And as always, feel free to e-mail us questions for the podcast.
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Time for a Firewall & Iceberg Podcast Emmy preview so long, it nearly swallowed up the other segments on "Treme," "Partners," and listener mail. Things are getting busy busy busy around here, so look for two podcasts next week.
“It hasn’t been easy to transition into being a mom with two kids, having a career,” Corin Tucker said in our recent interview. Sounds like a struggle that any mother with a job has, and – bless the mothers – they gotta have their outlet. Tucker’s creative outlet is her job. Tucker’s job is rock ‘n’ roll.
Yes, Oscar faithful, we're back. It's time to play another round of contenders vs. pretenders in the always entertaining awards season game. Are you excited yet? (On second thought, don't answer that.)
Pink, whose new album “The Truth About Love” dropped today,” will tour behind the new set starting next year.
The North American arena outing, promoted by Live Nation and presented by Covergirl, will start Feb. 13 in Phoenix at U.S. Airways Center and conclude at Boston’s TD Garden on March 28.
Tickets go on sale to the general public starting Sept. 29.
Read our album review here.
February 13, 2013 Phoenix, AZ U.S. Airways Center
February 15, 2013 Las Vegas, NV Mandalay Bay Events Center
February 16, 2013 Los Angeles, CA STAPLES Center
February 18, 2013 San Jose, CA HP Pavilion at San Jose
February 21, 2013 Houston, TX Toyota Center
February 22, 2013 Dallas, TX American Airlines Center
February 24, 2013 Orlando , FL Amway Center
February 25, 2013 Fort Lauderdale, FL BB&T Center
February 27, 2013 Tampa, FL Tampa Bay Times Forum
March 1, 2013 Atlanta, GA Philips Arena
March 2, 2013 Nashville, TN Bridgestone Arena
March 5, 2013 Detroit, MI The Palace of Auburn Hills
March 6, 2013 Columbus, OH Schottenstein Center
March 8, 2013 Louisville, KY KFC Yum! Center
March 09, 2013 Chicago, IL United Center
March 11, 2013 Toronto, ON Air Canada Centre
March 12, 2013 Montreal, QC Bell Centre
March 14, 2013 Washington DC Verizon Center
March 16, 2013 Charlotte, NC Time Warner Cable Arena
March 17, 2013 Philadelphia, PA Wells Fargo Center
March 19, 2013 Saint Paul, MN Xcel Energy Center
March 23, 2013 East Rutherford, NJ Izod Center
March 25, 2013 Uniondale, NY Nassau Coliseum
March 27, 2013 Uncasville, CT Mohegan Sun Arena
March 28, 2013 Boston, MA TD Garden
Missy Elliott, who will release her first album in seven years later this year, gave a preview of what to expect last night when she dropped two new tracks, “9th Inning” and “Triple Threat.” Both are produced by her longtime collaborator Timbaland.
“Triple Threat,” the first of the two tracks on the embed below, starts as a much harder rap, but, like “9th Inning,” has a strong musical bed that includes strings. This winding, insinuating rhythm features a tribute to Pimp C as Timbaland plays around with his rap from Jay-Z’s “Big Pimpin,” in between rapping about his and Elliott’s dominance — “250 million” sold, he brags.
[More after the jump...]
Dan and I are continuing our Emmy picks for who should and will win in the major categories with a look at the fields for supporting actress in a comedy and a drama.
The Academy has announced key dates in the timeline for this year's Oscars. We already knew the 85th Academy Awards were set for Sunday, February 24. Previously nominations for the Oscars were set for Tuesday, January 15, but the latest release has moved that date five days earlier to January 10. This is still nice for Sundance-goers who won't have to worry about covering the announcement while at the fest, which runs January 17 - 27. But it's also the first time they'll be announced before the Golden Globes are held (on January 13).
Polls for nominations will close on January 3, while voting begins for the second phase of the circuit on February 8, meaning there is nearly an entire month between the nominations announcement and the opening of the polls. That's a pretty long time. Usually it's no more than two weeks or so. How will that time be used for marketing purposes? That's a lot of days to fill, and a lot of time for the discussion to shift in interesting ways -- unless, of course, we're met with an undeniable this season, which is always possible.
No matter what she accomplishes in her career, Carly Rae Jepsen’s defining hit will always be “Call Me Maybe.”
Fans of that charming ditty, which ruled the airwaves this summer, will find plenty to like on Jepsen’s full-length, major-label debut, “Kiss,” out today. Although there is nothing here that surpasses that spiky ear worm, a few songs give the smash a run for its money on the well-crafted, if formulaic, 12-song collection.
Jepsen incorporates parts of other pop dance divas from today and yore, such are Katy Perry, Kylie Minogue, and Robyn, but she recalls no one so much as 80s’ pop sparkler Debbie Gibson with her pleasing, sweet voice and limited range.
She may be 26, but Jepsen keeps all the material on “Kiss” uniformly squeaky clean enough for her pre-teen and tween audience. Most of the lyrics address the delights and disasters between boys and girls. She’s either crushing hard, deliriously in love, jealous, breaking up or heartbroken. It’s the cotton candy version of romance that fills teen diaries and runs its course in 3-minute pop songs. High drama can ensue from a misconstrued glance or misunderstood word. There’s a naive innocence that pervades all of “Kiss” and an undying optimism that after the tears have been shed, another boyfriend —with a dimpled smile and shiny hair — will emerge.
On “This Kiss,” Jepsen can’t stop thinking about a forbidden lip lock. On “Tiny Little Bows,” she longs to “be holding hands/dancing really slow.” About as risque as “This Kiss” gets is on “Tonight I’m Getting Over You,” when she bemoans, “we’re not lovers, but more than friends.”
The temperature of emotions switches throughout, although the tempo uniformly remains the same for virtually every track, set within strict, current Top 40 parameters of a bouncy synthetic dance beat that occasionally breaks into electro-pop.
The exceptions are the guitar-based, swoon-worthy “Beautiful,” a duet with Justin Bieber and the piano-ballad “Your Heart Is A Muscle,” which builds to a mid-tempo plea for her beau to keep working at loving her (and developing his heart muscle).
“Beautiful” continues on the trajectory of One Direction’s “What Makes You Beautiful.” “What makes you so beautiful is you don’t know how beautiful you are to me,” Jepsen and Bieber sing together, their voices sweetly wrapping around each other. Her other notable duet partner on “Kiss” is Owl City on their current perky hit, “Good Time.”
Not that she’s necessarily expected to be a spokeswoman for her generation, but there are times when her boy dependence gets to be a bit much. On the irresistibly peppy “Guitar String/Wedding Ring,” her boyfriend leaves and she’s feels like she’s nobody without him. She longs for him to come back “If you cut a piece of guitar string/I would wear it like it’s a wedding ring...When you’re near/I feel the best/I’m somebody/I’m somebody.” Oh Carly....
However, the lyrics are fairly disposal on “Kiss” unless you’re a 13-year old girl, in which case they most likely play out like every after-school conversations with your girlfriends where your current crush’s latest comment is parsed syllable by syllable for hidden meaning. The winners here are the upbeat rhythms on such songs like “Hurt So Good” or “Good Time” that embed themselves in the ears of pop fans of all ages.
Check it out...
Those of you who have been assuming Michael Haneke's "Amour" is in an unassailable position for this year's Best Foreign Language Film Oscar shouldn't be feeling quite so confident after this morning's news of the newest entrant in the race.
The French submission is always awaited more keenly than most at this stage: with 37 nods to date, France is the most-nominated country in the category's history, even if they haven't actually taken the gold in 20 years. It's for this reason that, in any given year, the French entry tends to be regarded as a frontrunner by default -- whether they've chosen particularly wisely or not.
Their selection committee has made some daring choices in the past: think back to 2007, when they forsook what might have been a relatively easy nomination for "La Vie en Rose" to put forth the Iranian Revolution animation "Persepolis" instead. (They didn't even crack the January shortlist.) This year, however, they have put commerce ahead of art with a strictly strategic choice: Olivier Nakache and Eric Toledano's feelgood box-office smash "The Intouchables."
When Warner Bros. shuffled "The Great Gatsby" on to 2013, there was an opportunity for another holiday bow on December 25 opposite "Django Unchained." I had been wondering if any of the big latter-year films were going to jump on it but it started to seem like everyone was comfortable, until today, when Universal announced that it would be pushing Tom Hooper's "Les Misérables" two weeks to that date.
Meanwhile, one wonders whether the film could end up with the date all to itself (at least as far as films of this sort go). I keep wondering whether "Django Unchained," which was still shooting up until last month, will be ready in time. It surely has to be, given the revenue potential (and necessity) for The Weinstein Company. But with Quentin Tarantino working with a new editor -- Fred Raskin -- after the untimely passing of long-time collaborator Sally Menke, it might not be as fluid as usual. Of course, Raskin worked alongside Menke on the "Kill Bill" films, so he's not totally fresh, but you never can tell how these things will go.