just oookaaaayyy, but still: the amount of public controversy lil' Katy's "Kissed A Girl" caused is kind of remarkable. It's become this litmus test when you meet someone. "Do you like 'Kissed A Girl?' No? Oh, that sucks. [I.e. Well, our friendship is over.]" Girls who like it are either personally self-affirmed or, well, actually into kissing girls, while those who hate it just hate it because it makes them "good" girls.

Who surrounds Perry on her tour? For better or for worse, a bunch of effeminate makeup artists and dancers and stylists. Who happen to be male. What about the trend-setting style? I will be the first to say Perry's no SJP, but I know more than one girl who's bought a short jumpsuit "like Katy Perry!"

This is truth. Eat it. IT'S KRUCHY!!

P.S. Not my image.

New Music: Beyonce and Britney, bitches

So Beyonce's new album dropped today. And it's not that great. There isn't a single song that even compares to "Upgrade U" or "Ring the Alarm," and forget about "Crazy In Love"--there's just no denying that I Am...Sasha Fierce is a major step down in musical quality from B'Day and Dangerously In Love.

THAT SAID, however, it's still a solid R&B/pop album with some seriously sick tracks. (I feel I must mention Beyonce's position in the industry is officially at risk; Rihanna offers everything Beyonce offers, except authenticity, and garners a helluva lot more publicity.) While "Radio" is a ripoff of Fergie's offbeat musical style, "Diva" is ridiculous good. Like, number-one-for-twelve-weeks good. With a simmering high hat and one of the best hooks in recent memory, "Diva" is simultaneously a signature Beyonce track and a complete departure; it's grimy and rough, but believable. I mean, really, she's Jigga's wife. There's no one in the industry more qualified to sing "a diva's a female version of a hustla/of a of a hustla" than Beyonce, the now and forever Queen of Hip Hop. Rihanna may be a style goddess, but she doesn't command power like Beyonce.

After a few listens, though, one does wonder how it would sound with Rihanna's of-the-now vocals.

Now, we all knew it would happen, but who thought it would be so soon? Britney's entire album Circus leaked online this week, and I'm not the only one voicing my opinion of the new tracks. In general I'm gathering a lukewarm reception among Britney fans--lots of "more of the same" comments--but I couldn't disagree more. I think the tracks are fantastically produced and Britney sounds wholly present in every song. I forgot what a non-drugged, non-drunk, non-digitized (LOLZ yeah right.) Britney sounded like, but listening to "If U Seek Amy," the last four years of bald, paparazzi-dating-Britney seem to just disappear. Aside from "Amy," truly her most lyrically clever song ever and one of her most fun, "Kill The Lights" and "Mannequin" are just killer. The chorus of "Kill The Lights" is particularly strong, with a sequence of heavy breathing reminiscent of "Break The Ice" off Blackout.

It's both a good and bad time for music. On one hand, superstars are releasing albums left and right (The Killers and Kanye are next), but our expectations are high. Beyonce could not reach them, but I sincerely hope the others can.

New Music: David "lil' Archy" Archuleta, Paris Hilton, and far more relevant artists

The past few weeks of music releases have been strong. Not strong in the lasting sense--no one's going to care about Lloyd or David Archuleta's new releases ten years from now--but as a sensory distraction, nothing can beat "Year of the Lover," off Lloyd's Lessons In Love, functioning as this fall's "Bed." It's dirty, but it's beautiful. Lloyd comes off a little lizardy in my opinion, slithering around in a manner far too like a salmonilla-spreading komodo dragon, and that detracts from the believability of the track. (I'm not sure calling Lloyd "lizardy" constitutes an argument, but listen and you'll get me.)

If there's one thing studying at UT has taught me, the weekends are all about letting loose. Interpret that as you will, but two songs I never would have listened to have been brought to my attention by the kind DJs of 6th. "Swing," from some irrelevant "rapper" that is too unimportant to be named, is an infectious track with a bass line so deep is basically encourages drunken girls with fake IDs to grind until one of them passes out. Literally, I (or he, or she, or you) walk into a venue, and if "Swing" is playing, I (or he, or she, or you) will follow his commands: "Oh sh**/shake that a**/now move it like you're tipsy/...drop it low, down to the floor..." Sick. The only knock I have against "Swing" is Soulja Boy's verse, the musical equivalent of vomit on a birthday cake. Watch out, SB wants you to "let him" pull "yo hurr." Really, pull her hair? That's hot now?

The other track is an ancient Jibbs number called "King Kong." Funny story: the first time I ever heard this track was in Finish Line Sports with two friends of mine. One of them, Kevin, was bobbing to the beat (=faggoty sentence, sry), and I totally blew it off. That was over two years ago.

"King Kong" is a blast. It's so straightforward. There's really nothing beyond a chopped and screwed vocal sample as a clever metaphor for massive car speakers. In fact, speakers so heavy they flatten tires and make the "doors fall off." Jibbs, like the rapper behind "Swing," is certainly not a player in the industry this year, but he's got a great sense of humor. Remember "Chain Hang Low?" You know, the creepy track with children singing modified nursery rhymes about gangster bling?

I'm so sick of writing about Kylie Minogue. I don't like her near as much as my blog would lead you to believe. She's fun, but I can only use the word "glittery" as her musical description so many times before...well, before I just stop writing about her. "Nu-di-ty," a track I resisted for a while, is wholly worth a $1.07 purchase. Off X, her now-defunct "comeback" album (that I don't hate), "Nu-di-ty" sounds like a better version of Britney's "Piece of Me." Admittedly, it's odd hearing a fully-grown, married mother commanding, "let me see nudity," telling her partner to "expose it," but at least she hasn't developed that scary stretched-face muscleman syndrome so common in her elderpop counterparts. You know who I'm talking about. The beat hops and changes tempo constantly, synchronizing with the jumpy vocal samples; the production on "Nu" is better than your typical pop track, which is why it won't be a hit, but it's also why it's worth your time.

The Killers have a new single out called "Spaceman," and it's kind of a disappointment. I was really hoping for a Sam Sparro-esque influence for their upcoming album, but it sounds like they'll be going for a Sam's Town/Hot Fuss hybrid. Blippy production with cryptic lyrics and obnoxious vocal flourishes from Flowers.

David Archuleta released his debut album this Tuesday, and while it's getting ravaged by critics, I happen to like a few of the tracks. "Running" is nice--the critics' darling--but, like the rest of the album, it's boring. Nice, though. "Touch My Hand" is scaled-back and emotional, hinting at a bright future for Archuleta. It's clear by the cover art that Clive Davis will be pushing for a more grown-up image--the Jonas Brothers have the tween market carved clean--and I wonder how radio will respond. "Crush" was fluttery and accesible, but "Touch" will be the real test of his mettle.

Now, for the grand opus of guilty pleasures. Paris Hilton, in case you didn't know, released a horrid album a year or so ago, to little commercial fanfare. She had some random reggae track called "Stars Are Blind," which was too lyrically confusing to be enjoyed by a Paris Hilton fan, who's reading experience likely chalks up to the back of cereal boxes and the track listings for old Backstreet Boys' albums. BUT, her second single, "Nothing In This World," is one of those irresistable tempations in life, like reading People at the checkout line or watching Into The Blue, and after two years I gave in and downloaded it. The chorus is, um, kind of like an exploding pinata, and if the song was a pinata, "Nothing In This World" would definitely be made out of paper mache, and would definitely contain those nasty candy neclaces. If you can tell, I'm avoiding any direct compliments to this track, which is simply a reflection of my natural instincts telling me to avoid humiliation.

New Britney Promo=FAIL

I'm not sure what Britney's camp was going for here. Kind of creepy/ugly/"Is this how you want me to pose?"

None of those things are good things.

For many good things, however, here's a link to a full-on stream of five songs from Circus. It's going to be good. And, as always, all seven of you can look forward to a full review come December 3rd.

"Mannequin," "Kill The Lights," and "Out From Under" are looking like early standouts.


Yeah...not sure that "don't rape me" face expression is helping things.

UPDATE: The more I listen to that stream, the more excited I get. "If You Seek Amy" (get it?) is fantastic. "Circus" is fantastic. Like, I guess that means they're all fantastic. Ugh. Need new descriptive adjectives.

Britney Spears' "Circus" cover makes me hmm.

I don't really get the image being projected here--Faith Hill at prom?--but I think it will sell. Again, though, after seeing this and the cover for Blackout, I have to wonder: Who the hell is her graphic designer and why is he so bad??

UPDATE: Oh my god, I just figured it out. It's Kevin Federline.

Music: Beyonce, Cassius and Madonna's sampling minions

The music market is great right now. Musical variety is here, the big names in L.A. are all releasing records this fall, and the club scene is finally warming up. (Ironically enough, as the actual clubs start losing their drunken patronage.) Beyonce's "If I Were A Boy" is decent enough emopop, but I doubt the release will be followed with serious airplay. It's too similar to what Rihanna has done with "Take A Bow," which was in turn a total ripoff of B's own "Irreplaceable." Then again, maybe the departure from traditional Beyonce R&B/Pop--you know, spasmic, over-the-top faux-female empowerment anthems with blaring horns and whistles--is just what she needs. Another problem going for her is a lack of media exposure; it's not that the paparazzi doesn't want her picture (she's looking great in a bikini again), it's that she and Jay-Z avoid them like the plague. Good for their sanity, but not for B's career. There's a price to pay for no longer being a prominent figure in pop culture. Britney Spears just demonstrated how buzz can lead to success with the so-so "Womanizer" which currently sits at the top spot of the Billboard Hot 100. The only way B can come back in full force is with another "Crazy In Love," not likely considering her first two singles.

In other music news, when I started creating my pre-Madonna "Sticky and Sweet Tour" playlist this morning I was led on an iTunes jungle discovery bonanza, where one song led to another and another and another. "Toop Toop" by Cassius is a fun, grungy electronic track similar in spirit to Kylie Minogue's "2 Hearts" (the best track off last years' X), with pegged-on, blippy effects that feel slapped together. The track has a garageband feel to it, which is simply a statement of opinion--not neccesarily good or bad.

I was also turned on to Fedde Le Grand, an electronic artist who apparently missed his bubble of opportunity a long time ago. I only say this because his latest single was in September of 2007, and in DJ circles you have to come hard and fast to maintain the momentum of one good single. (Justice and Simian Mobile Disco are exceptions to this rule, as their talent far surpasses anything put out by your night-to-night DJs.) Regardless, Le Grand did have two good singles, but his only lasting relevance is Madonna's current tour, where she actually covers his breakout track, "Put Your Hands Up 4 Detroit." The song is a blast, with unpredictable synths and Moby-esque vocal samples. The electronic elements are handled in a innovative way that hints at the curiosity of the DJ, with ups and downs and a fun little series of saxophone samples that are instantly recognizable (despite my never hearing them before). Le Grand copies his own brilliance--take that last word with a whole spoonfull of salt--in his follow-up, "Let Me Think About It." Once again channeling Moby, Le Grand tries his hand at funk-electro, to mixed results. Imagine the seuxality of SMD's "Hustler" mixed in with "Put Your Hands Up." It's great for the two minutes it plays, but beyond that I'll stick with the electronica champs, thank you.

Sexy Days are here again

Who could have known a time would come when the old Britney would once again become nearly identical to the new Britney? Is this above photo 1998 or 2008? If you can't tell, neither will I.

WHAAAAAAAAAATTTTTT

• MTV
• Music Videos
• MTV Shows
• Entertainment News

DAMN.

But, is she really??

• MTV
• Music Videos
• MTV Shows
• Entertainment News

Smart, that is.

EFFING SICK

Britney Spears.

No way.

("Magnet," the single she dances to in the pre-VMA leak earlier this month, is far better than this crap. But this crap is SO GOOD!)

The VMAs, Christina Aguilera, Rihanna and T.I....at light speed!

The 2008 MTV Video Music Awards was, predictably, an ass-kissing festival for Britney Spears and a chorus of other pop stars who sang and danced their way onstage to thank God for their little moon-men statues and their managers, for crafting them into good girls gone bad or celibate virgins, in the case of the Jonas Brothers. There was no edge--even Russel Brand, hilarious in Forgetting Sarah Marshall, was offensive and awkward, speaking so loudly his mic sounded like he was performing stand-up eight feet under the Thames.

There were three stand-out performances, however (of those I watched--I don't need to explain my lack of interest in the entire VMAs): Rihanna and T.I. with "Living My Life," officially the new "Good Life" and most certainly destined to become a number one hit. Like, there is no question. It will be number one within three weeks.

Christina Aguilera (dressed like Lady Gag--er, Marvel Comic's Black Cat, right) did a great job, as well, aside from her horrible lipsynching. Her new song is called "Keeps Gettin' Better," apparently, though that doesn't quite make sense considering the only bit of lyric I understood: "BITCH!" The performance was a burst of fresh air in a night of lackluster performances and ugly vocals. Even Rihanna seemed to struggle on her live performance of "Disturbia"--I've seen Rihanna live, and she never struggled to hit mid-range notes...

P!nk was amazing, but what did we expect? She's a phenomenal vocalist with a brilliant single. She's got attitude, a jagged sex appeal, and an air of authenticity when she hits the stage. Nothing unexpected or surprising--just P!nk.

(Speaking of P!nk, she's officially number one on the list of performers I want to see in the upcoming year.)

(And speaking of seeing performers, I'm seeing Yelle in October and I could almost explode I'm so excited)

Beyond the VMAs, I officially have my iTunes account back and went overboard by purchasing 10 songs that have caught my attention in my recent wanderings. One of these is Brandy's "Right Here (Departed)," a beautiful track with deep emotional appeal. Brandy is an iconic R&B artist--if you are not a fan, listen to "Talk About Our Love," an era-defining slice of piano-driven hip-hop--and her new single comes with quite a bit of baggage attached. For anyone with an actual life (i.e. anyone who doesn't read celebrity gossip), Brandy got into a car wreck a few years ago and killed a man. She wasn't sent to jail, but in the eyes of many is a murderer. That's quite a reputation going into her fifth album.

Regardless, "Right Here" is a powerful track, almost too powerful; I'm certainly not experiencing any heartbreak, but Brandy's emotive vocals almost convince me I am.

I want to keep writing about Michelle William's "Hello Heartbreak," a SICKKK club track, but I'm a bit buzzed on wine and losing my creativity...

New York Fashion Week, Britney, and The Cool Kids

...starts today.

This has been one of the most academically stressful and fulfilling weeks of my life. Ironically, it's also my first week at UT. Coincidence, I think not.

Musically, nothing's changed. I lost my debit card two weeks ago--new one on the way, thank God--and thus lost my ability to iTune. However, I have great friends with great music taste. For this brief period of time, I have adopted their music libraries, and I'm thrilled with some of my discoveries.

"88," by The Cool Kids, a Chicago-based hip hop group, offers a refreshingly minimalist interpretation of mid-90s rap and dance. I'm a huge fan of music in the early 90s--and late 90s, for that matter--when bands like No Doubt, Sublime, Sugar Ray and Salt-N-Pepa took the musical concepts of the 80s (synthesizers, music without contextual meaning) and engineered them for a modern, Clinton-era audience. Women were confused about their place in society ("Push It," Alanis Morisette's "Ironic") and in personal relationships; academic success took second place to occupational success (becoming a lawyer, a doctor...); the economy was prospering (Madonna's "Ray of Light," the rise of 14 year-old girls as an actual musical force); and, of course, the Clinton-Lewinsky affair ruptured a major valve in America's value pipeline. ("Isn't the president supposed to be our moral leader?" Sadly, Reagan's trickle-down policies don't quite work here...)

Regardless, "88" is a total blast musically, and I appreciate the clever lyricism and great tone of their lead vocalist. At first listen, The Cool Kids could be Lupe Fiasco with Pharell Williams as producer, but it's a bit too low-key and simple for Williams' ambitious energy.

I was going to talk about Spoon, a band I have inexplicably bought albums of and never listened to, and how I think I've finally reached the right age to appreciate their talents (or, at least their 2007 single "Don't You Evah"), but something else has hit my radar courtesy of Perez Hilton. Britney Spears just may be coming back. I'm no Britney Spears die-hard, but I find her an interesting social experiment indicative of 21st century America. (Amy Winehouse is more the British version, except is actually talented and may actually not survive her next album.) Whatever. "Blackout" was a fine pop album, if you can ignore the image of Britney Spears jiggling and drunk at the VMAs in 2007, with standout tracks like "Get Naked (Got A Plan)," "Radar," and the underrated "Break The Ice."

A video surfaced this afternoon of what appears to be Britney Spears practicing a dance routine to a new song, I guess for a next album--the kind of album they rush out so we forget the last one--but also, possibly for a performance at this Sunday's VMAs. Could it be true? Obviously it's Spears dancing in the video, and dancing very very well (to a very very cool song), but is the Spears' camp really bold enough to present Spears, who was the veritable trainwreck of the century just this June, to the public once again? What's so interesting to me is how Spears was so out on the pop radar that to own her last album was to own the album of some underground band. To know her songs, tracks like "Radar" for instance, was to know undiscovered pop songs of an artist years gone by. It was treated like the latest Hot Chip album, discussed among hipsters in American Apparell--she was so underground she was almost "in," a radio outlaw and newly-minted underdog.

However, with her body back in shape, her children under court protection, and her (least we forget) bipolar disorder under control, (maybe we should forget.) her career is evidently ready for a reboot. I'll be paying attention, because this trainwreck just so happens to be the defining figure of my generation.

"I'm an f***in' red neck!"

The above quote is by Sarah Palin's daughter's babydaddy. Yeah, I'm reallllly feelin' McCain's choice for VP--but not for the same reasons the RNC.

(I'm thinking the babydaddy's quote needs to be put on a tee-shirt right away. Like, now. And then "McCain/Palin 08" on the bottom. I would wear that schniz all day long.)

So, random stuff today.

1. Britney Spears got hot.

2. This is hilarious.

3. We all knew it was coming. Kanye, Jay-Z, and T.I. ripped off M.I.A.'s "Paper Planes" and crafted a sick track called "Swagger Like Us." It's not even on iTunes--not to mention radio--so you'll have to figure it out downloading it on your own (wink), but I highly recommend you do. The production is dirrrty and reminiscent of T.I.'s King album, with the M.I.A. sample just odd enough that the track retains some authenticity. The lyricism is, naturally, the track's greatest asset: "I can wake up and be the shi*t and the urine." I don't need to tell you who delivers that one.

Awkward moment: Jay-Z...uhh...sings "Ho-o-va" after his verse, sounding like an animal you'd shoot on a safari.

4. The reemergence of "Ma Ya Hi" by Numa Numa. Rihanna's singing it, rappers are sampling it...it's It.