But this is all about to be altered. How? Issue 600 is sure to give more than a clue as it looks back to the Wonder Woman we know and are introduced to the pants-wearing Amazon for the 21st century. Essentially this is the issue where everything changes.

Lynda Carter and Wonder Woman have been synonymous for many years. The successful series of the ‘70s gives Carter an inside expertise on speaking about this character and more importantly that notorious red, white and blue bathing suit. For Carter the suit is meaningless in comparison to what the woman inside it represents. Her introduction to this comic is a challenge to faithful readers and new fans as to the journey that Michael Straczynski will be guiding them on.

From Gail Simone to Louise Simonson have a hand in saying farewell to the Wonder Woman we once knew. Her ability to lead, the camaraderie of fellow heroes and her inspiration to make anyone in her life become better are all emphasized by the writers in this issue. In turn many of the artists who had a hand in giving Wonder Woman her iconic images such as Phil Jimenez also contributed on this look back. The one thread that joins these stories together is that the only constant is change. Except when it comes to the creator of Wonder Woman’s world. Yes, William Moulton Marston’s stamp is all over this issue. A man with his own interesting story is given credit with each narrative as if to say without Marston there would be no woman warrior, no feminine icon, no Wonder Woman.

The last story leading up to Straczynski and artist Don Kramer’s new incarnation of Wonder Woman is written best by Geoff Johns through the young Amazon princess: “Don’t you ever wonder what’s beyond the next horizon?” As the young girl takes a leap of faith we are led into a transformed Wonder Woman with a new back story. It’s a darker, more realistic look into a world in which heroines are no longer beyond reproach. How will this new Wonder Woman interact with the DC universe? Only time will tell.

This acoustic version of this mid-‘90s tune sounds just as amazing as it did then, if not more so. It encapsulates raw, desperate energy where you’ll feel as if you’re on the verge of going completely overboard emotionally. The solid musicianship alone is worth the price of admission.

“Paris (Ooh La La)” – Grace Potter & The Nocturnals

Guitars, drums and a voice that kicks butt make “Paris (Ooh La La)” one amazing track. You just can’t sit still when you hear that rhythmic beat and wailing guitar. It also ends way too soon. Don’t think twice about downloading it.

“Die” – Carissa’s Weird

The beginning of “Die” is your basic, mediocre angry-chick song, but wait there are some good things on this track. Although the beginning may turn you off the harmonies and intrinsic piano playing will make it worth the free download.

“Electrocution” – Nada Surf

With a sound reminiscent of The Mamas and The Papas, Nada Surf has created a song with an up-tempo beat that you will find yourself humming incessantly after first listen. And that’s not a bad thing.

“Blue Sunshine” – Blue Giant

Bluegrass rock with a folksong edge is what “Blue Sunshine” will remind you of. These genres play beautifully off each other with simple lyrics and solid guitar playing. There’s also a healthy dose of handclapping and harmonica playing that is infectious.

“Outrage” Sister Sin

Have you ever felt anger for anger’s sake? If you have then this track is for you. It’s riddled with lyrics that are filled with fury – at what you don’t exactly know, but it’s done well. There’s also a nicely played guitar solo. That alone is worth downloading this track for.

“Dragon’s Song” – Blitzen Trapper

With a title like “Dragon’s Song” you would expect a heavy metal sound, not a folksy love ballad, but that’s just what you’ll get. With a sound similar to Bob Dylan’s early work, Blitzen Trapper has created a track that has a timeless quality – a wondrous feat considering “Dragon’s Song” is from their latest album that was released this year.

“Star Spangled Banner” – Ted Nugent

The only guitar centered rendition of the “Star Spangled Banner” that’s worth owning is the Jimi Hendrix version. Get that one instead.

“Shape Up!” – Club 8

Musically “Shape Up!” doesn’t know what song it wants to be. The Caribbean, country, bluesy influences just don’t gel creating a musical mish-mash of rhythms that are difficult to follow.

“Saturday Sun” – Crowded House

“Saturday Sun” is a song that you would think would be on their greatest hits album, but no. Written by Neil Finn for Crowded House’s album “Intriguer” released this year, this track is sure to become a solid staple in your mp3 player. It has a rock beat that no matter what you’re doing will feel familiar. That’s what good songs do – make you feel as if they’ve always been a part of your life.

“Stand Up and Shout” – Dio

From the “Holy Diver” live album, heavy metal group Dio has a rock out track that will make you “Stand Up and Shout.” The spoken word in the beginning is the perfect set up to rock out to as it seamlessly is followed by an amazing guitar lick.

“The Mermaid Parade” – Phosphorescent

Storytelling to music is not something that can be done well by just anyone. When you think of tracks like that the only names that seem to come to mind are James Taylor, Stevie Nicks and Carole King. “The Mermaid Parade” by Phosphorescent belongs in this category as a depressing track that you would turn off if it were written by anyone else becomes a powerful anthem for letting go. In their capable hands they have created a song that makes you press replay to get every bit of its essence into your consciousness as you can.

“Do What You Gotta Do” – Jimmy Webb

You have to love a song that does exactly what it says. Jimmy Webb has written some of the most iconic songs in music history. Whether you’re crooning “By the Time I Get to Phoenix” or humming along to“MacArthur Park” Webb has been there. His lyrics in “Do What You Gotta Do” could be sung by Reba McIntire or Donna Summer, but there’s something about the honesty in Webb’s voice that makes it classic. It’s another track about letting someone go to find their own passion while the protagonist stays behind and waits. But it’s not a depressing song and Webb’s straight-forward singing voice makes this matter-of-fact track something worth owning. You’ll feel as if you’re stealing this one.

It’s not the most revolutionary song you’ll hear, still “Rules Don’t Stop” doesn’t try to be something greater than what it is. Although the lyrics are repetitive the instrumentation is solid. In fact the drums are the best part of this song.

“Baby Lee” – Teenage Fanclub

If you’re in a self-depreciating mood, then this track’s for you. Masochistic tendencies abound as the narrative might depress you. Still if you want to feel better about how well your own life is going, then give this track a shot. It does have a deceptively pleasant melody in contrast to the stalker-like lyrics.

“Look Out!” – Peter Case

“Look Out!” sounds as if you’ve discovered a lost jam session of The Beatles. It’s a great rock song where you feel the good vibes Peter Case and his fellow musicians had in recording it. Whenever you just want to feel that there are still real artists who play instruments that you can recognize play this song.

“Killing Time (Paul Oakenfold Remix) – Infected Mushroom; Perry Farrell

Have you ever had a headache that wouldn’t go away? It’s not bad enough to take medication for, but it just seems to make everything in your day a laborious task. That’s what “Killing Time” sounds like and it doesn’t help that it’s over seven minutes long.

“Yulia” – Wolf Parade

Remember when you wrote your first poem and tried to set it to music? Perhaps you had a modicum of musical talent and played a decent guitar or could do a mean drum solo, but your writing skill sucked and made all your other talents meaningless. That’s what “Yulia” is. As good as the musicianship is the lyrics bring the song down.

“Graduation Day” – Chris Isaak

Remember Chris Isaak’s “Wicked Game?” That track is like lightning in a bottle. Now you’re listening to “Graduation Day” and you can only hear Isaak’s desperate attempt to recapture the “Wicked Game” moment. While it is a good song, it sounds as if it tries to hard. However it is free and has a solid guitar solo that you’ll enjoy listening to.

“Pearl of the Stars” – Coheed & Cambria

This is one of those tracks that you need to listen to when you’re euphorically happy. If you’re not in that moment then “Pearl of the Stars” is not for you. This takes self-depreciating, masochism to a whole new level. However the haunting melody in and of itself works no matter what mood you’re in. Tracking down the instrumental version would be worth it.

You’ve heard her voice everywhere, on soundtracks for a plethora of television shows and the film “Shrek Forever After.” She seems to be a five year overnight sensation. Now that she has more media exposure, you can put a face to the voice. But don’t mistake this artist for one of those sugar-pop singers. Schwartz writes and arranges her own music and her musical influences shine all over these tracks without taking over.

Take for instance “Morning Calls.” It sounds as if it’s a lost track from The Beatles’ “Abbey Road.” With overlapping harmonies with guitar as the prominent accompaniment, you could imagine John and Paul coming up with this, but no it’s Lucy and the album just gets better from there.

At first listen you may not know what to make of “Take a Picture,” but stay with it. The interesting musical arrangement makes the sound unusual to the ear like “the sound that [you] hear inside.” Here Schwartz successfully recreates that pitter-patter of your heart when you’re around that special someone. It’s also far too short of a track. You’ll keep pressing replay on your mp3 player with this one.

Just when you think that there may be a lull you hear “Someone to Save Me.” Thought-provoking cannot be overly used to define the lyrics in this song. The emotions are also subtly heightened with an urgent guitar and symbiotic background vocals. The sense of urgency in Schwartz’s voice is adamant making this track an unusual roller-coaster ride of emotions.

The piano shines in “Gone Away.” It makes the track poignant and nostalgic without romanticizing the simple truths that are revealed in the lyrics. Then there’s “Shadow Man.” This song simply rocks. It’s the track that Bonnie Raitt wished she wrote. Tough lyrics with an in-your-face, bluesy arrangement will make think that this track is a cover song of Muddy Waters or Etta James. Yes, it has that much soul.

If you’re a sucker for good harmonica and solid musical arrangement, then “Those Days” must be in your mp3 player. Here Schwartz bypasses her musical heroes as she seamlessly weaves solid storytelling with underused and under-appreciated instruments.

What’s great about this album is that every emotion is expressed and sometimes duplicated, but never sounds repetitive. Schwartz never takes the easy way out by overtly repeating melodies. Instead you are forced to take each song on its own terms and she makes you like it to the point where you’ll be singing “Life in Letters” on the street out loud, with a big smile on your face and won’t care who sees.

Essentially Schwartz has created an album that you must own. Her short pieces of narrative episodes will musically entice you and draw you in. Perhaps with albums like Lucy Schwartz’s “Life in Letters” there may be hope yet for the music business.

Weinglass on piano with Chris Woods on violin has created a concept album on the seasons that is un-paralleled in today’s era of throw-away modern music. It also delivers what the album title says. This is in truth an odyssey, a journey in which you will feel completely swept away in.

It is difficult to distinguish which will be your favorite song. From the first thralls of “January” you will feel as if you’ve found the holy grail of classical/jazz musicianship, but it gets better from there. Each month musically, punches you emotionally and dries your tears – at times simultaneously. In “May” there is lightness in the melody that gives optimism and hope for the remainder of the year. However the languishing melody of June enters and manipulates you once again. What happened to all the promise that “April” and “May” offered? Don’t worry, although “June” has melancholy tendencies, it is a track that you can’t help but fall in love with.

“July” one of the longest tracks on the album lulls you. Then you’re enveloped in the splendor of “August.” You wouldn’t think there could be so much emotion derived from a piano and a violin. It’s Weinglass’ melodic arrangement that draws you in. Like Alice down the rabbit hole you don’t quite know what world you’re inhabiting, but you’re intrigued.

The latter months in particular show Weinglass’s creativity and his ability to collaborate with another artist. “September” has some residual rhythmic arrangements from “March” and “August,” but it’s not repetitive. There are several crescendos that break up the pattern and will once again bring you on a roller-coaster ride of emotions. “October” is a controlled yet whirling chaos. It’s the coming of winter where everything dies and in “October” there is this frenzy to live as full as you can before the dormancy of “November” and “December” come around.

“November” and “December” are songs of remembrance and renewal. Both tracks reveal that in order to live again one must take time to look back and prepare for the new year.

Weinglass has described “Odyssey” as a “journey through time.” It is that and more. If you’ve avoided classical-jazz like the plague, then you’re missing out on one of the best album’s of the year, perhaps the decade.

From the “Feel Me” intro you know that this album is going to be special. Big Boi is the only one who can rhyme about the president and a prostitute and not have it be about a sex scandal. In “Daddy Fat Sax” rhythmic beats match wits with well placed lyrics that will renew your faith in hip/hop. “Turns Me On” featuring Sleepy Brown and Joi mixes big band rhythmic harmonies of the 1940’s with current topic lyrics. And the inventive jams just keep coming with “Follow Us” featuring Vonnegut. You begin to wonder if there’s nothing that Big Boi can’t do as he combines political ideology over yet another infectious beat.

If you think that Big Boi won’t go near rock, think again. There’s something about “Tangerine” with T.I. and Khujo that will remind you of a heavy metal track with rhythm & blues melodic undertones. Perhaps it’s the drumming or the guitar arrangement. Either way it’s an original track that will have you grooving. The lyrics are also some of the dirtiest you’ll hear, but you won’t care because the song is that good.

Because of record label constrictions Andre 3000 was not able to appear on this album, but that didn’t stop him from producing another solid song for it. While the lyrics for “You Ain’t No DJ featuring Yelawolf” are as top-notch as the other tracks on the album it’s the downbeat that seamlessly flows through the song that will have you continuously pressing replay on your mp3 player.

What Big Boi does with “Sir Lucious Left Foot: The Son of Chico Dusty” is not only celebrate soul groups of the past such as Soul II Soul, genres of music such as Jazz and harmonies that come straight out of the church choir, he has infused these ideas into one of the most addictive albums this year. You will not have one favorite track – you’ll love them all.

It’s a candid, unflinching look at a childhood of a Jewish boy growing up with the life lessons of his parents to instruct him. For Willie he copes with his life through art and attempts to fit into his world and still retain his Judaic roots. Refusing to deny his heritage causes him to get into fights, lose potential girlfriends and friendships, but these incidences will not draw you in the way the stories of his parents do as they try to contextualize his life by using their pasts.

Have you ever had a relative that always had a story to tell? They would regale you with tales that started “When I was young.” You were supposed to glean some wisdom from it, instead it bored you to tears and you would wonder why your parents wouldn’t just pretend not to be home when they saw him coming up the street. Not so with Willie’s parents. Their lives are so rich with difficult life-changing decision-making that you can’t help to learn from them. When his father talks about his life in Vienna and the oncoming of World War I we see from Willie’s face that it’s not the first time it’s been told, however, it’s still necessary. As is his mother’s tale of her parents dying young. These are glimpses into the worlds of people who under ordinary circumstances would never have met. It also speaks about how people persevere in the face of their complex lives. Survival throughout this novel is definitely the main goal.

What makes Eisner’s idea come to life are not only his words, but his artwork. Best known for The Spirit, Eisner in this graphic novel uses his artwork to punctuate the emotions of the characters. Whether it’s a pensive stance or a wracking cough, Eisner made each scene real.

Having said that, if you’re looking for a graphic novel in the shade of Marvel or DC comics, then you’ve got the wrong book. “To The Heart of the Storm” would not be a hard sell for a literature class and not one themed on the graphic novel either. Make no mistake this is a work of literature with subthemes on a plethora of worldly ideas that are still being debated. Think Phillip Roth without the didactic angst and you will have an idea of what this novel has to offer.

Overall Eisner created a work told in black and white with an overwhelming shade of gray. “In the end [what he gave us was] a selective memory and the tyranny of eternal hope.” That’s not a bad combination at all.

The idea is sound put your most popular singers with some lesser known talent and perhaps new fans will emerge. However, the first song on the album (Rihanna’s “Hard”) has been a chart topper on several billboard charts for weeks. If you’re a fan of Rihanna, then you already have her latest album which features this song and several other likable tracks. So where does that leave artists like Inna? Best known in Europe, Inna has yet to break onto the North American music charts. Her dance track “Love” has an infectious beat and her voice is pleasant enough, still if you have the better known artists’ songs you may not feel the need to invest in 13 other tracks from musicians you don’t know.

However, you should give this compilation a try. They’re all dance tracks that will light up a party. Rihanna’s version of “Hard” is on this album and not on latest studio album Rated R. There is even a better version of Mariah Carey’s H.A.T.E.U. that is an improvement than the one on Memoirs of An Imperfect Angel. The trance-like flavor causes remixer Jason Nevins to rejuvenate an otherwise forgettable song.

There’s also Mr. Hudson whose song “Supernova” barely cracked the top 200 billboard chart, but reached number 2 on several musical charts including the United Kingdom’s. This song deserves to be heard by a larger audience and Just Dance 3 is the right vehicle for the ability to reach a larger audience.

What makes this album a potential party favorite is that it goes from one song into another in a near-seamless fashion. Before you can catch your breath from Ludacris’ “How Low” here comes another track that forces you to get on the dance floor and shake your thing.

Overall, this album fulfills its intention of showcasing artists that need to be heard alongside refreshed remixes of current successful singers.

Although you have to send away for the disc, once it arrives the set-up is quick and painless. Yes in order to access Netflix on your Wii console you need to physically put the disc into the machine. This is barely a minor irritant since there are a plethora of features that make up for it. For instance, you’ve just watched season three of Torchwood and have a hankering for more sci-fi like fare. Just direct your Wii remote to the arrows on the screen and you will find 21 suggestions that you may be interested in. These are not shows that you have added to your instant queue from your computer, rather these programs are a representation of what you may be interested in based on what you’ve recently seen. And that doesn’t just go for television, it’s for anything that you have recently viewed. To make your choice of viewing accurate once you revisit Netflix on your trusty computer, it will ask you to rate what you saw. Then it will generate the 21 choices once you return for more viewing pleasure.

There are also the new arrivals categories. Each one whether it be film or animation will give you 75 choices. It’s a venerable buffet of documentaries, television shows and films that you may never have heard of, and you may be pleasantly surprised.

Viewing quality is nearly seamless. As long as your internet is up your show will play. And if you have a 60-inch high-definition television, then it’s even better. One way to test this theory is to play a DVD of your favorite show, then switch to the instant queue. You’ll find that the sound is richer and the picture is clearer.

For those of you who like to work out and your computer isn’t in the ideal place where you can follow the moves, then the Netflix on the Wii will be your best friend. It’s great for trying out yoga or whatever you’re into, instead of having to wait two days for a disc.

It isn’t perfect. If a movie is under several categories you may not like the choices. In that case you can always go back to Netflix and rate them “not interested.” You won’t see it recommended again.

Overall if you already have a Wii and a Netflix account then this is the ideal situation for you. We must remember that there are still people out there who use dial-up and Nintendo knows their audience. So if you already have an X-Box 360 and you’re over-pained to walk two feet to put a disc in a slot, then this isn’t for you. However, if you have both, then order the disc and compare the features between the two. After all the disc is free if you already have an account.

“Wake Up The Nation” – Paul Weller

Paul Weller’s punk rock roots show up in “Wake Up The Nation.” Still with the song’s title being constantly repeated you’ll feel as if you’re being beat over the head with its didactic message. However, if you’re in the mood for some light punk rock, then give it a shot.

“Hold Me Down” – Sia

Whatever “Hold Me Down” is trying to be, listenable is not it. Sia’s lethargic singing will turn you off. It’s as if she’s garbling the lyrics, making this one annoying track. Skip it.

“Tattoos & Tequila” – Vince Neil

From the latest album of the same name Vince Neil has one rocking song that has some definite replay value. It’s a fun track that’s heavy on solid guitar licks and rhythmic, metal drumming. Get it before the-powers-that-be realize that they’re giving this away.

“Learned to Surf” – Superchunk

“Learned to Surf” isn’t a bad punk-rock song, but it’s not revolutionary either. It’s also a bit on the self-indulgent side lyrically and is about three minutes and 52 seconds too long.

“On a Wicked Night” – Danzig

From their latest album “Deth Red Sabbaoth” Danzig has created a melodically macabre, heavy-metal song that rocks. With few lyrics to get in the way of the solid musicianship “On a Wicked Night” shines. Who knew that you could get your point across musically with great guitar riffs and well-written lyrics?

“Gravitate” – Lou Barlow

If there is such a genre as folk-metal rock, then Lou Barlow has mastered it. “Gravitate” is everything you want a rock song with a tinge of heavy metal to be – witty lyrics, heavy on the drumming and solid guitar playing. Get it.

You’ve thought about it. You’re watching your favorite show or a really great movie and the music that is supposed to heighten the moment leaves you flat. Whether it’s DMX’s “Up In Here” or Drowning Pool’s “Bodies” you believe that you can fill that moment with a song that completely fits. Better still what if you had to create a playlist to emphasize a mood or manipulate heartstrings? Here are ten tracks that can fill those spaces.

“Carry On Wayward Son” – Kansas

Kansas? Yes. Originally peaking in the top 20 thirty-three years ago, the band was catapulted back into the consciousness of fans of the show “Supernatural” where it has been used to review the highlights of the previous episodes for nearly five years. Kansas created a song that speaks of a never-ending journey. Whether it’s battling physical demons or your own, it’s a track that will enrich a scene.

“Oh Death” – R.I.S.E. Rising Appalachia

Yes the “Supernatural” theme comes back as this was the horseman Death’s theme song this past season. It made the actor who played him unimaginably frightening. Imagine a man in a black suit with a haunting melody and the lyrics “When God is gone and the Devil takes hold/who will have mercy on your soul?” Initially this song is one of mourning and its origins are Appalachian in nature making it versatile for nearly any situation.

“Devil Wouldn’t Recognize You” – Madonna

Whatever you think of Madonna she has a vast repertoire of tracks that will speak to you. However the lyrics in this 2008 song from the Hard Candy album in particular will resonate with you whatever situation you’re in. It talks about “even [if] the Devil wouldn’t recognize you” the protagonist does. It’s about the type of person that pushes your buttons and you know that they’re bad for you, but you’re continually drawn to him/her. It’s a deep thought-provoking song that makes you remember why Madonna has at least three volumes of greatest hits albums.

“Run This Town” Jay-Z featuring Rihanna and Kanye West

“Who’s gonna run this town tonight?” You are and why not? At least that’s what any wanna-be superhero or badass may be thinking. From the Blueprint 3 album Jay-Z in collaboration with Rihanna and Kanye West created an anthem for your inner warrior. Clever lyrics, a hook and a tight melody make this a complete song that will renew your spirit or give you an influx of arrogance that cannot be measured.

“God’s Gonna Cut You Down” – Johnny Cash

No album would be complete without a song from Johnny Cash. From the album American V: A Hundred Highways, “God’s Gonna Cut You Down” is the theme song for your hero or that person who you don’t quite know what their intentions are. “Tell the rambler, the gambler, the back biter, sooner or later God’ll cut you down” are lyrics that will give you goose bumps. Another thing that makes this song perfect soundtrack material is its complexity in emotions given through a stripped down melody and straight forward lyrics. Although it has been recorded by several artists through its nearly 60 year history, it is Cash’s rendition that far exceeds any other version.

“So What” – Pink

You can’t have a soundtrack without a total rock out song and Pink can definitely provide that in “So What.” Who else could come up with the lyrics “and you’re a tool” and two lines later lament how the one she loved wasn’t there for her. And an emotional roller coaster track is what a movie needs.

“Motherless Child” – John Legend

“Sometimes I feel like a motherless child/sometimes I feel like a fatherless child.” Sung by John Legend from the Hope for Haiti album “Motherless Child” is a heartbreaking rendition. For that character who is totally lost and gives you permission to bawl your eyes out in the theater, this song is it.

“Stupid Girls” – Pink

They’re out there “dancing next to 50 Cent” and they must be stopped. For that fed up character who wants to obliterate every dumb acting person out there even if it’s in their mind this is their song.

“Reminder” – Jay-Z

You know those shots where people are walking in slow motion, trying to look cool, but come off as dorky. This camera angle has been overdone to death, but give it a jolt of Jay-Z and the five protagonists emerging out of the wreckage of an amazing action scene will look like the coolest people on the planet “remember me, silver bullet hard top mentally/they think I’m out of shape so I have to jog their memory…think I have to send you a reminder/here it is…”

“Look Who’s Dancing” – Ziggy Marley and the Melody Makers

Your favorite characters have survived, some might have died, but now it’s time to celebrate and perhaps look forward to a sequel. That’s where reggae icons Ziggy Marley and the Melody Makers come in. From their album One Bright Day, Marley and his troupe created a melodic, rhythmic sound with a strong message. The tone is upbeat and the rhymes and lyrics are tight creating a song that will have you clamoring to see that film again.

Coproduced with Los Da Mystra, The Dream has created a mind-numbing album-titled track in “Love King” that somehow you don’t want to get out of your head. Sung by anyone else it would grate your nerves, instead the infectious beat and the constant “You don’t know me like that” makes it a listenable song. However it hasn’t done so well on its own. Peaking in the top ‘90s on the R&B billboard charts a remix was definitely in order. With Ludacris lending his talent to the remixed track that isn’t on this album the song moved up to the mid-thirties on the billboard R&B chart.

“Make Up Bag” featuring T.I. doesn’t exactly add substance to the hip/hop genre, worse yet it sounds like a watered down version of “Love King.” What saves this song are the melodic drum beat, finger snaps in the background and T.I.’s rap. Having said that, the lyrics are unnecessary and insulting. “Five stacks on the make up bag” won’t save this song. It makes you wonder how could this be the same person who co-wrote Beyonce’s “Single Ladies?”

Catch phrases and hooks comprise this album’s resonance. They seem to be the only things that make the songs memorable. Individually each track is a potential hit. However as a complete album the repeated clichés in each song make it boring and unimaginative. The song F.I.L.A. is a prime example. As a single it works because it’s the type of song that you don’t listen to deeply. It’s a radio song where you hear it in your car, like the beat, not care about the lyrics and as soon as it’s over you’ve forgotten about it.

Essentially none of these songs resonate. What’s more the tracks don’t have the lyrical depth of the label-mates he’s written for such as Rihanna’s “Umbrella.”

As a songwriter and producer for other artists, The Dream shows a prolific vision in what will not only be a hit, but have everyone in America singing “ella” and not know why. But when he writes for himself he seems lazy. His musicianship such as in the song “Nikki Part 2” is obvious and its lethargic beat doesn’t help.

Perhaps The Dream should not have taken back his comments of not making any more albums for himself. Or before he releases it he should act as if he’s writing for someone else.

Each track on How I Got Over has something important to say and draws you in like an open door that leads into a dark room. You have no idea what you’re going to find, but your curiosity gets the better of you. So you enter and have the most intense musical experience of your life – yes, your whole life. A wave of harmonic enlightenment will engulf you from the first melodic tones of “A Peace of Light” featuring Amber Coffman, Angel Deradoorian & Haley Dekle of Dirty Projectors.

It only gets better from there. As you listen to the track “Dear God 2.0” featuring Monsters of Folk you realize how someone can take their fist and drive it straight to your essence. Melodic harmonies and masterful musicianship combine to make this all-too-short track reverberate through you. The lyrics can’t be left out of this experience either as the words pose deeply penetrating questions to God and does not apologize for asking them.

Collaborations on this album make you believe that music does not have to be a solo effort. This group enhances the contributions of the artists on the album, but make no mistake The Roots can flow on their own as well. This dichotomy gives them the ability to empathize and sympathize with you without proselytizing any one message. “Now or Never” is a prime example of this. Something needs to change and the protagonist has made a decision, but doesn’t quite know how to proceed. He’s “tried to pray to God, but [he’s] tired of lying to him” is one of the most revealing lines that at some point we all feel.

The Roots also know how to jam. The funkified, soulful album title track is what the Black Eyed Peas are still striving for. With a fast-pace melody reminiscent of a Curtis Mayfield track “How I Got Over” could easily have been a corny PSA background tune, instead it’s something that you can dance to when you want and when you’re in a thoughtful mood sit back and listen to.

It can easily be said that the entire album has the type of music that no matter what mood you’re in you can be able to play it and love each song. Essentially if you don’t like The Roots’ latest release How I Got Over, then you have no soul.

“June” is an emotional track which successfully burrows its way into your soul and consciousness. Wineglass sets the tone with a slow languishing melody that allows Chris Woods’ violin an opening to heighten the passionate pitch of this song. It’s nearly indescribable as “June” is a track that is felt and experienced more than heard. If you’re in pain, it amplifies it. If you’re the least bit happy you’ll soon enter into a state of rapture. Essentially this song speaks to you on a level which moves beyond the ego and delves into places where you dare not look. For a track that is barely two minutes long it packs a mesmerizing punch where you’ll be clamoring to get your hands on the entire album. Imagine what the rest of the months sound like since “June” is so extraordinary.

“To Hell with Good Intentions” – Japandroids

This Canadian duo has created an angry sounding and rather loud song. It’s definitely music to head-bang to. What’s more it’s fun, there are no words to get in the way of an enjoyable experience for the first two minutes. Then the Japandroids totally ruin a good thing. Sometimes a solid track doesn’t need lyrics. They should have let the musicianship speak for itself.

“Fire on the Moon” – Steve Hackett

What happens when rock does not quite describe the genre of music you’re playing? What if you’ve gone beyond that? That’s where Steve Hackett’s “Fire on the Moon” fits in. It’s that progressive type of rock music that attempts to fill the space between dated light-rock and a new hard-core classic. Just how does Hackett make you like something that you would ordinarily turn off within the first few bars? You should listen to this former Genesis guitarist to find out.

“I Was Made For Sunny Days” – The Weepies

Indi folk music that sounds cool? As difficult as it is to see those words in the same sentence that’s just what The Weepies have done with “I Was Made For Sunny Days.” From their future album entitled Be My Thrill, this track seems to be a solid representation of how this band expresses a cross-segment of emotions. Its upbeat tempo collaborates with the complexity of the lyrics nicely. If you don’t feel like delving too deep into your psyche, then just listen to the melody. If you want to have a deeper perspective of what drives you, then pay attention to the words.

“Sideshow” – Mary Gauthier

Gauthier takes her tumultuous life head on in “Sideshow.” Her stripped down, straight-forward guitar playing mixed in with an appropriately sounding haggard-well played horn section will force you to fall in love with this track. You’ll want to be a part of her sideshow even if you won’t know why.

“Finn bikkjen!” – Casiokids

Norwegian electric pop music? What could be a catchy song instead sounds like a muddled ball of confusion. Skip it.

“Casuals (Thaddeus Valk: Framerate Mix” – Dntel

A bassist whose featured genre of music is electronica, Dntel has created a song where you wonder what journey he is taking you on. Its tentative opening careens into a fugue-like groove, then you feel as if you’ve thrown down the rabbit hole. If nothing else it’s some funky ride you should try.

The beginning of this DVD breaks down the several possibilities as to who Robin Hood may be. It then goes into who Marion represents and the surrounding Celtic and pagan myths that they have been infused with. Initially audiences have been led to believe that it matters whether or not they are real figures in history and “not metaphors for something entirely different.”

In actuality, what this documentary suggests is that the Robin Hood myth has been utilized to propagate values and defy them simultaneously. When he is associated with pagan mythology such as Beltane or as an aspect of a sun god, then he is relegated to fictional status. However, he is real when his legend could be used as a political pawn.

What is interesting about this documentary is the connection it makes to Egyptian and Indian myths. It’s in a sense what Joseph Campbell would discuss with Bill Moyers in their talks about the purpose of myth in people’s everyday lives.

We also come to know that there are actual scholars on Robin Hood, and whether or not he is a real person or a social construct.

On the other hand, this is a documentary in the sense that it is a dry rendition of who Robin Hood may be. There is no swashbuckling here, or actual footage of past film and television series of this character and his merry men. Instead we are met with narration and actors milling around scenes. Bows and arrows are drawn, but never seem to be shot. The most eventful part is when maid Marion is abducted. It is also extremely brief.

With the exception of the different mythological connections there is nothing here that you have not thought of before. If you want to get a sense of what you want Robin Hood to be, then rent Errol Flynn’s version. There hasn’t been a better film made before or since that can stand up to it.

The DVD opens with a cheesy scene of a man dressed in late 19th century clothing carrying a sword. This live action sequence shifts to a computer-generated female vampire. And if you still don’t know what’s going on, then there is the morose, heavy-handed music to have you understand that this is a grave undertaking. After all, this is serious business about a world-renowned writer and a genre of fiction that is currently being ripped off and watered down through other mediums of entertainment. The first few minutes and stilted narration aside, this is an informative and interesting way of viewing Stoker’s work.

We are told a brief history of his family and the possible ideas behind his fascination with the undead. As a child, he suffered from a debilitating illness that for a stretch of time left him bed ridden and gave him the ability to daydream about the stories his mother would tell him of fairies. These weren’t the nice kind, instead they were malevolent beings who would steal your soul. Later on, we are told of one of his papers he wrote. The title “Sensationalism in Fiction and Society“ gives another glimpse into why Stoker would write about a vampire who had the ability to transform into beasts, mesmerize his victims and form psychic bonds with them. It also revealed that Stoker would know how to sell it to an audience who was mired in the stagnant Victorian age.

In his adulthood, Stoker manages a famous actor and the Lyceum theater. He marries and is associated with several people (including one of his brothers) who belonged to secret orders in Britain. One was the Secret Order of the Dawn, another is the freemasons. For secret orders much is known about their practices and this DVD makes a clear and logical connection between these secret societies and what occurs in Dracula.

Essentially Stoker was able to utilize folklore, literature, linguistics, Eastern European history, religion, politics and the occult into what is accepted into the literary canon today. “Diary of a Vampire’s” bare bones production may not exactly excite you, however, if you are intrigued by the possibility of seeing death as a way of “leaving the material world” or viewing it as a traumatic change and not a physical demise, then you should give it a chance.

Sonic the Hedgehog:

From Ian Flynn and James Fry comes a dark look at the Hedgehog universe. It’s after the diabolical and insane Dr. Robotnik goes underground in his egg base after he has destroyed the planet Mobius. Now a metal wasteland Sonic has tracked him down, but before he can confront the crazy doctor he is met with one of his organic-techno creations. Will Sonic defeat this monster or will he get help from an unsuspecting source? It’s an interesting look at a character that we only know from the game and the cartoon. There’s a whole world to be explored and this is a nice jumping off point to the series.

Doctor Solar Man of Atom/Magnus Robot Fighter:

“Courage is the will to overcome fear” or so Dr. Phillip Solar, Man of Atom believes as he becomes a superhero due to an absorption of nuclear energy. In its stable of complex super-powered beings, Dark Horse comics has created a world where there is a considerable amount of negotiation going on between doing what’s right and just wanting to go home. It’s also an intriguing look into a comic book world that readers rarely are aware of. Between the mega staples in the Marvel and DC universe it’s easy to overlook other characters or make comparisons, but in this case to see any similarities between the Man of Atom and any other character would be a disservice to this book.

Then there’s Magnus Robot Fighter. He’s exactly what the title entails – a fighter of sentient robots who battles the criminal elements of that community. Jim Shooter who wrote both Solar and Magnus gives a familiar vision for those who read about these characters when they belonged to Valiant comics. Now as a part of the Dark Horse universe will Rai and Turok Son of Stone be far behind?

Superman: War of the Supermen:

Whenever you put the word “new” in front of a planet that was destroyed, you’re sure to have problems. In this case Superman has an issue with Zod in the battle for New Krypton. Zod has decided to declare war on earth and Kal-El in his usual subtle way blows a hole through a wall and informs Zod that he will stop him. What comes next will have you wondering if this series is worth following. Perhaps, it seems standard Superman fare. If there’s anyone who wants to jump onboard the new limited series in this battle for New Krypton, then it’s the comic for you.

Bongo Comics Free for All:

It seems that Krusty the clown is having a crisis of faith. After streaming a line of expletives, he is ordered not to be funny anymore. So what does he do – works at the nuclear plant and puts up a cartoon of Garfield. It all turns out well in the end, but that’s not why you read this type of comic. The Simpsons have been a staple on television for over 20 years, so it’s no wonder that the comic has the same flavor and witty sensibility that the series has. The other shorts with baby Maggie and intellectual Lisa, not to mention Bart will have you laughing out loud. It’s a satisfying romp for any fan of the Simpsons and this band of characters.

It begins with a map of a world out of a what if imagining. What if the civil war in the United States had reached a stalemate? What if the church had a huge role in world affairs and what if France were run by guilds and within those guilds were forms of corruptions and secrets you could not begin to imagine? While you’re trying to wrap your mind around the “Confederate States of America” take a look at Dr. Julien Sauniere, who belongs to the guild of physicians in France. Sauniere is a complicated man with many secrets, however, it’s the mystery that his friend Father Marin gets him involved in that will drawn you in and have you searching for volume II of this adventure.

The story has all the makings of a great noir. There’s a prostitute, a man who is always impeccably dressed in white, occultism and more action than you can shake a stick at. Yet with all the revelations Sauniere is privy to he still doesn’t know what’s going on. As this mystery only gets more complex his ex-paramour enters the mix. It seems that she’s working for the bad guys, but in Nelson’s world no one wears a white hat.

One thing is for sure Nelson does his research. The newspaper articles in between the collected issues of this trade give the reader information on this world and a glimpse into the insight of the intentions of the characters. Yes, greed and power-mongers are involved, but there is subtlety in those articles that should not be overlooked – if for nothing else than to appreciate the world that Nelson has created.

We cannot forget the artwork of Eric J. He makes the characters vivid and the magical activities frighteningly realistic. The man in white barely does any type of movements until the end of the trade, still he is a menacing presence. As a matter of fact, everyone is drawn the way they are written – with a complexity that can only be experienced.

At the end of the trade is more amazing artwork and a reproduction of the web-comic Brother Mathew. For anyone who remembers the BBC series “Cadfael” starring Derek Jacobi think of this as a flashback to his life when he was young and just starting out as the monk who is able to solved mysteries better than the police. Only Brother Mathew’s version involves assassins who are high level magicians, carnival freaks and a form of the inquisition that will leave you wondering was that really necessary? It’s a solid introduction to another part of this world that Nelson has created.

Overall this is a satisfying read that you will not want to put down and simultaneously leave you intellectually satiated. Very rare for a written work in any genre.

Remember when you were 4 and you would rhyme songs that just sounded right together. In your 4-year old brain you formed something great. Perhaps it was cute, but you were 4. It’s not as adorable once you’ve reached adulthood. It’s noise, annoying, irritating noise and Angus & Julia Stone should stop – now.

“Crutch & Cane” – Peter Wolf Crier

Peter Wolf Crier’s “Crutch & Cane” will remind you of the b-side to a Peter, Paul and Mary or a Mamas and Papas’ track. It isn’t necessarily a bad thing. Then again why settle for someone who sounds like those iconic bands when you can download the real thing?

“Forgiveness” Sarah McLachlan

From her latest album Laws of Illusion, Sarah McLachlan has created another song to add to her iconic status as soulful, light-music songstress. This is one woman who can manipulate your emotions and make you want more. You’ll never figure out why you like McLachlan’s sound, and you won’t care. It’s also the perfect track to release to represent the album. If the songs sound half as good as this one, then pre-order or do whatever you need to and get it as soon as it’s released.

“Promises” – The Morning Benders

“Promises” sounds amazing – until you hear the lyrics. If this was solely an instrumental track, then it would be near genius in its sound. Instead it’s as if the mediocre lyrics are fighting to be heard above an otherwise great tune. If you can find the song without the words, then go for it. But this unfinished, sounding track is not worth the free download.

“Kon Tiki” – Plants and Animals

You want to like “Kon Tiki,” but Plants and Animals won’t allow you to. Between its ordinary sound and bane lyrics you’ll be exhausted by its mundane-ness. Skip it.

“1977” – Ana Tijoux

Ana Tijoux’s “1977” successfully attempts to be a rap track sung in Spanish. Think Digable Planets with a Latin beat in the way it uses the mariachi sound the way Digable Planets infused their tracks with Jazz influences. It may just get you to appreciate Reggaeton.

“Live Forever” – Matt Morris

From his album Where Everything Breaks Open, Matt Morris exudes a soulful ease in his singing that emphasizes the emotional sentiment in this track. It’s also a sound representation of the musicianship in his other songs. If this taste of his musical talent is not enough for you, then pick up the album.

“Goin’ Out of My Head” – Wes Montgomery

Jazz guitar was created for Wes Montgomery. This multifaceted musician, songwriter had a way with a tune and although he was not formally trained, he was able to express a complexity of emotions by ear. You should download “Goin’ Out of My Head” for its amazing sound and clean musical arrangement.

“Urlo Negro” – Mike Patton

Mike Patton sounds angry on this track in the beginning and it goes downhill from there. If having someone screech in your ear is your idea of a good time, then this track is for you. Then again you can always find someone to do that without having to take up valuable space in your mp3 player.

“Fractured (Everything I Said Was True) – Taproot

There’s something about a rocking beat with a heavy influence of metal rhythmic arrangements. That said, Taproot’s track attempts to reach for a song that’s worth hearing. Unfortunately they fall extremely short and have winded up with a barely listenable tune. It continuously drones on and you find yourself losing interest fairly quickly. Not a good sign for a song that’s barely three minutes long.

“Arkansas” – Damien Jurado

There’s something about Damien Jurado’s voice that will captivate you. His meditative, melodic tone draws you in. Then there’s the song itself. It could be straight from the “Eddie and the Cruisers” soundtrack with its early ‘60s vibe. It’s rich in expression and you should download it.

“L.O.V.E.” – V V Brown

L.O.V.E. is a great song from an amazing singer. V V Brown can make anything sound great, luckily she has solid musical material to work with. This fast-paced ‘60s type-track will have you jumping and jiving throughout. It’s a song that ends all too soon.

“I Saw Lightning” – Telekinesis

You may think that “I Saw Lightning” is too syrupy sweet sounding for your taste, but so what? Telekinesis has a song that stays in your head and will have you humming all day. It’s a track that just makes you feel good and that’s not a bad thing.

Plutonian is on the hunt for his old teammates. It makes you wonder why he would not stop at them, but also go after their families. It’s as if he’s attempting to wipe everything out that has hurt him. He won’t leave a remnant behind. As he destroys nations, former allies and enemies alike, writer Mark Waid forces the reader to step outside the chaos and to look at the plausible actions that would make a superhero turn rogue.

It’s a tricky thing Waid does. As the writer of the iconic Kingdom Come miniseries he gave the likes of Batman, Wonder Woman and Superman a complexity never before or since seen in comics. It made us for a time rethink of these heroes and their motivations. With his comic Irredeemable, now we must see what makes a character not simply step over to the other side, but create a sphere where everyone is afraid of him.

Waid does give us clues. It’s the little things like a former teammate creating robots that look exactly like Plutonian’s greatest enemy. Modeus is the only one who could truly damage Plutonian, yet he is nowhere to be found in this trade. Why would someone who calls you friend build these things? This action turns comic book tropes on its head. Yes, Batman keeps some kryptonite in his utility belt for Superman just in case. But there is precedent for that. Supes has been taken over countless times. Whereas in Waid’s world Plutonian has always been the good guy – always. There was never any need to find a way to neutralize Plutonian. But we are not talking about calming someone down, we’re talking about someone who drowned Singapore because their nation’s leader was sucking up to him.

Philosophical questions aside, the writing is top-notch. You are riveted by the words of these players who are fighting for their very survival. The artwork by Peter Krause only adds the devastating events in this trade, as we see Plutonian create natural disasters then, like a god, float over his work. It’s eerily frightening, and yet, you find yourself rooting for him. He’s no longer a hero, he can’t be controlled and he’s on a mission to obliterate everything, still you feel as if you were in his position you may do the exact thing.

The afterword by Grant Morrison only adds to this trade as he explains what Mark Waid means to the comic book world.

What Waid does best is play with the standard idea of hero, what they do for us and what we resent about them. It also makes for great storytelling.

It’s a long day for Jonah Hex. He’s in a hole shooting Apaches, and fighting alongside Doc Williams and his undead carnival. If he hadn’t grown up with a tribe of Apaches he wouldn’t have survived this episode, but survive he does.

As we meet the end of this motion comic series, writer Joe R. Lansdale pulls out all the stops and paints a realistic, gritty picture of the west. The language and violence have also intensified as the complex relationships of the people who are trying to survive in this new nation are being negotiated in this post civil war landscape.

There are also many satisfying moments particularly when Hex finally meets up with Doc. And the one-liners are a tribute to the romanticized old west. Still as far as animations go it paints a realistic picture of what the west was – frightening, feral and the outcome of the sins attributed to racism. Between the commentary on the Apaches and Hex’s complicated history it goes to show that he’s a microcosm of all the injustices and the wrongs of manifest destiny.

“He was a hero to some, a villain to others and wherever he rode people spoke his name in whispers.” As Hex rides out of yet another one horse town, and onto one more wild adventure, we come to fully understand what this moniker means. There are many names given to him, but one wonders how will a little known character in the DC universe fare on the big screen.

With the films, toys and straight to video releases you would think that there couldn’t be any more to write about a group of toys that belong to a ten year old, but there is. Toy Story the comic actually has a gripping storyline and a cliffhanger that will make you pick up the ongoing series, no matter what your age may be.

DC Kids:

Captain Marvel, The Tiny Titans and Batman (The Brave and the Bold version) are featured in this all-star comic sampler. Captain Marvel deals with disappearing livestock, the Tiny Titans deal with being super-powered friends when their families are archenemies and Batman and Martian Manhunter team up. Though geared towards a preteen age group, the dialogue and situations are not childish. Instead they offer an entertaining glimpse into their respective worlds.

Iron man/Nova:

Written for the younger set this super-hero team-up may not have you beating a path to your favorite comic book store’s door to get a copy. The escaped ape storyline seems too cutesy and somewhat insulting. However the mini-story of The Superhero Squad Show is a riot as Hulk smashes everything in sight.

Archie’s Summer Splash:

Remember when comics were just a way to pass the time? After you read it you weren’t left with any lingering, philosophical thoughts about the meaning of life. Well that’s what Archie’s Summer Splash does for you. Yes, there is an oil spill that closes a private beach for the entire summer, but this timely plot device is just that – a way to get everyone on one beach. The bottom line is that it’s a fun read that you’ll be glad you’ve spent ten minutes on.

Fractured Fables:

A wolf who gets his butt kicked? An affable prince? These are just a few of the entertaining fairy tales that get turned on their head in Fractured Fables. These tales are familiar enough to keep you laughing out loud as they play with the storylines’ outcomes. Look out for what Rumpelstiltskin does to himself to get out of his bargain with the princess. You’ll never see it coming.

Yow! Grab Bag:

If you’ve only read Nancy in the newspaper, then you’re missing out. The story about trying not to wake a sleeping giant will have you laughing out loud. Then there’s the rest of the gang, Tubby, Judy Junior and Melvin Monster. Each character gets a chance to shine in this freebie that gives subtle commentary on freedom and deception. Who would think that you would get this from a group of comic book characters created in the height of the Depression?

For the truly young, this double comic will engage those who are just learning to read. The story is short and engaging enough to keep the little ones interested and get them to start loving reading since its associated with some of their favorite cartoon characters.

G.I. Joe:

This comic based on the Hasbro toy line premiered in 1982, since then it has been an entertaining cartoon series and a not-so-great movie. However, for freebie comic day, Larry Hama who wrote 155 issues of this comic is back to write 155 ½. It takes place as if the years have not passed and will continue in episode 156. It seems that Cobra Commander’s son, who at one point, attempted to assassinate his father, is being reprogrammed by the brainwave scanner. One problem, the late Dr. Venom left a Trojan horse in the device and who knows what it’s capable of doing. In the meantime, the artwork by Agustin Padilla is visually impeccable. Action scenes jump out at you and not only propels the storyline, but add to it. It’s also the perfect launching point to jump back into the series.

Iron Man/Thor:

What happens when the weather won’t yield to the thunder-god? And what does Tony Stark have to do with it? The sins of Stark Industries’ past come back to haunt Iron Man, which makes for a great marvel team-up. Thor still hasn’t forgotten what Stark did in his absence either. However, he puts this aside to help with this moon situation. Matt Fraction has created a solid starting point for the new Iron Man fan. Anyone familiar with the film will recognize Tony’s goatee and morose humor. As for Thor, he’s written with equal wit and brawn. It will make you curious enough to pick up their current series.

Irredeemable/Incorruptible:

Plutonian was once a superhero, but now he’s picking off his comrades and their families one by one. Worse what he did to his partner will have you thinking “Was that really necessary?” As the remainder of the team try to figure out the man they never knew, the man who has now turned on them, they are under attack. Just what made Plutonian do this? Mark Waid has created a villain with reasons for his evil ways. What readers must do now is the same as the surviving superheroes – find out who Plutonian was before he joined the team. A mystery and an action packed story will keep you coming back on a monthly basis.

Then there’s the reversed half of this comic Incorruptable. Plutonian goes insane and now Max Damage is saving lives? Mark Waid turns the idea of hero on its head with these dual comics. Somebody has to help save the world and its Max Damage’s job to do it. Perhaps, but to make sure how this all turns out it’s a good idea to check out both series.

There is danger in the word free. It could mean a pleasurable experience or a monumental waste of time and energy. However, the endeavor is a worthy quest worth doing. That said, here are some highlights of May 1st, the day that comic lovers live for.

Jim Henson’s Fraggle Rock:

Based on the muppets that were created in the ‘80s Jim Henson’s Fraggles are a lovable group of characters geared towards the pre-teen age group. Out of the free comic bunch this one is not only entertaining it gives those who are reading it an array into new vocabulary. What’s even more interesting is David Peterson’s Mouse Guard. Set in the 16th century it tells the tale of the mouse monarch Gwendolyn as she writes in her journal about the coming of spring, its dangers and the loss of one brave mouse. This isn’t a cutesy mouse story, but one of a fight for survival. You almost believe that they’re not vermin – almost.

The Tick:

As an enterprising young artist and comic fan Ben Edlund created The Tick. This rather large being, dressed in blue, with a view-master around his neck swears that he is a superhero. He also believes that he is a tick. His “nigh-invulnerable” status coupled with his possible mental illness allows Edlund to play with the tropes of the super-hero comic genre. It also makes for great fun.

Green Hornet:

For the television series the Green Hornet consisted Van Williams as the Hornet and Bruce Lee as Kato. When it came to Bruce Lee’s scenes they had to ask him to slow down his kung-fu moves. Yes, Lee was that amazing. Now comes the Green Hornet and Kato is a woman – at least in one version. This freebie is chocked full of comic goodness as each section highlights an ongoing series in the Green Hornet mythos. From origins to how there became a female Kato will intrigue you and leave you wanting more. Speaking of tempting you with comics, the ads for several comic series (Vampirella, Patricia Briggs Alpha and Omega, The Phantom, not to mention The Complete Alice in Wonderland) will have you searching for all these books. The artwork alone takes your breath away. It’s also nice to see Vampirella. Before the teen-vampire sensation, vampires were a purely adult form of entertainment. It would be interesting to see where the storyline has picked up from.

Love and Capes:

A superhero comic about a well-adjusted married couple? Yes, it’s possible – not only that it’s funny too. Created, written and artwork by Thomas F. Zahler, Love and Capes has the lighthearted touch that will have you intrigued from beginning to end. There are no big explosions, nor major super villains trying to take over the world, just some good old-fashioned dialogue, relationship issues and the banality of flying third class. It’s a nice change of pace that you should give a try.

Searching for a free oldie? On the hunt for a new band, then you need to check out this week’s free downloads.

Perhaps patriotic music is not your cup of tea, or you only listen to this type of music on the 4th of July. But you should give this song a chance. It has a nice melody and the voices are solid. Yes it may sound hokey, but it’s not intrusive and it’s better than the recent rash of freebies.

“Time Is On My Side” – The Rolling Stones

Rocking for nearly half a century, the Stones have sung about nearly everything. Their rendition of this Jazz rhythmic song didn’t become a classic until they belted it out in 1964. It still holds up with its fusion of rock and Jazz. Hurry and download this while it’s still free.

“Lullaby For Lagos” – The Whitefield Brothers

You’re not going to believe your luck once you find this amazing Jazz track is for free. It has this up-tempo beat that you won’t be able to sit still for. You’ll be doing your best Heathcliff Huxtable chair dancing with this one.

“Laredo” – Band of Horses

If you’re looking for a band with a rocking sound, then Band of Horses is for you. From their album Infinite Arms, “Laredo” has an infectious rock beat that you’ll listen to for a plethora of reasons. Try them.

“Around the Bend” – Greg Laswell

You’re watching your favorite show and you hear this amazing song that fits perfectly with the scene. Then it’s the next day and you can’t get the song out of your head. Luckily you have a free track to download. In this case it’s Greg Laswell who is arguably the king of the television soundtrack. It’s as if he’s written this song just for the way you’re feeling right now, even if you’re not feeling like that.

“Walls” – Shout Out Louds

Indie Rock has an eclectic mix of musical acts. The range is vast and sometimes musically gratifying. In this case “Walls” by Shout Out Louds is one of those songs that you’ll be glad a group came together and decided to jam. The musicianship is top-notch and the lyrics have meaning. Sung at times at break-neck speed this track grips you emotionally. And no it doesn’t matter what you’re feeling – the point is it makes you feel.

“Mirrorball” – Peter Gabriel

If you only know Peter Gabriel for the ‘80s tune “Sledgehammer,” then you need to check out “Mirrorball.” It shows yet another facet of Gabriel’s musical talent. The lyrics are heartfelt and the music offers an emotional element rare in music today – or ever. Originally performed by the electronica band Elbow, “Mirrorball” is currently on Gabriel’s latest release. It’s sure to become as classic a tune as his iconic “In Your Eyes” – yes it’s that good.

As far as motion comics go Joe Lansdale takes it a step further by interjecting the time period of post Civil War and how the west experiences it. As Hex follows the trail of Doc’s circus, and keeps one step ahead of the bounty hunters, a microcosm of just how wild the west was comes out. Lansdale adds complexity by showing a black man in a confederate uniform being tortured by Native Americans. It makes for interesting commentary on the complex relationships that came out as a result of the bloodiest war fought on American soil.

The language is also grittier. Hex is ornery and his choice of words reflects that. The running joke of Hex’s scar is as always featured. With all the elements in place Lansdale has created a world in which things are never black and white, but still keeps his tongue firmly in cheek with references to this romanticized time. Perhaps it is because Lansdale has written so many mystery and western novels that the natural flow of Hex’s narration is thought-provoking and will have you chuckling at the same time.

Based on his award-winning series of the same name that was originally released as a graphic novel in the early ‘90s, Lansdale has recreated a motion comic that’s a thrill a minute and loaded with suspense. Just how will Hex get out from being surrounded by Apaches and his current worst enemy – You’ll have to tune in to find out.

You may not think so from the beginning of Alex Dementia’s foray into the comic genre. “Vrykolakas: The Unholy” begins with men being taken out in the most fearful way possible – they never see it coming until it’s too late. Still the mystery is why these men and why did the killer (or perhaps mercenary) leave anyone alive? Dementia is no slouch in the writing department as he uses allusions to canonical literary work to propel the storyline. There’s also the references to Gypsies and some sort of sect or religious order. Just who are these people and what does it have to do with the mythology of Greek vampires?

The artwork of Isaac Carey Nejako adds to the uncertainty of the purpose of the protagonist and the other players in this tale. His illustrations are reminiscent of Robert Crumb – somewhat crude, yet revealing of the psyche of the characters. There is definitely an attempt to subvert the status quo of storytelling and Nejako’s art successfully does this.

What is most appealing about this comic is that although you see everything that’s going on there’s still something beneath the surface. In other words all that is drawn is not what it appears to be.

This 23 page work is constantly forcing you to query what this all is supposed to mean. You may think that the vampire motif has become overexposed, but this reinterpretation breathes new life into what seems today to be nothing more than teen-orientated, melodrama. Whatever the purpose you’ll be sure to seek out the next installment of this comic.

The 1967 Impala has a rich history in the Supernatural universe and plays a huge part in the final episode of the season. Dean counter-intuitively goes along with Sam’s plan to be the vessel for Satan. One thing’s for sure someone or something isn’t coming out of this alive.

Written by Eric Kripke and directed by Robert Singer this is one episode that is sure to leave a mark. As they all head for Detroit the place where Lucifer prophesized that Sam would say yes, Castiel is still mortal and Sam is giving Dean his last will and testament. Once Lucifer steps into Sam, he must be entombed, or else Armageddon would continue since the archangel Michael went to the C plan – where he uses their half-brother Adam as his vessel.

Essentially this plan is as sound as their previous ones, which means that they’re all screwed. Their only hope is to rely on Lucifer’s arrogance and his daddy issues.

Allusions to how to beat the devil abound. It almost makes it seem possible, and one thing about the devil is that he needs an audience. Like Skeletor in the He-Man cartoon, Lucifer feels the need to sabotage his success. His tormenting of Sam while they share the same body is questionable at best. Lucifer has won, so why is he still playing with Sam? Let’s say that the devil can’t fight on two fronts.

Meanwhile Castiel plans to “consume mass amounts of alcohol” and Bobby is the epitome of despair. Still there is the recurring symbol of the Impala. Why does the car keep coming up?

Then there is the rehash of sibling rivalry and how “God [wants] the devil.” It’s the only thing that Lucifer has in his arsenal to save himself from a big brother beat down.

On a side note every good Armageddon needs a kicking soundtrack and this episode has it in spades. It also leads to Dean being the X-Factor. It doesn’t stop Lucifer from causing serious devastation to the Winchesters, but it does turn the tide in this battle.

When it all comes down to it, it’s about the love of two brothers and how they were never truly homeless.

As the world returns to normal what will become of the Winchesters? And will there be a season six? We’ll all have to wait and see.

“How Did You Find Me Here” – Merle Haggard

From their first album A Balloon Called Moaning, this Wales band created a sound that on the wrong day can grate your nerves. If you’re having one of those days then make sure your mp3 player isn’t on shuffle and download this track. You can listen to it when you don’t care what’s playing in the background. However if you have more discriminating taste, then forget it and have your kids rock out on the pots and pans instead.

“In This Song (Album Version)” – Charice

Remember when R&B meant something? There is no doubt that Charice has a powerful and lovely singing voice that is reminiscent of Christina Aguilera’s. But this ordinary track with mundane lyrics will have you searching for Aguilera’s Stripped album. The B-sides on that album are ten times better than this. Skip it.

“It’s Hard to be Humble (When You’re From Alabama)” – Phosphorescent

It’s not bad, but it’s not great either. There are moments when you think that this song is going somewhere and then it just doesn’t. Try and find some early R.E.M. instead, even if you have to pay for it.

“These Foolish Things (Remind Me of You)” – Stan Getz

If you don’t love this tune, then you have no soul. Getz was an amazing musician who mastered various saxophones and the piano. His playing on this track will move you and remind you what Jazz is really about.

“Love Can Kill You” – Bt

This track gives electronica a good name. From the album The Hopeful Machines, “Love Can Kill You” is a solid track that utilizes electronic sound and will have you grooving to its inventive beat. You should give this genre a try by downloading this song.

“Million Dollar Girl (Featuring Keri Hilson and P. Diddy)” – Trina

Remember when P. Diddy was Puff Daddy and he and the Notorious B.I.G., Little Kim, Faith Evans and other acts made music magic and gave a swagger to hip/hop that hadn’t been seen before? Well you’re not going to find that here. It’s low rent rap at best. Listening to your 4-year old rap this would be more entertaining – because he’s 4. For adults it’s just painful, monotonously painful. Skip it.

Elliot Ness is now the city’s Safety Director with a cemented reputation as the man who is untouchable. Meanwhile we follow the detectives on the torso case. Partners Simon and Myrle have a solid rapport with each other. While they’re not like an old married couple, they do understand and listen to each other. They also face unsettling truths about themselves and their relationship evolves as the story unfolds.

If you feel as if Bendis is manipulating every emotion you have while reading this trade, he is, and he makes you love it. Besides the partners and this crime spree, there’s Ness’ reputation and his marriage. Here again Bendis shows a man whose ambition causes him to make rash decisions. In an emotional peak Ness does something irredeemable and the cost to his life and career are devastating.

The core of this drama is the crime itself. Just who is the torso killer? What’s his motivation, and why does he choose the victims he does? In real life these questions are never answered, but once again Bendis gives the reader a logical possibility that closes the distance between the ‘30s and now. It is a timeless story that meets many heights and a dizzying crescendo that will leave you heartbroken and angry.

Out of the many inventive scenes in this graphic novel is the interrogation scene between Ness and the suspected killer. Here Bendis forces the reader to see things from a different perspective – both physically and psychologically. Having said that the artwork is a combination of photographs, collages and drawings. The book done entirely in black and white adds to that surreal yet concrete reality that Bendis and Marc Andreyke have created. This world is constantly changing and through words and art design Bendis (yes he is credited with the artwork on this trade) and Andreyke are able to entertain and educate simultaneously.

If you need more reasons for getting this trade, then check the back where actual photographs of the case and the real people who played a role in narrative are seen. You’ll wonder why Bendis does not illustrate his work more often.

All in all “Torso” is both a treat for the eyes and thought-provoking enough to feed your inner psychologist. Entertainment while learning something about yourself is a rare feat done by master storytelling. With the rights of the film safely back in Bendis’ hands perhaps we may see a move to the big screen. Until then there is the trade where you can relive the story as many times as you wish.

It’s a well executed, noble effort where an Irishmen uses guerilla tactics to devastate the Vikings. His one weakness is his daughter Brigid. Think of Marvel’s the Punisher and you’ll get a clear understanding as to why you should never get close to anyone when you make yourself a one-man army. There are no surprises here as a solid story written by Brian Wood and solidly illustrated by Ryan Kelly shows the emotional investment that this man has for his country. However, there is one point where the story falls apart, and unfortunately it’s at the most inopportune times.

Many of these instances surround the relationship our protagonist has with his daughter Brigid. She constantly puts herself in danger and when she confronts him regarding her childhood, she suggests that it was better to be raped by marauding Vikings than to be raised by a father who tried to protect her. Her constant whining and yelling for her Da to save her or not leave her alone equally grates on the reader’s nerves. Her character is ill-conceived and a contrived, misogynist construct that demeans the acts of Irish women who took an active part in defending their land. If anything Wood could have made her a badass in training. Under the tutelage of her father they would have been a formidable team. Instead we have a weak female who is always in need of rescuing.

It is difficult to get past the poor conception of the only female character in this collected trade (issues 11-16). Still, the striking artwork may see you through.

The bloody violence continues in episode three of Jonah Hex as he narrowly escapes the town’s good time. Death surrounds this episode as near friends are slaughtered and just may be resurrected. It seems that we have reached the occult segment of this action-packed, western narrative. There’s the allusion of ghosts and the undead.

As he returns to town to catch the trail of the carnival of zombies, wonders of wonders Hex finds the ringmaster selling snake-oil. This is one creepy, undead carnival act. The thing is how does this traveling “Wagon of Miracles” sustain itself and what exactly is in that “elixir?” Either way Hex has his work cut out for him in finding out this mystery.

Joe R. Lansdale as always writes in subtle takes on the history of the times. It is right after the civil war and the only person of color, on the surface, goes the way of a stereotypical, one-note story. Then there’s the confederate uniform that Hex is wearing. He doesn’t take too kindly to the reminder that the “war is over” and his side lost. What’s more Lansdale throws in a few western legends to add some spice to this storyline.

The artwork of Timothy Truman has also increased in complexity as the motion of the animation has become fluid and is drawn with a seemingly sharper edge.

So far Hex has had everything done to him including have his horse shot. How will he get out of episode three? You’ll have to wait to find out.

The logic of the townspeople is also under suspicion as they begin setting up for a hanging – and a picnic? One thing about this town is “that [there hasn’t been] much industry since [Hex’s] hometown built its first whore house.” Apparently public killing brings out fellowship and an industrious spirit. Incorporated sporadically is commentary on the greed and corruption of city officials, the outcome of the Civil War, and the treatment of Native Americans. It’s not subtle, but what comes of it will have you jumping out of your seat.

Between the solid script, acting and chase scenes Josh Brolin’s live action movie has a challenging task ahead. The flow and timing of this motion comic makes you want to replay it continuously, if only to memorize Hex’s lines. Granted live action film is a different genre, still it will be interesting to see how the movie will measure up.

How will Hex the man who ruined the town’s entertainment and picnic escape a mob including pistol-packing, toothless grandmothers? Stay tuned and hang on.

Four rings from the horsemen – can it be done? It doesn’t matter since it’s the Winchesters’ only hope. Meanwhile Pestilence is Max Headroom? No, but the actor Matt Frewer is one creepy, walking disease spree. Then there’s Sam’s brilliant plan of giving in to the devil and Castiel is becoming all too familiar with his mortal side. It’s not the most opportune time to go after Pestilence and Death, but yet again Sam and Dean have no choice.

As vessels Sam and Dean are under a unique form of protection. However, no one said anything about how they should be kept alive as Pestilence takes vengeance for his fallen, apocalyptic brethren. As Pestilence shows his petty side Sam and Dean are feeling the increased challenge of getting the remaining rings.

Needless to say getting them are the least of their problems.

There is some good news – Chicago is about to be wiped off the face of the earth. And wherever the end is near, then so is Death. The intel is helpful as Bobby “pawned his soul” to help prevent Armageddon. What’s more he seals it with a kiss. One thing is that Death’s entrance is one scene stealing moment. When an entity has his own theme song you know he’s one badass. It’s also not a good idea to sneak up on him – especially during lunch.

Julian Richings as Death is one frightening and brilliant actor. As he brings this ancient concept to life he schools Dean on what his job entails. Eventually everyone dies – yes everyone. That includes the acknowledgment of God, since there will be no sentient beings to worship him. Essentially entropy will run amuck.

In this next to last episode of the season Sam and his plan to become Lucifer’s vessel is the last chance to save the world. Will Castiel become an angel again? Will Dean trust Sam? Will there ever be Chicago pizza again? Stay tuned to find out.

This isn’t your standard documentary. It is true that it discusses his life, however, the interspersion of the return to the stage is what makes Izzard’s story compelling. It’s as if he’s doing a path-working to find out just what is it that makes him want to return to the stage to do stand-up. Being a comedian on stage is one of the bravest things a human being can do. You have to keep an audience engaged for the better part of an hour. Even the workshops of his new material have vulnerable moments where you see the process of what makes a good joke, or what will be successful. Essentially Izzard is doing “slightly surreal humor” that touches people on every level because while everyone is doing timely comedy, he’s talking about “being brought up by wolves.”

The thing about Izzard is that he’s not afraid to try something new, even if it means absolute failure. That’s the premise for this documentary – working out what’s funny, but still leaving room for improvisation. It’s a risk that as an audience you’ll be thrilled to be on the ride with.

Dressed as a man Izzard’s stage routine would be funny, but as a woman, Izzard’s comedy takes on a dreamlike quality in which his material takes on an androgynous nature. Somehow what he speaks about in make-up rings truer and honest to the viewer.

Izzard’s ten year, overnight success story in England was successfully replicated in the U.S.. Starting in small venues and building up a reputation for being surreally-funny is the formula that Izzard has stuck to and caused him to have a fan base on both sides of the pond – all the while looking “stunning.”

Dualism is the most important skill that Izzard has cultivated. He has this uncanny ability to write and act out his own stand-up and then there is the catastrophe of doing it in French. Yet again his tenacity helped him to take another risk. If anything it teaches him about himself and perhaps what not to do again. But for Izzard he does and wonders of wonders he’s damn good at it.

At one point of the documentary Izzard is accused of telling the same old jokes every time he began a new tour. It seems absurd, since comedians have bits that they had done for decades. After all where would Rodney Dangerfield had been without his self-depreciating jokes? Still, it pushed Izzard to reevaluate how he engages with his world and if he has anything new to offer. So begins the Sexie tour – the successful Sexie tour. But having to “do it all” can be exhausting.

When it all boils down to it Izzard, is best at “challenging assumptions about language.” This idea brings the documentary full circle because in the end it’s not about the jokes, or the acting, it’s about his life as a man who lost his mother when he was young. And how do you express that – through any means necessary.

There’s a fine line between proselytizing and celebrating a man doing his purpose. In this case Andrews walks a fine tight-rope with the Christian track “What It Means To Love.” It’s the sort of song that doesn’t need labels to be understood. Although it could stand to be 30 seconds shorter.

“People” – Trashcan Sinatras

The mellow intro to “People” allows the listener to settle in for a treat. Then the mundane lyrics start and ruin the effect. It doesn’t help that the words are sung in a nursery-rhyme fashion that does not fit with the melodious rhythm of this track. You’d be better off finding the instrumental to this and downloading it – that is if it’s free.

“Crash Years” – The New Pornographers

If you could imagine a combination of ‘60s and ‘80s rock, then you may be able to pin down The New Pornographers’ musical style. However, that doesn’t matter since this song is infectiously good. You’ll find yourself bopping your head to the up-tempo melody, and before you know it the song is over. Even the fade out will make you want to replay this. It’s rare that bands pay attention to such details that take the listening experience into consideration.

“World Sick” – Broken Social Scene

Remember “Come On Eileen” by Dexy’s Midnight Runners? Well this song will make you think of that iconic track. It isn’t that “World Sick” is in the same tune, it’s because every instrument is used to the fullest. There’s also a rock edge that causes you want to hear the track again. One problem is the lyrics, they’re too pedestrian for such an otherwise well executed song. Perhaps an instrumental release is in order or a reworking of the lyrics to match up to the musicianship.

“Gone to Sleep (Acoustic)” – Moby

This is the type of song that you can listen to when you’re in a complete state of euphoria. Yes it’s that depressing. Having said that, it’s a great track with straightforward lyrics and solid musicianship.

“Rattling Locks” – Josh Ritter

“Rattling Locks” is a raw track that is more like an exposed nerve than a demo. Still the intensity in the beginning of the track is tough to maintain throughout. However, it’s better to be overly ambitious than to not take a risk.

“Blue Skies” – Ella Fitzgerald

When you think of Jazz, you think of the incomparable Ella Fitzgerald. With the French horn played in the foreground, Fitzgerald’s scat technique shines as well as her singing voice. Being the “First Lady of Song,” she was and always will be the benchmark for great musical styling.

So far after the top 20 charting single “Yesterday” there has been two singles released (“Make My Heart” and “Hands Tied”) that have stalled in the middle of the R&B charts. Granted there is no telling how well the album will do given the backing from the record company that was lacking in her previous album releases. After the relationship with L.A. Reid and Babyface dissolved in the early ‘00s, Braxton did not seem to have a successful writing team where she could convey emotion through someone else’s words. Herein lies the problem with her newest album. There seem to be too many writers for each song; which causes them to sound pedestrian at best. Essentially that special-quality of being able to sing a well phrased lyric is lacking in part because of the writers.

Perhaps if Braxton had more control over this album it would not sound like generically-churned out R&B. It is rare these days that singers are just singers. Although Braxton has a couple of co-writing credits on the album, she has no producing credit. This is also a point of contention since the producer credits sound more like a law firm. There are just too many people involved in this process and as a result Braxton’s talent gets lost.

All is not terribly sour though. Two songs, “Woman” and “If I Have to Wait” show promise. Still “Woman” sounds like a watered-down version of Karyn White’s ‘80s monster hit “Superwoman.” While “If I Have to Wait” is well-written and sung, but there is no soulful substance to the track. They are sorely ordinary.

Pulse overall is not a bad album, however it doesn’t take risks. If Braxton is not going to take the reins of the production of her music, then her relationship with Atlantic Records may be as short-lived as the relationships she sings about.

A waste of a great title for a song, the nonsensical “We are the Men You’ll Grow to Love Soon” is not worth your time.

“Let Loose the Horses” – The Rescues

This track tries to be special. Instead it turns into a pedestrian listening experience.

“Despicable Dogs” – Small Black

One of the most monotonous, long, laborious listening experiences you will ever have. But if that’s your thing, then go for it – otherwise there are other ways to inflict pain on yourself.

“Hormone” – Growing

This song starts out promisingly enough with a moog-like, synthesized sound. Then it continues that way for well over three minutes. Unlike the name of the group this track shows no progression and will begin to grate on one’s nerves.

“Lost Where I Belong (Flying Lotus Remix)” – Andreya Triana

This would be a great remix if it weren’t for the unnecessary lyrics. Musically this remix shines without Triana’s lumbering moaning and whispering on the track. If you can find it without the singing somewhere else, then go for it. But stay away from this one.

“The World Collapsed” – Monster Movie

The free download mp3 powers-that-be truly scraped the bottom of the barrel with this track. The lazily sung lyrics and the accompanied weakly played synthesizer make for horrible listening.

“Sunshine/Pretty Girls” – Unnatural Helpers

This band should have been locked in their garage and never allowed to get out. The only decent thing about this track is the drummer. The music arrangement goes to his strengths. Unfortunately he’s no Art Blakey. Mercifully the track is barely two minutes.

It’s a swine flu epidemic that’s sweeping across the west of the country, but why the flu when Pestilence has Croatoa, a virus that would devastate humanity and every living thing? In the meantime the demon Crowley (Mark Sheppard) returns to give the Winchesters information on how to retrieve the two remaining rings from the Horsemen of the Apocalypse. The plight of Crowley brings about several humorous moments – his tale of woe will have you laughing out loud.

Just how Crowley finds Sam and Dean is one mystery that will have devastating effects that will reverberate throughout the “Supernatural” universe. Then there’s the horsemen’s lackey, who needs to do “the best of someone else” in order to spread Pestilence’s master plan. But it’s the plan of Crowley’s which causes Dean considerable pain. We must take note that if it wasn’t for the long-winded villainy of Brady (Eric Johnson) more hysterical moments would not have taken place.

Brady has a long history with Sam. It seems that there has been “a devil on his shoulder the whole time” – since college. In deciding to play for the winning team Brady doesn’t help Crowley who he informs that Lucifer will never allow him to die. The rest of eternity in a pain amplifier is no picnic; particularly when tortuous ideas are inflicted on you by the devil himself.

Once again Crowley uses his demon-scheming technique to save himself and brings back reinforcements. Needless to say no great special effects were needed for the scare-fest in this episode. Towards the end Crowley makes an offer that Bobby may not be able to refuse.

Of course we have Sam being left behind on an important mission. It leads him to one of his most profoundly, stupid schemes and causes Bobby to question him on “how can he control Satan when he can’t even control himself?” His being alone with Brady only proves Bobby right. Sam isn’t Satan’s vessel for nothing.

With only two episodes left things have gone from intensely improbable to downright impossible. And, in the midst of new alliances and the inability to trust old ones how will the Winchesters come out of this? Stay tuned to find out as Death rides into town in “Two Minutes to Midnight.”

However, in comic books, it never seemed to catch on with the same amount of fervor. Jonah Hex has been unevenly involved in the DC universe since the ‘70s. He has also made several appearances in the animated series of Batman and most notably in the two-part time traveling episode from the Justice League Animated Series, which aired in the ‘00s. Soon, there will be a movie coming to the big screen starring Josh Brolin as Hex. In light of this, DC has released Jonah Hex as a series of motion comics that is supposed to lead up to the film.

In “Two-Gun Mojo,” from the beginning Jonah Hex has a problem. It seems he’s about to be hanged by a gang of wanted men. It’s a good thing that Slo-Go Smith comes around to help him with the unpleasant situation. Arriving into town for Slo-Go to collect his bounty they inform the sheriff that the town killed the wrong crew. While waiting in Mud Creek for the money a slew of other mishaps occur in the town.

This motion comic has all the tropes of a great western, the anti-hero, a witty sidekick, a damsel in distress and quick wit faster than a man can draw his gun. It’s the dialogue that makes this comic come to life. Between Hex’s (Jim Cummings, voice of Winnie the Pooh) gravel-intense voice and the well written words of Joe R. Lansdale, this story will have you coming back to find out what will come out of Hex’s mouth next. As for the artwork of Timothy Truman, it’s low-grade compared to Maleev’s work on Spider-Woman. However, it does have an old-school charm. For anyone who remembers the Captain America/Thor/Incredible Hulk cartoon of the ‘60s that was replayed in the ‘80s with Spider-man and his Amazing Friends it has that stop-motion flavor.

But this story based on the graphic novel of the same name art-wise is a reinterpretation of the novel and does not take away from enjoying the unfolding storyline. Instead it enhances the plot particularly at the end of the episode. Slick artwork in this case just wouldn’t do for that kind of shocker. Besides, that scar of Hex’s is one thing that couldn’t be done wrong and Truman is on point with it. In close-up it strikes just the right amount of fear. And that’s a rare thing for an animation.

How will Slo-Go fare in the next installment of Jonah Hex? You should tune in to find out.

“Kungen” – Love Is All

After 2 minutes and 40 seconds this song grows on you. It’s too bad that the song is 2 minutes and 46 seconds long. The beginning sounds as if it’s a rip-off of a demo from The Partridge Family and it goes downhill from there. Skip it.

“Take Me Away” – Taking Dawn

There’s nothing special about “Take Me Away.” However this average rock song has solid musicianship that makes it a listenable track.

“Never Follow Suit” – The Radio Dept.

This track starts off with promise but falls flat with its monotonous, rhythmic melody. The spoken word in the middle does not help either. This song is too busy figuring out what it’s trying to be and that makes for a frustrating listening experience. Don’t waste your time.

“Sit Alone” – Arranged Marriage

After a sea of mediocre free downloads “Sit Alone” may sound like a masterpiece. Although it is a decent song it’s still boring. Still it knows what it is and the musical arrangement makes it palatable.

“Magnetic North” – Aqualung

The slow, melodic start of “Magnetic North” helps you settle in for what will be an emotional listening experience. The hauntingly sung lyrics companioned with the dream-like piano gives the music an otherworldly air that is rooted in the reality of the protagonist pleading for love or help. You’ll spend the whole song trying to figure out which and then go back and listen to it again.

“The Roll of Characteristics (Of History in the Making )” – Cornershop

This track is fun to listen to. The up-tempo (heavily influenced by the sitar) beat coupled with well orchestrated lyrics will have you feeling good and rocking to the music. However go back and listen to the words. In their peppy, lyrical mask Cornershop has something important to say. And that’s the mark of a song with replay appeal.

“Gee Baby” – Jo and Ann

From Ace records greatest hits album “Gee Baby” is exemplary of the grooving late ‘50s music scene. The lyrics are straightforward and are backed up with a great southern musical sensibility and horn arrangement that will have you wishing that this track is longer than it is. Luckily you can play it continuously.

“Stole My Heart” – Little & Ashley

It’s the song that you can’t get out of your head from one of those e-book commercials. The snippet of the jingle is annoying enough, but to hear it in its entirety sounds like punishment. The sing-song rhythm doesn’t help as it sounds like a nursery rhyme a sociopath would hum. If this were the case, then the song would be palatable. But it isn’t, so skip it.

“Wake Up!” – Shooter Jennings & Hierophant

If you missed your chance to get this download when it was free several weeks ago, then now is your chance. The lyrics are still ripe with meaning and the musicianship is still tight. It’s one hard-rocking experience that you’ll want to hear continuously.

“King of Spain” – The Tallest Man on Earth

Who knew that Swedish folk music could sound so infectiously good? The acoustic guitar styling of Kristian Matsson will have you tapping your feet along this up-tempo beat. With straight forward lyrics and strong folksy rhythm “King of Spain” is sure to hold a special space in your mp3 player.

“Too Late For Lovers” – Gin Wigmore

Gin Wigmore’s luscious voice will remind you of Macy Gray – only not annoying and talented. You won’t care what she sings just as long as she doesn’t stop. Luckily this song is worthy of her musical style. Co-written by Wigmore “Too Late For Lovers” will leave you wanting to hear more from this artist.

“Just Impolite” – Plushgun

To use Johnny Cash as a lyric you need to be brazen and have a song that is worthy of his name. Unfortunately “Just Impolite” doesn’t measure up. It blends too far into the background to the extent that you don’t know when it began or when it’s over. Its one thing to be bad and quite another to not be remembered. Skip it.

“Take It In” – Wye Oak

This track starts off with great promise but then goes on, and on, and on. The begging doesn’t help as there is a monotonous pleading to “please stay.” Do yourself a favor and don’t bother.

“Vibrationz” – Javelin

Another promising start to another monotonous-sounding track. If you want to put yourself in a coma then download this, otherwise forget it.

Episode Commentary: “Hammer of the Gods”

The Winchester boys decide to “screw destiny” and do things their way. Meanwhile a hotel in Muncie, Indiana ghoulishly prepares for Sam and Dean’s arrival. “What’s a four star hotel doing on a no star highway?” That’s the question to be answered at Elysian Fields in the aptly named episode “Hammer of the Gods.”

An elephant in the room, the god Mercury, and capsules of Sam and Dean’s blood? It’s one freaky setting as gods from multiple pantheons attempt to stop Armageddon. As the vessels of Michael and Satan, Sam and Dean are bargaining tools for Kali and the “legion of doom.” We forget that the world ending means no more worshipers – for anyone.

Kali’s perspective on the apocalypse speaks of the struggle of western might wielding their power over third world communities. It’s a not-so-subtle commentary on egocentric behavior that leads to some intense fight scenes and good dialogue. In the meantime the gods who are “Worse than humans, worse than demons” in their frenzy to salvage their pitiful territories bring on the devil to claim his due.

Witty repartee, fast paced action and brotherly jealousy abound as the angel Gabriel confronts his sibling Lucifer with some hard truths and tells him to grow up and stop breaking “Daddy’s toys.” When it all boils down to it family is the crux of this series. And that includes the humanity that all the gods view with disdain.

As Gabriel in his inventive way gives directives on how to trap Lucifer, the Winchesters have a new purpose and a new adventure to pursue. Now it’s to collect the rings of pestilence and death while staying a step ahead of Michael and the “God squad.” One thing is certain Sam and Dean are in for one filthy ride as Pestilence rolls through town in “The Devil You Know.”

The angel Zachariah (Kurt Fuller) in a space of moments is fired and in the most dramatic way possible regains his middle management position. Meanwhile Dean decides to be Michael’s “muppet.” It’s the 100th episode of “Supernatural” and the Winchesters have reached “The Point of No Return.”

Writer Jeremy Carver has pulled out all the stops as the angels decide on a plan b and bring back Sam and Dean’s brother, Adam who was eaten by a ghoul earlier in the season. As Dean still attempts to sacrifice himself he admits to Sam that he’s lost his faith in him. The confrontation between brothers is heart wrenching as they play into the hands of both the angels and Satan by dividing and conquering themselves.

It’s interesting to see how this show has re-imagined the viewers’ idea of what angels are supposed to be. Zachariah has reached the pinnacle of bitterness and “avoided certain truths to manipulate” Adam. Then there’s Castiel who gives Dean the beat down his father never did. They seem to act more of the bestial side of human. It leads one to question how can we come to turns with our own humanity? Perhaps the one way is through family as Sam and Dean reunite and find their faith in each other again. We need to remember that their last separation is what brought on Armageddon in the first place.

The pace of the episode is short and exciting as the action scenes are amped to a level that will have you holding your breath. Castiel does some intriguing things with short swords and a box cutter. Then there’s Dean who for the first time in 100 episodes holds on to his weapon. What he does with it the audience never sees coming.

As the Winchesters decide to redefine fate and take the fight to both heaven and hell they are sidetracked by a motel that even Norman Bates would be terrified of. The episode is not called “Hammer of the Gods” for nothing.

As a lyricist Griffin emphasizes emotion over religious doctrine. Her point in this track seems to be one friend reaching out in need to another. “My friend, you know me and my family/You’ve seen us wandering through these times” are the words of someone crying out for a helping hand not a handout. It’s a track that makes you long for the comfort of the arms of a protector and that is something that resonates no matter your religious belief-system.

When dealing with established myths the challenge is not to be didactic, or mundane. Luckily writer Mike Carey counteracts this by having humanity, several gods, demons and angels act as potential foils for his Morningstar. The trade begins with “The Morningstar Option” in which the angel Amenadiel is loath to request Lucifer’s help in what could bring an end to the world. His acceptance sets the precedent for not only the trade, but the series.

It seems that wishes are being granted to everyone. This leads to a catastrophic series of events for Native American Rachel Begai. Her wish brings her in contact with Lucifer who manipulates her into helping him rid heaven of their situation. Along the way we meet the other cast of characters and future enemies who have a burning desire to rid existence of our retiree. With every encounter Carey creates a devil that challenges the theory of predestination. According to her predetermined fate Rachel is supposed to help Lucifer in his job to aid heaven. Then why does she vow vengeance on him? After all Rachel does this of her own volition, for her own reason. She does not bargain with the devil, but still feels betrayed by him. It’s an entertaining paradox that redefines the role of the evil one.

Lucifer continues to make enemies and further bring on the question of why are we here when he goes to Hamburg, Germany for “A Six Card Spread” to authenticate his payment from heaven. The intensity of this story confronts bigotry on several levels. Carey utilizes a living tarot deck and the everyday lives of angels living among humans to offer a narrative that shows how people make disastrous decisions. Essentially it becomes “a trilling in the wires – a high inhuman sound [where] A million triggers are pulled [and] destiny rides on the bullets.”

Finally “Born with the Dead” has Elaine help her friend avenge her death. This intimate tale is the most haunting since it deals with the powerlessness of children. The mystery that she and her dead friend Mona unravel is filled with thrilling danger for the reader. It’s a good old-fashion ghost story with an occult twist that leads to a cleansing ending. Near the conclusion of this tale Elaine is saved by Lucifer for his own purposes. He alludes to the fact that he will need her special talents of talking with the dead.

Throughout the narratives the artwork of Scott Hampton, Chris Weston and Daniel Vozzo bring Carey’s words to life. Each artist brings a unique sensibility to the storyline as you see the amorphous forms of Hampton’s nameless gods you understand the words spoken by Lucifer in the beginning of the trade. In Weston’s case the menacing tarot deck that runs amuck is vivid and frightening. As a reader you can’t take your eyes off the pages. However it is Vozzo whose art will stay with you the most because it punctuates Carey’s well stated words and shows the fragility of the children and the precarious position they are placed in.

Carey sums up the thoughts of the reader best when he has the angel who has “kept every word” put on paper by humanity say that “Atonement is at best a journey of uncertain length to an unknown destination.” It is hard to say where you will end up after reading “Lucifer: Devil in the Gateway,” but the ride will at least be intriguing.

The contestants’ first challenge is to balance an amount of quarters on a tray, with one hand. This seemingly easy challenge causes sweat to pour and people lose the feelings in their arms. Once the challenge is won the competitors then meet Suze Orman who successfully chose last season’s winner based on their FICO score. After Suze’s chat, we then see Danny C. who not only was the winner last season, but he has kept off the weight. Seeing Danny C. enables the contestants to see the relationship that their finances have with their weight. Once he got his weight under control he was able to handle his credit card debt. He also goes to work out with the contestants, which brings out a slight mean streak in Bob and Jillian. They seem to amp up the workout in his honor – the look on his face is priceless.

Meanwhile Victoria is having a meltdown and in week 13 she has so much to catch up on. As Victoria tries to figure out why she’s still there a new challenge awaits the competitors to battle each other in the heavy rain, wind and mud for a new vehicle. It’s a tough way to get a car, but we must remember that while on the ranch the contestants have given up their lives (and their incomes) to lose the weight.

We then come back to Victoria who is struggling with why she’s 358 lbs. The weight is costing her the self-esteem to be the best person she’s capable of being. It’s one of those heart-wrenching moments where the-powers-that-be should understand that you don’t need game-playing for good television. What’s more seeing the contestants payback Bob for having them do mountain climbers in the mud is priceless. Needless to say the contestants are paid back for one of the worst last chance workouts seen in the show’s history.

The weigh-in brings some shocking conclusions as one of the contestants only loses three lbs and another loses no weight at all. It leads to the most frustrating part of the show where the audience is reminded that this is a competition where the contestants are voted off. After all there can be only one winner. In the 13th week friendships have formed and the competitors must now decide who will be the person who will help them lose the weight. It’s all about motivation and the bonding that has occurred must be sacrificed for it.

Next week is an emotional roller coaster as one contestant loses a family member and one of the challenges gives the power to only contestant to vote off the one with the least percentage of weight loss.

Only Etheridge could sing “I am what I am afraid of” and not have it sound as if she’s on an ego trip. With a tight musical arrangement centering around some of the best guitar playing out there, “Fearless Love” is an anthem that makes a declaration that you demand to be taken as you are. Settling for this protagonist is not an option – and if that means being alone, then so be it. What’s more this track makes you want to keep listening to see if the other songs are as strong as this one.

Luckily “The Wanting of You” satiates that curiosity. The way Etheridge weaves a story gives the listener a clear picture of what she desires to express and leaves room for the imagination to roam at the same time. As in the previous track this song also rocks as it mixes quiet moments with high rising crescendos that are never over the top.

The album continues with the sensual sounding “Company” which is an intimate track that declares the “need to understand this misery” of life. The narrative emphasizes that there is solace in writing, but the need for human, physical contact supersedes journaling. It’s a song that will have you seeking out the companionship of someone who understands and doesn’t judge.

Before you can recover from the emotional roller coaster ride of “Company” you are confronted with one of the coolest songs Etheridge may have written to date. “Miss California” is sure to be a favorite with hard-hitting, in your face lyrics that are bold without being vulgar. It’s as if you’re forced to peel off your skin and with every painful strip Etheridge makes you like it. You also wonder who she’s singing about. Just who is this “Miss California” and why is she hiding who she is?

“Drag me Away” gives the listener a chance to their breath – barely. It’s a solid song that talks about how nothing can stop you from overcoming an illness, or living your best life. “There is no force that can drag [you] away” from this song either. “Indiana” is the story of a single mother who doesn’t even have hope to give her daughter. The gentle intro followed by the faster pace of the music reveals a sense of urgency that this girl breaks out to find her place in the world. Eventually she stops trying to outrun her need for home and finds it in what she deems important – not being famous, but in her family. “Nervous” as in several of her other songs has a tinge of autobiography in it. It’s also an upbeat song that will have you playing your best air guitar.

Unfortunately the rock-out introspection comes to a halt with the preachy, message oriented “We are the Ones.” The lyrics remind you that every action you do in the world has an effect, but it doesn’t have to be heavy-handed in the approach. A lighter touch is warranted for this type of song.

Etheridge redeems herself with the mandolin and guitar featured “Only Love” another slow burn of a song that does what “We are the Ones” could not. Without being didactic Etheridge emphasizes that “we have more power than it seems.” It’s a message track that empowers the listener. More importantly it’s a great song. Although it could be 30 seconds shorter.

“To be Loved” is exemplary of Etheridge’s ability to cram deep, soul-sticking emotions into the words of her songs with a guitar lick that wails as if it’s in mourning. And the instrumentation of “Gently We Row” is the perfect song to end this heart-wrenching album as Etheridge helps her listeners “gently … find our way home.” The slow rhythm of the guitar is like a lullaby as the sing-song lyrics rock us to “dream.”

Etheridge’s album will leave you emotionally spent, yet you’ll want to immediately listen to it again. And that’s the mark of a true storyteller.

Sometimes the free mp3 downloads have a theme and the one released on Easter Sunday is no exception. From the album “Love Unstoppable” in an up-tempo, Gospel beat Fred Hammond sings about the life of Christ and his Christian faith. If you like Christian music, then you should give this a shot.

“Currents” – Makaras Pen

This average rock song is just that in every way. However, it’s not annoying and there is some solid instrumentation in the song, albeit not original sounding. It feels as if it’s a warm-up to a really amazing Metallica song, but it’s not.

“I Learned the Hard Way” – Sharon Jones & The Dap Kings

Sharon Jones has been grinding in the music business for years and it shows in the experience of her voice. The way she takes control of the track “I Learned the Hard Way” you will fully recognize that Jones is living every funky lyric. Her band The Dap Kings are no slouch in the musician department either as they compliment Jones’ soulful singing nicely. (The Dap Kings are also prevalent on several songs from Amy Winehouse’s album “Back to Black” as they are the house band for the Daptone label.) It’s a great combination that will have you seeking out more of their songs.

“Vocabularies Overture” – Bobby McFerrin

“Don’t Worry, Be Happy” this isn’t as McFerrin mingles African acapella rhythmic beats within a multitude of voices. It’s an eclectic fusion of Africana-Jazz that will have you on your feet for the entire song.

“One Way Road” – John Butler Trio

Spoken word on steroids, backed up to some fine musicianship? That’s what the John Butler Trio is serving up with “One Way Road.” Its infectious beat will force you to get up and move, particularly the guitar solo towards the end. Self-indulgent this song is not as the lyrics have some intelligent points to make on the state of the world. Its solid use of instrumentation also makes it a worthwhile download.

“Amazing” – One Eskim0

From their self-titled debut album the track “Amazing” is simply that. It has a slow build that musically and lyrically will resonate within your soul. Although the song could have been 40 seconds shorter, it is one of those tunes that will cause you to hunt down this band’s album.

“Mama Told Me” – Jenny Dee & The Deelinquents

The Shirelles, the Shangri-Las, no, but this track will have you thinking of those great girl bands of the ‘60s. The musical arrangement showcases the tight lyrical harmonies of Jenny Dee and the Deelinquents as they take you back with good old-fashioned singing. If the other songs off their debut album are half as good as “Mama Told Me” then don’t hesitate about getting it.

After being noticed from a two-year stint on the soap opera “The Edge of Night” in the early seventies, Carter co-starred in several television movies and films. She was also in several series including “Different Strokes,” but she did not reach iconic status until she hit gold with the show “Designing Women.” As Julia Sugarbaker,owner of her own design firm in Atlanta, Georgia, Carter was an opinionated feminist who would keep those around her and anyone who dared to be racist or misogynistic in her presence in check, with her dry wit and a tongue sharper than any knife. Linda Bloodworth-Thomason and her husband Bill (who together produced the show) would write Carter the best lines. Her speeches, particularly in the episode “Reservations for Eight” from season two are one of the highlights of the seven-year series. Ironically, her views in real life seemed in opposition to Julia’s, which caused fans of hers to confuse her with the liberalism of her best known character.

Throughout the ‘90s and into the 2000s Carter had been steadily working. Between her television stints, she had a successful cabaret act that took advantage of her solid singing voice. However, a new set of fans were introduced to her when she portrayed Gloria Hodge on “Desperate Housewives” where she received an Emmy nomination. As the season unfolded viewers discovered that Gloria orchestrated her son Orson’s (Kyle MacLachan) rape, and attempted to kill his wife Bree. Carter played up her character with every bit of campiness and inebriated-like class that only she could. Few if any other actress would be able to pull off all the over-the-top schemes Gloria Hodge did and still be believable.

Carter’s last film “That Evening Sun” featured her husband of 26 years. Based on the short story named “I Hate to See The Evening Sun Go Down,” she starred as Ellen Meecham – Abner Meecham’s (Hal Holbrook) deceased wife.

Carter’s death leaves a vacuum in the world of theater, film and television that can never be filled.

It’s the 99th episode of “Supernatural” and the occult symbolism is out in full force as Sam and Dean enter a town of demon hunters. Meanwhile Dean is contemplating giving up his body to angels to fight for humanity – one problem, the angels have changed their mind and he doesn’t know it. Then there is Leah (Kayla Mae Mahoney) who is seemingly receiving messages from angels to be one step ahead of the demons that have inundated her town, which leads to the other 98 problems.

“Being the vessel of heaven and having no hope” is not a good combination for Dean. And as the town turns against each other Castiel comes off his bender to inform the Winchester boys that Leah is a version of the “whore of Babylon” and is damning as many souls as possible to clear the pathway for Satan.

Castiel (Misha Collins), drunk, and without faith has become one of the highlights of the show as he in his inebriated-fashion calls Sam “an abomination” during a debriefing on who could rid the town of Leah. His unreeling pain has caused him to deliver his lines with a caustic wit that lightens the mood of the oncoming Armageddon, and reminds the audience of the complexity of dealing with the unanswerable. What do you do when your father tells you to figure out your issues for yourself when your siblings helped bring on the Apocalypse? According to Dean “You get to kill a whore.”

As usual the Winchesters save the day in their haphazard fashion as they improvise after the initial plan goes to hell. The one good thing about this is that Dean has restored his faith – to a degree. As he makes up his mind to see Zachariah he makes one last trip to see Lisa – the only woman who he believes he could lead a normal life with. It’s an ominous meeting as Lisa does her best to dissuade him, but Dean’s prepared to fall on his sword.

As Dean repeats the past by making decisions out of despair we are set up for the 100th episode. Will Zachariah and his crew accept Dean’s gift? You’ll have to wait until “The Point of No Return” to find out.

With an introspective look at the world the album begins promisingly enough with experimentation in jazz and moog-like sound on the track “20 Feet Tall.” The easy-style groove compliments the lyrics as it weaves a narrative in which the protagonist remembers who she is once “she gets off her knees.” We then come to the song that is featured in her controversial video “Window Seat.” Despite all the broohah from the video, the song is another amazing groovy carefree style that states “I need you to want me.” It’s the type of track that will remind you of Roberta Flack’s “Feel Like Makin Love.” A soulful, sensual and romantic tune with a tender hint from a demanding lover is what makes you want to listen to this song continuously. Even the barely over a minute track “Agitation” has a hint of early Stevie Wonder (Think of the tracks from his groundbreaking “Songs in the Key of Life” album).

But then we come to the “Turn Me Away (Get Munny)” which is a take on Junior Mafia’s hip hop hit “Get Money.” It’s a lukewarm track that is overly poppy in nature. It makes you wonder why Badu didn’t expand on “Agitation.” It has the potential to be an iconic song. Also being over five minutes makes the nursery-like tune aggravating to the listener. The applause at the end of the track may be the only type of praise it will get.

“Turn Me Away” leads to the downward spiral of half-hearted tracks that sound like stagnant R&B. “Gone Baby, Don’t Be Long” and “Umm Hmm” still need work. They sound like demos or extras that are not worthy of downloading. The track “Love” is only slightly better however being over six minutes long makes it monotonous and self-indulgent.

One of the things that makes this album frustrating is the song “You Loving Me (Session).” Barely over a minute long you hear the potential for another iconic R&B song. The budding tune gets cut before it has a chance to grow; which makes “Fall in Love (Your Funeral)” difficult to listen to. While it is a solid track with good musicianship it doesn’t stand up to the potential of the snippets of songs that do not have a chance to develop. On the other hand, there is the rapturous sounding “Incense.” Its instrumentation gives a picture of incense smoke wafting through the air and re-instills the listener’s belief’s in Badu’s talents.

One of the strongest songs on the album is “Out my Mind, Just in Time.” “I’m a recovering, undercover over-lover/recovering from a love I can’t get over” are inventive lyrics that need over ten minutes to explain itself. Anyone who seeks out Badu and hears this song will understand why she is compared to the greats in R&B music.

Overall, Badu has created a piece of work that like or hate, you’ll be talking about.

Despite how unconventional Erykah Badu’s “New Amerykah Part Two (Return of the Ankh)” sounds, it still stands a pretty good chance of landing high up on the charts, if only because of all the attention she’s gotten with her latest video. “Window Seat,” apart from resulting in a $500 fine for Badu on account of her very public impromptu burlesque show, actually seems like the next logical step in promoting a record like this – the music here isn’t just experimental but impulsive, so much so that the material sounds as if it’s still in embryo. As far as neo-soul music goes, you can’t get much rawer than this.

To say that it’s underdeveloped wouldn’t be accurate, though. Actually, with all of the different hats that Badu tries on here, it’s amazing how much control and focus she has, and how mature she manages to be even when things start to get nutty. The familiar sample she spices up on “Turn Me Away (Get MuNNY)” is just seductive enough to work on its own without diluting her spin on it, giving it a sound that’s at once contemplative and whimsical.

Contradictions like that turn up in her lyrics, too. When she tells her lover on “Fall in Love (Your Funeral)” that “we gone take this s–t from the top/you gotta change jobs, change gods,” there’s a sense that she’s only half-joking.

Badu never holds the same note for very long, though, and there are times when she breaks through all the pleasantries to reveal a person who feels confused and wounded, like what happens on the melancholy centerpiece “Out My Mind, Just in Time.” Clocking in at just a little over 10 minutes, it’s a song where she accepts the sad truths of her love life instead of working around them, and even in its darkest moments, Badu manages to be dignified and graceful.

It’s hard to do that in soul music without sounding as if you’re holding back, but Badu has enough faith in her own imagination to find a way to pull it off without making herself look silly. It’s harder still to evolve as an artist while holding onto your own style, and although she doesn’t sound quite like she did 15 years ago, let no one accuse her of abandoning her roots. Even a woman who strode naked in the middle of the street wouldn’t do something that drastic.

-David Guzman

Sam and Dean are dead – again as fellow hunters who blame them for the apocalypse shoot them in the head. For any other show this would be the killing shot, but for the Winchester boys who’ve been annihilated more times than you can shake a stick at only leaves Dean to say “when I get back I’m going to be pissed.” Meanwhile Castiel pulls a “Knight Rider” as he informs Dean that he and Sam are in heaven and must reconnect with Sam as they seem to be reliving the best part of their lives.

As the brothers reunite, Castiel with a sense of urgency sends Sam and Dean on a quest to find Joshua who talks to God. With a tinge of bitterness and unwitting, dry wit Castiel reminds them that he is not able to return to heaven and that it might be a good idea to find out what God’s been up to. After all they’re in the middle of Armageddon.

The road to find Joshua is paved with memories of the past as Sam realizes “just how long [Dean] has been cleaning up [their] Dad’s messes.” One thing about this episode is that one person’s heaven is another person’s hell as Sam’s memories bring back more pain for Dean. On a side note Castiel warned them to stay away from the light so Zachariah won’t send them back to their bodies. So what do our heroes do – “[run] from angels, on foot, in heaven . . . . with that quick thinking it’s a wonder [they] haven’s stopped the apocalypse.” Just when they’re about to be “ripped a new one” an old friend gives them safety.

As they learn that in the Big Guy’s house there are many rooms, their old friend Ash who is now fluent in Enochian and is a technical genius, helps them figure out their next move. They also meet another old friend – Pamela. She tries to convince Dean to do something for the greater good and be the vessel for the Archangel Michael. What everyone doesn’t seem to understand is that if the angels get their way they’ll wipe out humanity from existence – regardless of their mortality status.

As Zachariah deals with his middle-management issues, Joshua pulls rank as he reminds him how God is “with that whole wrath thing.” This episode is filled with allusions to what heaven is supposed to mean and the ultimate question of why do bad things happen to good people, as God refuses to intervene as a Deux ex Machina. This time Sam and Dean need to be who they are and have faith and hope in themselves. This time around as they’re resurrected they also go back with their memories intact. It’s a painful lesson for the Winchester boys which also leaves Castiel broken.

Now how are they going to stop the end of the world?

In the next episode as everyone reels from the previous episode’s revelations, like Jay-Z the Winchesters have “99 Problems,” but in their case a woman is one as Leah turns a small town of hunters into her own battle royal.

“He’s Gone Away” – U.S. Air Force Singing Sergeants

Alpha Rev is one of those bands that you swear has been around since the ‘70s. “New Morning” with its tight guitar playing and infectious drumming companioned with the voice of Casey McPherson singing in an irreverent falsetto compels you to listen to this song continuously. Luckily it’s free.

“Roadhouse Blues” (Live from Philadelphia) – The Doors

The second live performance from The Doors in as many weeks is a rare treat for the listener searching for quality and free music. It’s The Doors, singing live, with insanely great sounding guitar licks – download it.

“Datenight” – Johnny Sonic

Now this is a dance song. The funk-soul/rock/spoken word combination will make you want to get up and groove. The beat is also infectious and unpredictable. This is truly a rare gem for a free download.

“On the Sly” – The Bamboos

The amazing free download groove party continues with The Bamboos. It’s a laid back, funk party with reggae undertones. The musical influences in this song make it rich and a joy to listen to. Yet another download that you will feel as if you are stealing.

“Jail La La” – Dum Dum Girls

The song sounds exactly like the name of the band. Skip it.

“Beat the Devil’s Tattoo” – Black Rebel Motorcycle

From their sixth album of the same name Black Rebel Motorcycle has a song that will remind you of a Johnny Cash or Kris Krisstofferson track – Yes it sounds that deep and rich in musical history. The lyrics tell a story with a chain-gang type chorus. You’ll wish the song could go on forever, but don’t worry, the chanting at the end will stay with you long after the song is over.

That said the video has become a commentary on good taste versus artistic integrity. As Badu puts money in the meter she proceeds to walk down the street stripping off layers of clothing until she comes to the place where Kennedy was assassinated. It’s an intense video with a strong statement, but what exactly is it that Badu is attempting to express? One clue may be the voiceover as the listener hears Badu narrate over her naked body as blue blood bleeds from her cranium: “They play it safe. Are quick to assassinate what they do not understand. . . .This is what we have become. Afraid to respect the individual.” However, is being that graphic necessary? By Badu going commando the thought of children seeing her naked did not seem to be considered until after the video hit the web. Once more the unsuspecting people who saw this did not know they were seeing a music video being shot. The ramifications are seemingly afterthoughts.

Badu is an artist, but the video takes away from the well-crafted rhythmic melody of this tune. It’s a sultry song that is rich in meaning and takes the listener on an emotional roller-coaster. With the video it doesn’t leave any space to be interpreted, instead we are left with a naked Badu lying on the ground.

In the most recent episode the cast is reunited with the casted-off contestants to see if one of them will reenter the game. On top of the weigh-in, the remaining contestants must vote in their new competition. That goes for the one who everyone hated to vote off to the person who has played the game the most – to the extent where she threw the weigh-in. It makes for a television moment you can’t miss, since the vote is public. One more thing it’s every man for themselves as there is no more blue or black team.

Once the newest competitor is welcomed back into the fold, the host Alison throws a challenge to the eliminated players. The challenge is daunting as they must step their way back into the house. It’s one of the ways in which the producers set up to have enmity among the competitors. To have one of the “troublemakers” back into the house only breeds a contemptible situation where the game play will be even more intense. Although this is a reality show, the-powers-that-be do not have to reduce the quality of it. The storylines of the cast-members can be more than enough drama if handled right. Take for instance the man who inspired by the show lost 400 lbs. Wayne V was weighed-in live, which made for good television.

As the new competitors settle in, so does the mistrust as seeds of discontent are planted among the players. Friendships are tested and alliances are broken. This also gives the last chance workout a sense of urgency as Jillian and Bob work as the dynamic duo to get the contestants into shape – leading one contestant to walk out of the gym.

The weigh-in and the elimination room was racked with tension as paranoia gave way to sending another contestant out of the competition. It’s manipulation of the game that comes from an unsuspected source. Next week brings more intrigue as Melissa brings out animosity out of everyone causing game-play to go to astronomical levels.

Alongside the weaving deception and intricate plot that Loki has constructed is the comic relief of Volstagg, Hogun and Fandral as they assume the roles that Odin’s crows had in volume one – humorous, yet perceptive of the situation they find themselves in. Meanwhile Donald Blake attempts to piece mjolnir back together with the word’s best solution – duct tape. These humorous situations are tempered with the love-story of Kelda the Stormrider and Oklahoman William. Here Straczynski balances the moments in this trade while utilizing every character. Later on William unwittingly plays a pivotal role in Loki’s plot.

This fast-paced, action packed trade is riddled with double-meanings. Straczynski is at his best when he has his characters say one thing that reveals so much more than what is being uttered. His multilayered approach gives the reader pause for thought even after they’ve laughed their heads off. Whether it’s Dr. Strange’s dry wit or Volstagg’s nakedness nothing is left to chance or done without purpose. Perhaps that is why Loki’s appearance as a woman is so disconcerting. Straczynski plays with the reader’s comfort level when he manipulates the forms of Loki and Sif. Characters who normally would not listen to Loki, trust him as a woman. This is when he is at his most dangerous. By letting their guard down Thor, Balder and the others allow Loki to go unchecked and wreak havoc. Of course when it suits him, Loki takes back his original form and the Asgardians wake out of their stupor to only soften the blow of Loki’s manipulations. However, they could have stopped them long before if he looked like himself. What’s more it leaves Loki to continue to machinate over others in the Marvel Universe; which is currently causing a ripple effect over several comics.

What makes this volume more catastrophic than the last is what happens to the characters because of Loki’s love of destruction. Needless to say the god of Thunder and company will never be the same.

We must not forget the mastery of the artwork. After all it’s what makes the comic come alive. The words in the reader’s head take shape and form in a way that is better than the imagination. It is a true marker of Marko Djurdjevic’s talent as he creates the type of imagery where everything from a fight scene to a quiet moment is as rich in meaning visually as the words on the page.

One of the reasons to collect a trade is the extras that you would not ordinarily be privy to. Thor holding an I-pod and the mini-biographies of the Asgardians are only some of the tidbits that make this volume worth owning.

As Straczynski has left his stamp on Thor and resurrected such an over-the-top character, one may wonder how he will fare in the years to come. Will Thor and his band of Norsemen revert back to second-banana status in the marvel universe or will they continue to be key players? Only time and solid storylines will tell.

Episode Commentary: “Dead Men Don’t Wear Plaid”

What would you do if your wife came home and started making pies? For Bobby Singer after testing her with holy water, salt and a plethora of otherworldly materials he allows her to stay. There’s only one problem – Bobby’s wife has been dead for several years and he and the Winchester brothers are in the middle of Armageddon. It’s another fun-filled apocalyptic episode of Supernatural where the undead are in the forefront.

It seems that the third horseman Death has risen several citizens of Sioux Falls, Kansas. These aren’t your ordinary mindless, brain-eating zombies who walk in stiff, mummy-like fashion. Nor are they not welcomed back into the homes of their families. Instead they are embraced which leads to an awkward confrontation between Sam, Dean and Bobby. Just “how many times does [Bobby] have to kill” his wife?

This episode brings several revelations and gives the viewer an in-depth look into a character who originally was only to last one story-arch. Flash forward to four years later and Bobby is the star of this episode. The town drunk must wrestle with his demons once again and have it not break him at the same time. Although he does not go through this Herculean effort alone, at the end of the episode you will be left feeling unsure of which way Bobby will turn. Will he lose his will to fight, or will he get angry enough with the universe to carry on? For Sam and Dean, Bobby is the only family they have left. What Bobby does will have a direct effect on the war being waged on earth.

The episode isn’t all full of gloom. There are several funny moments, and yes Dean yet again loses his weapon. And after one particularly harrowing moment Bobby asks “Don’t you ever get tired of being wrong?”

Next week’s episode brings back Zacchiriah as he is hell bent on having the Winchesters be the “meat suits” for the archangel Michael and Satan. How will Sam and Dean get out of this one? And will Bobby be of any help to them in the coming weeks?

Rock and Roll is a genre that has spawned some great music and “Scumbag Blues” from the album of the band’s name is no exception. With subtle funk influences the instrumentation of this track is an infectious romp that will make you feel as if you are stealing this free download. And it’s no wonder since this band consists of members from the likes of Led Zepplin, Queens of the Stone Age and The Foo Fighters. It’s the best that these bands have to offer and only adds to their amazing musical legacy.

“Long Goodbye” – The Nadas

Sometimes the free download gods are kind and with “Long Goodbye” they have once again smiled down on the listener searching for solid musicianship, a rocking rhythmic beat and well-sung lyrics. It has a haunting melody that is simultaneously upbeat. This dichotomy produces a listenable track that you will find is well worth your time to download.

“Walk a Mile in My Shoes” – Elvis Presley

As you’re wondering why would anyone give away an Elvis Presley track, download it at the same time before the-powers-that-be realize what they’re doing. This song written by Joe Smith deals with exactly what the song title says and has only been performed by Presley during his live concert tours in the early ‘70s. It indeed is a rare treat for Presley fans.

“Bump in the Road” – Erik Hassle

Overall Hassle’s song is well done, but it’s average and runs about one minute too long than it should. This causes the track to lose its emotional impact which leads to a mediocre listening experience.

“Rocket (Richard X One Zero Remix)” – Goldfrapp

This track goes on six minutes and 58 seconds too long. It’s one long dance track that you will find yourself unable to dance to. Skip it.

“Farewell Mona Lisa” – The Dillinger Escape Plan

Heavy Metal listeners The Dillinger Escape Plan has a treat for you as they scream, shriek and soulfully sing their way through fantastic guitar licks, multilayered rhythmic arrangements and a haunting melody. This bonus track shows off the talent of this band as it hits unexpected notes that jar the listener in a good way.

“Polaroids and Red Wine” – Jaguar Love

If there is ever a countdown of the worst songs of the 21st century then this track should be number one. To wash your mind from this woefully, badly produced track re-listen to “Farewell Mona Lisa.”

Sometimes the free weekly downloads are themed. Whether its holiday time or heavy metal month, you tend to get the same type of music for that week. However this week’s mp3 free music is an eclectic mix that may appease your appetite for discovering new artists.

“Narayana/For Your Love” – Krishna Das

When you think of Krishna Das you automatically think of yogis contemplating their navels. In this case with the up-tempo, rhythmic beat of the music, the chanting of Das brings on a feeling of unification and contemplation. It’s a pleasant and happy groove. Although the 10 minute track will be daunting for the listener who is new to Das download it anyway. You can always listen to it in increments and work your way up. You will find that the rhythm varies and that there are lyrics that are interjected between chants. Besides take 10 minutes for yourself out of what may be a hectic day – you deserve it.

“The Story So Far” – Flogging Molly

The other live track this week “The Story So Far” is raw and intense as the lead vocalist emphasizes every lyric with a Celtic instrument lilt. It’s a catchy song that you won’t be able to get out of your head and you won’t mind that. However the 2 minutes the track takes to introduce the band is unnecessary. As a listener you only want to hear the music.

“Birthday Boy” – Drive-By-Truckers

This is an ordinary rock song with lyrics that you’ve heard before. It’s not the worst song ever written, but the heavy drumming that drowns out the lyrics and the rest of the instruments make this song sound amateurish. Skip it.

“One in a Lifetime” – Monica

With the dominance of Beyonce, Mary J. Blige and solid musicianship of other acts such as Ciara and Keyshia Cole there isn’t room for mediocrity in R&B. Unfortunately for Monica that’s just what this song is. “One in a Lifetime” needs work. It’s played out lyrics and mundane rhythm may not be able to help Monica return to the top of the charts. A return to the studio for a remix of this track is definitely in order if this has any promise to be a cross-chart hit – much less for cracking the top 40 of the R&B Charts.

“Kill Me Carolyn” – The Whigs

It’s just noise, needless, incessant noise. Don’t waste your time.

“King of Rome” – Goldheart Assembly

Listening to “King of Rome” you’ll wonder why the vocalists feel the need to over-sing the lyrics. Their screeching overrides the solid musicianship in the song. Goldheart Assembly should re-release this track as an instrumental or have someone else sing the lyrics to make this a song worth hearing.

Once the teams are both back on the ranch Ashley (the Black Team) rediscovers the reason why she’s on a weight-loss show as Jillian helps her realize that she’s “going to be the person who doesn’t care what other people think.” The last remaining mother and daughter realize that they both can regain their independence without sacrificing their relationship.

This week’s episode is also filled with tips on how to lose, maintain weight loss and eating healthily without giving up flavor. Meanwhile Mike leaves the ranch to attend to a family emergency. This impacts the Blue Team since Mike is their best cook and the next challenge is a cooking challenge judged by celebrity chef Curtis Jones. The 30-minute time limit does not help as the teams are told they have to create three healthy meals that are edible. However the five-pound reward for the winning competitors will be important to the weigh-in. The winning team will definitely need the advantage.

As usual the last chance workout is brutal and Bob tries some workout techniques not found on any DVD. Which leads to another high-stakes weigh-in as the greatest percentage of weight loss means one of the teams will remain intact for another week. For the team that ends up in the elimination room its heart wrenching. As the weeks go on the teams have bonded and for them to send a person home is like kicking out a family member. It just may devastate the team that has to make that decision.

Next week the remaining contestants get to go home for a week. Will this cause setbacks for some and, how will they implement what they’ve learned on the ranch into their real everyday lives? Stay tuned to find out.

Issue seven leaves Thor broken. While healing he meets Odin’s crows, then Odin – who is in constant engagement in a battle that ended his life moments before Ragnarok. In the interlude before the next fight Odin explains (and warns) Thor of the thread that will go through all the works in this collection. Odin explains how his thirst for power caused him to replace his father (by watching him turn into snow), which in turn became a legacy he handed down to his sons both adopted and biological. Yes folks Thor has another brother besides Loki.

As always J. Michael Straczynski weaves Norse with comic myth and uses both literatures to make Thor not only relevant, but essential. The machinations of Loki are given new life as a female. In what seems to be an incestuous set of circumstances Loki achieves carnage and chaos. Just how Loki gets his form also answers several other questions. Even Donald Blake has his part to play. Separated from Thor this construct of Odin’s functions as a whole person able to make his own decisions as he searches for clues as to how to find Sif. Then there are the people of Oklahoma. A love affair begins between a mortal and the goddess Kelda that reveals just how treacherous gods can be when they’re bored.

The cameos also make for commentary on the politics of Captain America’s “death.” For a brief moment a true Avenger pays homage to a fallen hero as he calls him from the other side with the rallying cry “Avengers Assemble.” Later on when he uses the same battle-cry for help, he is met with the imposters who Osborne has replaced the true Avengers with. It leaves a bitter taste in Thor’s mouth as their appearance only brings on a morose-disorder.

At last we come to issue 600 where Straczynski returns to the theme of the legacy of fathers where Thor makes a fatal mistake that foreshadows the warnings of Odin far too late. It causes him his floating kingdom in the sky and his hammer as it is destroyed in a fraternal onslaught.

The artwork of Olivier Coipel brings to life the many battles, quiet moments of contemplations among the characters and the creepiness of Loki as a woman into a realm that straddles reality and fantasy. The vivid use of color coupled with the Straczynski’s use of words makes for a great read. And with the appearance of Victor Von Doom at the very end only whets the appetite of readers for more Thor.

“Amazon Metal Sampler” – Various Artists

Album samplers are a good way to find new music, and since this track is free it serves as a solid investment that garners huge returns. The album starts off with the group The 69 Eyes with their heavily-guitar laden track “Dead Girls are Easy.” Its irreverent lyrics will be a welcome addition to your mp3 player. The rocking adventure continues with Dir Ein Grey’s live rendition of Dozing Green. It’s another heavy metal track that you’ll be glad you downloaded. Overall the album is well worth your time and you will discover a plethora of new favorites like the groups Goes Cube and Creature with an Atom Brain.

“Good to Be” – Backyard Tire Fire

The laid back vibe in this rock song is perfect to listen to in nearly any situation. Whether you’re in the middle of traffic or relaxing at home you’ll enjoy the lyrics that emphasize that no matters what happens in your life “it’s okay, it’s alright and it’s good to be.”

“Love is a Dirty Word” – Jason Collett

From his latest album “Rat a Tat Tat” this track is nothing to write home about. However the musicianship is listenable and after all it is free.

“Everybody’s Girl” – The Madison Square Gardeners

What makes this song better than the average free download is that it’s a track that you would hunt down once you heard it on the radio. The tune is catchy and the musical arrangement is solid. Every instrument plays their role nicely. Luckily you won’t have to track down this song and it’s free.

“Solitary Gun” – Rogue Waves

One of the great things about free downloads is the discovery of new artists. If the other songs from the album Permalight are half as good as this rocking track, then you need to get it. For now continue to enjoy the multi-use of guitar playing on this well done song.

“Rock Steady” – Bad Company

From their live concert in 2008 the original members from this ‘70s group gives the hard rock treatment to one of their classic hits. It’s the way rock should be played – loud, with heavy guitar licks, rhythmic drums and tight vocals with some audience participation thrown in.

After the emotional draining challenge reality sets in where the challengers only have an hour or two to work-out and perform an 8-hour job. While it prepares them for the real world Jillian puts into perspective that her team is still the underdogs. There are “five giants and Sunshine” on the Blue team and that causes Sam to rally his Black team to focus on sending another Blue team member home.

The various jobs each team is designated to do gives the show a lighthearted feel. Then reality sets in as the regional manager who looks to be a prime candidate for “The Biggest Loser” tells his story of his father dying at the age of 33. It is what the core of this show is about – giving practical advice to what seems to be an overwhelming situation. On a side note: whoever chooses the music for the show needs to have a lighter hand. There isn’t the need for an over-the-top soundtrack and an emotional voice-over.

The week takes its toll as Sam forgets his lunch at the ranch. Luckily there is the old standby sandwich shop where a healthy, low-caloric meal can be had. Product placement is one of the factors of this show that turns off many viewers. However we must remember that this is a reality show, albeit about weight loss.

That being said this week’s last chance workout is insanely-grueling. After a gym that literally shuts down at a certain time Bob does everything he can to “straighten the hair” of his Blue team. In the meantime it’s the first week since O’Neil (Blue team) does not have immunity. Will his luck run out? Then there is Lance O’Neil’s teammate who is facing that 300lb wall. Will he go under that weight this week, will he lose any weight at all, or will he cause his team to lose the weigh-in? The weigh-in get even more intense as the Black team steps up to the scale. It all comes down to Sam. Will his weight loss send another Blue team member home or will the Black team enter the elimination room for the first time? No matter what the results are a family may possibly be separated.

Next week brings on more intensity as repercussions of this elimination takes its toll on members from both sides as they deal with several emotional issues. Tune in to see the triumphs and the meltdowns.

“Wake Up!” – Shooter Jennings & Hierophant

From the album “Black Ribbons” Shooter Jennings and his band Hierophant have created a song that defies genre. It’s a dark tale that opens with subtle rhythmic tones that bursts into an electric explosion. Companioned with the lyrics, “Wake Up!”will have you clamoring for this awesome sound. Jennings calls this a “concept album” that speaks to the horror/occult fan within – and with narration interspersed in between the musical tracks by Stephen King there is no doubt that this will be an unforgettable album. Luckily you can have this track for free.

“Ioda Sxsw Opening Day Bash Sampler 2010” – Various Artists

There are albums that give independent artists a chance for their voices to be heard. In some cases it is a welcome surprise, and in this instance there are some welcome additions to your mp3 player. It starts off promising with the track “Shy” by the band A Sunny Day in Glasgow. The track is an experimentation in symphonic, synthesized sound that won’t annoy you. The good vibes continue with Zeus’ “Marching Through Your Head.” Its happy, folksy music is contrasted with the lyrics that speak of a betrayal of a lover and how the protagonist is trying to talk someone out of making the same mistake again. However we come to the noise-infused “Let’s Go” by the Summer Cats. It’s a completely worthless track that isn’t worth your time. This sampler album rights itself again with Tobacco’s “Truck Sweat.” This is another experimentation with synthesizers and instruments that would not ordinarily be played together. It makes for an interesting listening experience. Overall this free sampler of various artists is well worth the time to download.

“Alice’s Theme” – Danny Elfman

With the reimagining of “Alice in Wonderland,” Elfman has created a theme song worthy of what seems to be a visually stunning film. This song is effective in that it makes you think of the movie. At times it literally drums the thought of the film into your psyche. Perhaps you may not listen to it on your way to work, still it is a stunning piece of musical work that can only be appreciated more since it’s free.

“Let the River Run” – Carly Simon

This rearrangement of the song from the movie “Working Girl” works better than its original. It speaks more to Simon’s current singing style – subtle and with purpose. The vocal arrangement is also rich with sound. Even if you have the original track, download this one. It will be well worth it.

“Hold The Line Feat. Mr. Lex & Santigold” – Major Lazer

Horses walking slowly, then speeding up and guitar playing, followed by a driving rapping beat with phones ringing? Yes and it works as this song will keep you moving. The Caribbean/reggae type beat mixed with sounds not normally heard in music is an experiment that you will be glad Major Lazer attempted. Essentially it’s just plain fun to listen to. Get it.

“U N Me” – The Watson Twins

In a sea of solid free downloads, The Watson Twins hold their own. The lyrics are nothing new, but the singing and instrument arrangement make this song stand out in an excellent way. It also ends far too soon.

“Tardy for the Party (Tracy Young’s Don’t Be Tardy Radio Mix)” – Kim Zolciak

Call it a gimmick, but this dance track actually works. Kim Zolciak from “The Real Housewives of Atlanta” with her remixed voice is a solid song thanks to the work of Tracy Young’s mixing skills.

The album does start out promisingly with the title track. The chains and stripped down guitar licks companion-ed with the lyrics give a haunting affect that reverberates through your psyche. Cash’s voice sounds as if he is being pulled into that other world, even as he sings “Ain’t no grave can hold me down.”

Then we have “Redemption Day.” Written by Sheryl Crow, it is a watered-down version of “(Ghost) Fire in the Sky.” More depressing than Chilling, this track did not have to be released. Essentially, it’s not something that we should remember Cash singing.

However, “For the Good Times,” written by Kris Kristofferson (Yes Whistler from “Blade” – make no mistake, Kristofferson has lived more country songs and lifetimes than we will ever know) is more than
worthy of Cash. It is another barebones track that does not speak of mourning for what has left, but to remember the amazing time that was spent. Still, surrounded by songs like “I Corinthians 15:55” reminds the listener that the record company is ultimately in control of an artist’s legacy. “I Corinthians” (written by Cash) is yet another track that takes away from Cash’s iconic persona. This was a man who took out a full page ad to literally give the finger to the Grammys.

Just as you begin to wallow in what might have been if Cash were still alive, you hear “Can’t Help but Wonder Where I’m Bound.” With guitar and piano, Tom Paxton writes about the past and the unknown in a way that makes you long for Cash’s return. It’s a cruel trick for the listener, as you’ll never hear Cash sing it live.

We then come to a track that has been covered by several artists, including Roseanne Cash. “Satisfied Mind” is well suited for Cash as it is only his voice and a lone guitar voicing an inner dialogue. “I Don’t Hurt Anymore,” with its surprisingly upbeat tempo, is one of the most haunting tracks on the album, as its deceptive music misleads the listener. Listen to the words and the way Cash sings it – the spirit of irony that pervades the track will stay with you for a long while after it’s over.

After hearing the other tracks, “Cool Water” is a forgettable tune, but it sets you up for “Last Night I Had The Strangest Dream.” Written by Ed McCurdy in 1950, it is the flip side of Cash’s hit “Man in Black.” Have you ever been in the middle between sleep and wake and had snatches of a dream, then as you go through your day you remember snippets of it? That’s what McCurdy’s song will do to you – it will remind you of bits of Cash’s songs that resonated. Here, “Last Night I had The Strangest Dream” is just a hollow version of better material covered and written by Cash and his wife June.

The drama also returns as the winner of the first temptation of the episode decides who gets immunity. One more thing the teams will be broken up; yes folks once again it will be Team Blue (Bob’s team) versus Team Black (Jillian’s). The winner of the memory game temptation chooses both the trainers and who will be on each team. As we have seen in previous episodes several of the contestants harbor some resentment towards Jillian. This is a new and interesting dynamic that comes into play. How bad do the contestants want to win the temptation? And will they put aside their differences with each respective trainer to lose the weight and stop playing the game to win the overall prize?

After the sickening eating temptation to win the golden ticket, and the winner accepting a position in which they will be despised, the contestants move into settling in with their teams and their trainers. Families have been separated and one team seems to be unfairly stacked when it comes to the weigh-in. Needless to say the reaction from the trainers is something to tune in for.

The first challenge for the newly formed teams is at a dizzying height. Winners of the challenge get to read letters from home. It’s an exciting race to the finish to see who will win – will it be the grossly-stacked Blue team or Jillian’s warriors? Whatever the end result the fallout from the challenge will divide the house even more.

One note: The product placement mini-infomercials for “The Biggest Loser” consist of more misses than hits. When the trainers give suggestions they are helpful for anyone who wants to lose weight. When they’re pushing products however, it seems forced and overdone.

During this mid-point episode we get a visit from Dr. H to update the contestants on their “Real Age.” It reminds the audience that weight is only a contributing factor to the contestants’ health problems. It also reinforces that dropping pounds without stopping the other debilitating habits will only be a recipe for disaster.

The following last chance workout and weigh-in are some of the most intense moments of the show and this one is even more so because of the decisions made by one contestant. Sometimes both the audience and competitors forget that this is a competition where money is involved. And for one of the contestants to stack the game in their favor to help them stay is part of what comes with a reality show. Having said that the ones who have been manipulative struggle to keep the weight off or win the financial prizes.

Adding to the tension it all comes down to one contestant at the weigh-in to decide which team will eliminate their first member. The results will astound you. As for the elimination room the one who gets voted off is something that no one saw coming.

Next week brings on new challenges as the rivalry intensifies between the Blue and Black team.

Who will be eliminated next week, tune in to find out.

You’re in a club, with dim lights and all you want to do is dance, or you’re in your room and need a study break; either way Josh Wink has the answer for you with this track. Its long, monotonous beat is just the thing to have you forget the negativity that surrounds you. In essence it gives you something we all need to do once in a while – permission to think about nothing at all.

“Let the Madness Begin” – Fozzy

At the first listen of the guitar lick in “Let the Madness Begin” you know you’re in for a heavy metal treat. Do the lyrics matter, maybe, but what’s great about this song is that it only adds to the solid musicianship. With the release of their fourth album “Chasing the Grail” early this year if the songs are half as good as this rocking track then get it – now.

“Trash Day” – Butch Walker

When you listen to “Trash Day” your first thought will be “Why haven’t I heard of this guy before?” Walker’s folksy style on this track will have you listening continuously to this song as his guitar playing draws you in and keeps you interested. Another lyricist who combines solid playing with an amazing play on words Walker definitely deserves to be on heavy rotation in your mp3 player.

“I Don’t Remember Why” – Flying Machines

The opportunity to find new or obscure bands is one of the reasons why downloading free music brings a welcome surprise to the listener. Having said that originally reviewed in ’09 from their self-titled album “I Don’t Remember Why” is a solid track that emphasizes the musicianship of the Flying Machines. Electric guitar, piano and drums combine to save this song from being clichéd. It’s worthy of having a place in your mp3 player.

“Once You Got Me Going” – Debby Blackwell

Remember when you heard a song on the radio and so began your journey to find the singer – well Debby Blackwell had to be one of those artists that you needed to track down. With a sound reminiscent of Teena Marie, Blackwell gives what would have been an ordinary song sex-appeal and style. It’s danceable and listenable at the same time as her velvety-textured voice acrobatically maneuvers through the lyrics and the beat. This great song will take you back to those basement parties. Download it.

“New Life” – Sounds of Liberation

Is it Carlos Santana? No it’s the Sounds of Liberation as they mix Latin and Jazz beats. You’ll feel like you’re stealing when you download this free track.

“Mamaya” – The Souljazz Orchestra

The Souljazz Orchestra is aptly named. With this track you hear heavy influences of Latin drums and Jazz horns that combined with the Latin chanting makes an intriguing track that you won’t be able to stop listening to – and you’ll be just fine with that.

From the first throngs of “The Moon and the Sky” you know you are in for a special treat. Its heartfelt lyrics (“I was the one/I who could pull in all the stars above Lay them on your feet/and I gave you my love”) are echoed in every song on the album. You will be hard-pressed to find a favorite as it’s a selection of music rich with a variety of melodies that will stimulate your senses. However, there are a few songs that are standouts.

The title track of the album is currently on several charts including reaching number one on Billboards’ pop and R&B. While it is a strong representation of the album the songs “Babyfather,” “Bring Me Home” and “The Safest Place” reveal why some artists can get away with not producing an album of original music for ten years.

“Babyfather” has a reggae tone that is complemented with a combination of words that only make sense when sung by Sade. This boy meets girl storyline starts off as any ordinary song would: “We were waiting for the bus/No one much around but us.” Then as that reggae beat becomes insistent with its heart/drum-like rhythm it goes to a place that speaks of wanting to be something better – all for the love of a woman. The song is thought provoking as you begin to play with the notion in which Sade is singing about. Each time you listen to “Babyfather” you’ll begin to wonder, who are these people, where did they meet and under what circumstances could make two people live their whole lives in what seems like an instant?

Further on there is “Bring Me Home” where its low-key melody of a repeated drum beat and background vocalists emphasize the tension within the lyrics. “Put me on a plane with metal on fire/Send me out to sea” are only a taste of this mourning song of resentment for what is lost. Depending on what is occurring in your life these words will resonate without being intrusive to your personal space. Yet, the song will haunt you at the same time.

When you arrive to “The Safest Place” you will feel as if the journey is nearly over. It’s a slow, languishing rhythm that once again only Sade could pull off. Together the musical arrangements and words combine to create a mood that you will want to experience several times over.

Sade’s songs are the type where you find yourself putting the pieces of a narrative puzzle together. The songs all have to do with love in some form, this time the spin is on militant, downtrodden and warrior love. The people who Sade sings about need a respite from their lives and they find that in all forms of love. In this case they fight for it. At the same time it’s the sort of music that cleanses and renews your spirit. You feel as if you are a better person who is more in tune with the universe. And all you have to do is listen.

“I Love You Baby” – Aldo Vanucci

A good guitar wail can cover up a multitude of sins. So can some soulful lyrics, which this track has in abundance. There’s some spoken word thrown in that’s distracting and unnecessary. What could have been an amazing song turns into a so-so listening experience.

“Heathen (The Rays)” – David Bowie

It’s David Bowie performing live. It’s the sound that every half-baked band is attempting to capture on their synthesizers and their pretentious lyrics. Get the one that made this sound iconic – quick before the powers that be realize they’re giving away Bowie for free.

“Stare at Wheel” – Dios

A throwback of psychedelic-rock sounds are all over this song in a good way. The lyrics are sung in an LSD-type haze. Think Jefferson Airplane’s “White Rabbit” only hipper, faster and more imaginative. Download it quickly.

“Acts of Man” – Midlake

Slow-tempo and rich with meaning “Acts of Man” is one of those tracks that forces you to sit and think about what is being sung. Give it a listen and judge for yourself.

“What Makes Him Act So Bad” – Adam Green

Solid lyrics with rocking guitar licks is what Adam Green has to offer on this track. Give it a shot before people realize that it’s free.

“I’ll Be Oh So Good” – Velma Green & Her High Steppers

Ever been to a Juke Joint or a black-southern honky tonk? Well if you have and you’re in the mood to recapture that vibe or if you’ve never been and want to experience a good beat with straight-forward lyrics, then get this track. It’s fun and danceable and will take you back to a time when music was devoid of high-falutin ambiguity.

“Answer to Yourself” – The Soft Pack

Solid rock track that isn’t monotonous or unobtrusive. Works best played low when you need some background music or if you need more than silence to get things done.

Flashbacks provide the reason why the Salvatore brothers are always at odds. It seems that Stefan foolishly confides in his father Guiseppe (James Remar, “Dexter”) causing Katherine and her brethren to be captured. Watch for some interesting uses of verbane for this. We also discover how close Katherine and Elena are in personality; both are reckless and tend to heed warnings when it’s too late.

We then have the search for the journal as Jeremy then Alaric become the center of curiosity for the Salvatore brothers. It seems that Jeremy’s new vampire friend (unbeknownst to him) shares a past with Katherine and has her own reasons for wanting the journal. This leads to her stealing the journal from Alaric and having it taken from her by Damon. Still these are not the highlights of the episode. It’s the flashbacks and the behaviors of the townspeople that make this show fun to watch. When they find out who’s a vampire the shock looks on the faces of the men in town is priceless.

Returning to the present Bonnie and Elena are in serious danger as Bonnie’s vampire senses come on too late.

Which leads into “Fool Me Once” with the return of Grams (Jasmine Guy) to aid the Salvatore brothers in retrieving her granddaughter and Elena from Anna; the vampire with an agenda. We see that Damon’s charm won’t work on Bonnie’s grandmother as she gives him a migraine he won’t soon forget. Meanwhile the minor characters are there to completely slow down the momentum of the episode with teenage-“90201” unnecessary angst. Luckily these scenes are few.

Once again there is another gathering near the tomb no less – nothing like warm bodies for all those hungry vampires that are about to be set free. Or are they?

On a side note: The powers that be need to make Jasmine Guy a series regular if this show is to have any real depth to it. She brings a wealth of experience and her interaction with the cast elevates their acting.

As far as cliffhangers go this one packs a punch. Who will escape the tomb? And what will happen to our favorite witches? Tune in March 25 to find out.

Your free mp3 downloads has a theme to celebrate Valentine’s Day. Depending on whether you care about the person you sent these songs to or not you may be spending your next romantic holiday alone.

Monotonous repetition does not an entertaining song about song make. Skip it.

“Ambling Amp” – Yeasayer

The experimentation in sound amps up the everyday-normalcy of the lyrics. Its upbeat melody at times seems to fight against the words, but stick with it.

“Come On” – Green River Ordinance

The powers that be either really like this track or they’re just lazy as “Come On” was first reviewed in November 09. It’s still a solid rock track and if you haven’t downloaded it yet; now is your chance.

“Healing Hands” – Citizen Cope

Citizen Cope has this way of throwing lyrics together to a rockabilly, folk, reggae rhythm that makes complete sense when heard. It’s a deep song that forces you to listen.

“Sandra” – Smoking Pipes

If you’re suffering from a hangover this won’t help you get over it. It’s alternative rock with some spoken word thrown in about Sandra Bernhard. Then again you’d have to be seriously inebriated to download it to begin with.

“Fall Into Love” – Rabbit!

Remember Citizen Cope and the way they meld their lyrics in a way that makes cohesive sense and speaks to the listener on a multilayer of emotional levels? It would make more sense to download “Healing Hands” twice than to download “Fall Into Love” once.

Of course this wouldn’t be a job for the Winchesters is some angels aren’t involved. It seems that all the hearts of the victims have Enochian markings from a rogue cherub. It gives a whole new meaning to the term marked for death. However, it goes deeper than that. The horseman Famine has come to this small town to exacerbate the hungers of it residents and feed on them once they have expired. You won’t believe what he looks like.

Meanwhile the hunger has affected our team in various ways. Sam craves demon blood and Castiel the angel with no need for sustenance becomes “the hamburgler.” But what about Dean? Just what is it that he hungers for? What’s more the plan to retrieve Famine’s ring is less than fool-proof. (In a previous episode that guest-starred the horseman War, Sam and Dean worked in tandem to defeat him. Apparently the power is in the ring. This plot within a plot will have a definite impact on the apocalypse. If the Winchester boys have all four rings will the shift in power go to them?)

This episode is in part a commentary on the greed of consumerism. But more than that it’s how Dean never gives up. Ultimately his despair and Sam’s addiction will be their saving grace.

Later on while Sam detoxes, Dean feels the hopelessness that Famine spoke of and finally asks for help. Will it be answered? You’ll have to wait until March 25 to find out.

In this trade, Lieutenant David Grey has a problem. While investigating a crime, he is attacked by the “Walkers” – green, demon-like creatures who steal his soul at the command of their leader, “The Other Guy.” To retrieve it, he has to walk from Los Angeles to New York – yes, walk. On this journey, he is guided by Laurel, an angel-type creature in the form of a woman who has been in an ongoing battle with The Other Guy for decades. Then there is Lazarus, who is still waiting for Jesus. The Walkers fear him, and he is protected by an entity with a sword that is continuously on fire.

Along the way, we find out who these characters are, and why Laurel is in this eternal struggle. There’s also a tiny window of opportunity left for Grey not to turn into one of the Walkers. It’s a fascinating take on the “everyman journey.”

On their walk, Grey and Laurel encounter several “invisible ones” – people who have never met their full potential, to the point where they are no longer seen. Essentially, they have disappeared. As you listen to their stories, you are met with a heavy-handed account of why people need to stay connected. But just when you think the storyline is getting obvious, a twist comes about. As The Other Guy says in the climax of the series, “I certainly didn’t see that coming.”

You can have your pick of religious allegory in “Midnight Nation.” From the struggle to discover what it means to have a soul, to living with past regrets, to finally finding out what it means to sacrifice what you thought was important are many themes that come up in this trade paperback. There’s also a one-shot that makes you wish this comic hadn’t run for only 12 issues. It furthers the themes set in the two-year series, but it’s not as dogmatic.

The artwork of Gary Frank et al. emphasizes the ideas presented in Straczynski’s text. His use of shadow and light are like a well done music score. There are also several posters in the back that are snapshots to the dramatic journey that Grey and Laurel are on.

Now that his run on “Thor” is over and he has moved to DC Comics, it’s a good idea to see Straczynski’s past work. Good writing is always a joy to reread.

As the yellow team proclaims they “will never pass this way again” and need to take this opportunity they are given. It’s a time where they are taught how to handle their food intake from the athletes’ nutritionists. Essentially do you want to be a sumo wrestler or a skier? The contestants must make the right choices. Having said that, there are some who would have had the chocolate cake instead of the sugar-free gum Bob offered Sunshine.

Then there is the Grey team who still can’t get over the Brown team (John) exiting the show last week. They need to get it together this week or they could go home. For Koli that means not running away from a challenge. For all the contestants it means circuit training with some of the gold-medal winning winter athletes. The workouts are insane as Jillian gives the athletes free reign “to punish them.” Oh yes we cannot forget the altitude – it’s more challenging to someone who’s morbidly obese when it feels as if you have a small child pressing on your chest and your back.

There is a mini-challenge that leads up to the big one. Consider it the contestants Olympic trials where they speed skate. The producers definitely threw this in for entertainment value as Allison Sweeney (host of “The Biggest Loser”) points out that “there’s a learning curve” to the exercise. Let’s remember that the contestants are now competing as individuals and the altitude is still a factor.

The major challenge is a biathlon where contestants will run around a field and take a shot at a target. The mini challenge comes back to haunt the “winners” as a new twist is added. The challenge is demonstrated by a Para-Olympian – who has one arm. One thing about “The Biggest Loser” is that it’s a show that challenges you to be better than you once were. And this is one challenge where the contestants fight for immunity with strong conviction and determination.

As usual the last chance workout is insane as the boot camp workout in Colorado is followed by a real workout back at the ranch. This is followed by a tension riddled weigh-in as Allison reminds the contestants of the rules and just how many people are being sent home. Of course there is yet another twist as the two contestants who are under the yellow line are met with one more challenge in order for them to stay. It’s definitely a torch burner.

Who will win the challenge to stay on the ranch? Stay tuned the Tuesday after the Olympics as yet another twist is implemented in this competition.

The project discusses and questions the relationship that African-Americans have with their ancestry and what, if anything, they may owe to themselves and the community. Essentially, this volume further explores the ongoing reflections of the rainbow that makes up black America.

Upon entering The Paley Center, you are met with the documentary and portraits of the people who were featured in Volume II of “The Black List.” The photographs, done by Greenfield-Sanders, reveal an inner strength, particularly in the hands of his subjects. Whether hidden or displayed, the characteristics of power and determination are there as much as in their facial expressions and physical stances.

As the night went on, Elvis Mitchell moderated the events. With humorous-wit, he introduced a compilation of the first two installments, followed by the featured presentation of volume III of “The Black List.” The 11-minute montage emphasized the vision of this project. On running for the highest political office in the U.S., Sharpton – realizing he had no chance of winning – knew that his being a part of the process meant that society “couldn’t control the debate.” And novelist Toni Morrison discussed, on a personal level, what it meant to have something of your own where she described “Writing [as] the only free place” – essentially, creating a sphere in which you are in control.

Finally, “The Black List Volume III” began, as it “chronicles the lives of African-American achievers in their own words.” In “redefining the black list,” several new voices continued the conversation. It began with John Legend and his relationship with Gospel music, God and what faith means when you’re a black man singing what is perceived as secular music.

Other highlights included actor Hill Harper who asked the question: “What does your heart say?” As someone who went to law school with President Obama, it’s a loaded question for a black man to ask. However, the most powerful interviews (unobtrusively done by Mitchell) were of president and CEO of the United Negro College Fund, Dr. Michael Lomax and film director Lee Daniels.

Lomax’s life led him to “pursue power.” His mother, Almena Lomax (a journalist who created her own paper after being frustrated with the newspaper establishment), was a whirlwind as she uprooted her family from a comfortable life in California to the segregated south. Her writing, while it did not win Pulitzers, helped define the voice of the fight for civil rights. She was one of the few women of color who wrote about the atrocities that occurred during this time period with an authoritative and authentic voice.

Though he did not have the final say in this truncated volume (the first two are at least an hour long), Lee Daniels (“Shadowboxer” and “Precious”) talks about what it means to be a gay, black man in America. His telling of walking into a clinic and seeing a sea of black women further propels his mission to “try to tell stories about us.” Appropriately, Whoopi Goldberg was the last to be shown. She said it best: “I am representing; I’m here.”

After the viewing a forum involving co-founder and president of The Center for the Advancement of Women, Faye Wattleton (volume I), Dr. Lomax, Greenfield-Sanders and Mitchell was held to further discuss the ideas brought up in the documentary. The panel went into depth about how “African-Americans have a wide range of experiences,” the “residual damage of segregation,” and the “Cultural identity that is needed for the cohesion of a group.” It made for stimulating conversation.

Just how important is “The Black List?” In a country that has a president of biracial-heritage who identifies himself as a black man and the continuous role of African-American women in non-traditional roles, Dr. Lomax says it best: “The Black List gives diversity in a contemporary setting.” This includes everyone, not just blacks, in the conversation.

Should you see this film? Yes; not for the historical context or because it’s Black History Month, but because you’ll be enriched from the experience.

We see in the beginning how each team has worked to make it back to the ranch. Once there, they are initiated into the atmosphere of this competition by enduring their first “last chance workout.” The drama of this weigh-in results in one of the many new twists of the season. Essentially, the team that wins its way back onto the ranch controls the fate of the team who falls below the yellow line. This levels the playing field since these teams know nothing of the history of what the contestants have been doing.

Once a team is decided on, product placement, NBC related programming and challenges abound. The teams go to a sponsored sandwich shop to eat, make snacks with “The Biggest Loser” logoed products and then there’s a visit with winter Olympians. Once that is out of the way, the challenges test the mettle of the contestants as they are put to new tests. The team who wins will surprise you.

Miggy returns to the ranch just in time for the next weigh-in. Her hospitalization caused her to gain water weight and the only exercise she is allowed to do is walk. It’s a tense moment when she goes on the scale. It’s tense for everyone, as many of the “teams” now consist of single players who automatically go home if they fall below the line. Who leaves will sadden you, but watch for their transformational update at the end of the episode.

Next week brings more drama and surprises. See who will be left in the competition for “The Biggest Loser.”

This is dance music done right. Its unobtrusive, continuous beat puts you in the mood to dance, and Collins’ vocals don’t interrupt the flow. It’s not the deepest song, but it is a solid track to dance to.

“If I Had My Way” – Patty Griffin featuring Regina and Ann McCrary

The great thing about free music downloads is the discovery of artists and Patty Griffin will be a welcomed voice on your mp3 player. From the album “Downtown Church” this gospel track is upbeat and soulful. Definitely give it a listen.

“Proof” – The Northern Key

The slow, melodic rhythm of this track drives the downcast lyrics. It’s the sort of song that you need to be in the mood for to appreciate its use of stripped down musicianship; particularly the way this band uses the guitar as a fellow vocalist as well as adding to the melody. It’s an inventive take that deserves to be heard.

“Forest Whitaker (In an Uncompromising Role)” – Public Square

Alright you see Forest Whitaker’s name and think this is from some spoken word album about Black History Month, but no. Instead you hear the rock out, punk sound of Public Square. A pleasant surprise that is far too short.

“In Between the Spaces You Don’t Think About“ – Soihadto

If the rest of the songs from the album “Adventure Stories (Not Based on Fact?)” (released on 2/2/10) is anything like this track then don’t even think twice about downloading it. The music alone is amazing as it goes between subtly and all-out rock rhythms. The spoken word during the play of the track is also interesting, however it’s unnecessary. Still, you should download this song.

“Little Bird” – Eels

Have you ever missed someone so much that the only person who could understand your pain is a bird minding its own business on your porch? Well this song about an ended love affair makes you feel the protagonist’s pain in a way that will have you replaying this track. Essentially its straight forward and simple lyrics and melody will keep you interested.

“The Ballad of John Henry” – Jon Bonamassa

Get it. It’s rock and blues done expertly well. While you’re at it download the entire album.

During the late ‘60s and ‘70s, he guest starred on the top shows of the day, including a four-episode arc on “Mission Impossible.” However, he is best known for playing Trapper John MD. His character was a spin-off from “M.A.S.H.” as John McIntyre, a character that was created by Wayne Rogers. It was one of the most inventive ways to spin-off a television show.

Before, between and after these two iconic shows, Roberts was a civil rights activist to the point where he used his power to have NBC have minorities play people of color on “Bonanza,” instead of having these characters played by Caucasians. His departure from “Bonanza” was due to his belief that there was a lack of integrity in the show. As someone who won a Drama Desk Award for starring in “Macbeth,” Roberts believed that he had more to offer on Broadway and other acting venues. In his role on “Trapper,” John Emmy-nominated Roberts (1981) was able to play several emotions every week. It was a fun show to watch, and for several seasons capped the successful Sunday night CBS lineup.

Roberts also had a decent singing voice and recorded several songs. However, he used his voice mostly for the stage in musicals, such as “Carousel.”

Later on in his career, this charismatic actor starred in commercials. His last acting job was in the early 2000s. Since then, he had been in retirement until his death.

It’s now 2010 and the devastation in Haiti brought out the likes of George Clooney and Wyclef Jean to aid this country the best way they know how – by calling in their talented friends to man phones and perform. And that they did. Several artists including Jay-Z and Madonna are on the album “Hope for Haiti” and while they do serviceable jobs there are several standouts that will make purchasing this charitable record worth your while.

The lyrics to “Motherless Child” will never be quite the same after hearing John Legend’s rendition of it. It is heart wrenching and in this instance you may think of what’s occurring in Haiti now. However when it is 25 years later or even two months from now you may experience a break-up or a major occurrence in your own life where this version of this traditional tune will speak to the core of your soul. It’s a version that you wish did not have to be sung, but you will appreciate the desperation in Legend’s voice when you listen to it.

Then there’s Mary J. Blige featuring The Roots singing “Hard Times Come Again No More.” Written in 1854 the lyrics are timely and Blige sings it in a way that surpasses Aretha Franklin. Her voice dips into your heart and gently squeezes. It’s a good hurt where you know that you’ll come out the other side feeling the better for having experienced it.

Justin Timberlake has soul. His version of “Hallelujah” (sung with Matt Morris) will make you forget nearly every version of this song. Yes it’s that good. The man that brought sexy back caresses you with this track. You feel everything when you hear this from the hairs on your arm to the beating of your heart.

Currently the album “Hope for Haiti” is number one on several charts as is the song “Hallelujah.” That’s amazing for the effort to help Haiti; at the same time purchasing this album can be healing for you as well.

One reason might be his songwriting pedigree. He’s written music for Christina Aguilera (The songs are from her multiplatinum album “Stripped”), Kelly Clarkson’s “Miss Independent” (incidentally, Aguilera co-wrote this song with Morris and Clarkson and it was nominated for a Grammy), Justin Timberlake and Reba McIntire. This might leave little time for him to focus on his career as a singer. But wait, during 2008 he toured with Joan Osborne and participated in the Bonnaroo Music and Arts Festival. And in 2003, he released an EP of original music, so he has been involved in the music scene as an artist.

Still it seems that Morris’ album “When Everything Breaks Open” is long overdue. Now he’s everywhere. His appearances on “Ellen” and the “Hope for Haiti” benefit have caused a major buzz on this man – and deservedly so.

The first track, “Don’t You Dare,” is what a rock-love song is supposed to be. There are happy surprises in the musical arrangement that fit perfectly with his lyrics. You know he’s using piano, drums, guitars and somehow it sounds inventive and new.

Then there’s the soulful, witty “Money.” It’s the type of song that you want to find out all the lyrics to the old fashioned way – by listening it continuously until you know every inflection and word by heart. Instead of looking up the lyrics on-line, find out for yourself: “How do you make change without money?”

Reggae?

Yes, Morris dares to create a Caribbean musical arrangement and match it up with his Midwestern-sounding voice. He doesn’t try to sound West Indian and that’s refreshing to the listener. It’s another cool track for which you will quickly press “replay” as soon as you hear it fading out, just so that you can experience it again.

Still there’s “Bloodline.” It’s haunting, melodic music and lyrics are an intense experience that you won’t want to let go of. Somehow, Morris does things with his musical arrangements that evoke emotions in the listener that another artist would fail miserably at. Essentially, his artistry is a distinct signature with which he has imprinted every song on this album.

By the time you reach “Eternity,” you will have experienced emotions you never knew you had. His album is that incredible.

If you must find a comparison, then think Stevie Wonder’s “Songs in the Key of Life,” where every aspect of life is explored from a multifaceted perspective. Perhaps this is why it took so long for Morris to release his debut album. Let’s hope that it doesn’t take a long span of time between this and his follow up record.

This is the episode where the game playing brings the tension to a fevered pitch. The Red team has made new enemies, but worse than that, they brought Jillian to tears. The first challenge brings on immunity. Of course, there is a twist, which will rock the weigh-in and reverberate throughout the remainder of the season. There’s also a heady challenge where team members battle against each other to call home. As viewers, we tend to forget that these are real people who are trying to change their lives far away from their families. For some, they are apart from them for the first time. That’s why the game playing is infuriating. To see someone throw away the opportunity to work out with Jillian is an insult to anyone who is desperate to better themselves.

Having said that, if you have been working out with “The Biggest Loser” DVDs, or have been working their program on a scale smaller than the show, then you’re likely to have seen some type of result.

On the ranch, they work out as if it’s their job and drop large amounts of weight every week. With the experience of Bob and Jillian combined, there’s no reason why anyone should not shed any excess pounds. And the last chance workout this week proves that as the trainers tag-team to completely exhaust every inch of the contestants’ bodies.

It’s a joy to watch because you don’t have to go through it. Which brings us to a weigh-in that will have you yelling at the screen, watching it through your eyes and leave you emotionally drained all at the same time. There have been some who say that the way the show is filmed creates villains. However, no one can edit the animosity between the Green and Red teams. Make no mistake: There is game-play going on, and that has left several contestants in the past still obese with nothing to show for it.

The contentious atmosphere at the weigh-in comes to a head in the voting room as an angry contestant pouts her way off the show.

Next week, the contestants that were sent away week one are back to win their place in The Biggest Loser house. And stay tuned for the weigh-in that brings everyone to tears. Who will ultimately be the biggest loser? You’ll have to watch what happens next.

However Mitchell was not solely an actor. In the ‘40s he began his career as a dancer with the likes of Lester Horton. And in the ‘50s he was a premiere dancer in Agnes De Mille’s modern dance troupe. With his shocking black hair and the beautiful-clean lines of a dancer Mitchell exuded sexiness in his performances. Combined with his good looks Mitchell had amazing talent. He assisted in choreographing several dances and stage productions including “Brigadoon” and “Paint Your Wagon.” His ability as a dancer and choreographer garnished him several dance awards in the late 1940s.

Mitchell considered himself an actor who used dance as part of his repertoire. This served him well as his sultry style transferred successfully to films such as “The Band Wagon” with Fred Astaire and Cyd Charisse and “Oklahoma.” He also had several non dancing roles such as 1977’s “The Turning Point” starring Shirley MacLaine and Anne Bancroft. Two years later Mitchell got the role that would associate him with the world of daytime for nearly 30 years – Palmer Cortlandt.

On “All My Children” Palmer Cortlandt was the tycoon with a mysterious past who was involved in many of the best known storylines of the show. When rival Adam Chandler (David Canary) came on the scene the audience found out that the sophisticated Palmer Cortlandt was in reality Pete Cooney – who came from a place where dirt poor would have been a step up. Through it all Mitchell played this character with a multitude of notes that would have viewers talking to their screens on a daily basis. Recently for the 40th anniversary of the series he made a brief appearance. Also a character based on his friendship with Agnes De Mille is part of a ballet that opened in the fall of 2009.

Dancer, actor, teacher – Mitchell did it all with a style and grace that will be sorely missed.

This week’s episode brings us to another gathering as Mystic Falls throws a ‘50s themed party at the local high school. In the meantime, there’s also another vampire in town, which means vervain jewelry for everyone, but that doesn’t stop him from stalking Elena.

This episode furthers the momentum of the previous one in that it’s high paced, suspenseful and action packed. The dialogue has picked up, as well. The brotherly banter between Stefan and Damon gets less wooden as the episodes unfold, Elena has become more palpable and Bonnie is actually entertaining.

Meanwhile, as Alaric and Damon meet at the dance, the audience can feel the tension. Does Damon recognize him? Then there’s Jeremy’s new friend. The reason for her sudden appearance in town is revealed. Let’s not forget the has-been jock, Ben, and the return of Matt and Caroline.

Just why exactly is Mystic Falls a vampire magnet and why does everyone want Katherine out of her tomb? One thing is for sure – when the Salvatore brothers team up, it makes for good television.

The audience is in for a treat as the mysteries about Elena’s parentage and Alaric’s connection to Damon unfold. Next week is full of flashbacks, as we see how it all started. Finally, what do the founding fathers of Mystic Falls have to do with what’s happening in the present? Stay tuned to find out.

Her career began in England where she appeared in David Lean’s “Great Expectations” and Laurence Olivier’s “Hamlet” (1948) where she received an Oscar nomination. When she came to the U.S. she had to battle Howard Hughes (who owned RKO studios at the time) for the right to make good movies. Winning that lawsuit awarded Simmons with several well-known movies that have become classics.

Her roles in “The Robe” (starring Richard Burton and the first film in Cinemascope), “Elmer Gantry,” “Gus and Dolls” and “Spartacus” made Simmons’ looks and acting ability a force to be reckoned with in the ‘50s and ‘60s. Later on in her career she moved on to television and stage plays where she garnished an Emmy for her role in “The Thorn Birds” (1983).

What made Simmons an actress who was constantly working was her soft-spoken voice and her range. She could emote with a glance, and make you empathize with her character’s plight even if she was in the wrong. In the ‘80s and ‘90s Simmons portrayed the mother figure in several television movies and miniseries besides “The Thorn Birds.” There was “North and South,” “North and South Book Two,” “A Small Killing” and the Masterpiece Theater adaptation of “Great Expectations” where she played Miss Havisham. For fans of occult movie and television themed shows her role in the 1991 remake “Dark Shadows” may be what she will be best known for. Running for only 12 episodes it told the tale of tormented vampire Barnabas Collins through flashbacks and the present-day simultaneously. This series which gave Simmons the opportunity to play a matriarch from the mid 19th century and from the early 1990s’ was a study in subtle acting as there was little to differentiate the time period besides the clothes and accents.

For the next several years Simmons mostly did voice-over work narrating shows such as “American Masters.” Her most recent completed work was as Hannah in the 2009 small film “Shadows in the Sun”: a London production in which a man helps a family in 1960s England find themselves and the love they have for each other.

Her quality and style of acting will be missed.

Part of this drive to question the world is that his parents were immigrants with little access to a formal education. This in turn caused Zinn to be a voracious reader who transferred his love of writing (he was in a special writing program in Thomas Jefferson High School) to help those who could not speak for themselves by getting their stories told. His political stances were at times unpopular with the public, but he was never one to back down from a fight he believed in. This stems from his stint with the United States Air Force, where he was involved in napalming an area in Europe when WWII was basically over. It caused him to question just what the government owes its citizens.

Recently, he was a part of the television special, “The People Speak” – a documentary where actors and musicians, through readings and song, gave voice to the oppressed and downtrodden people of previous decades. It was in part based on the set-up of the staged production of “A People’s History of the United States,” the book that Zinn is best known for.

Yes throughout his career, Zinn has won numerous awards for his activism and common sense approach to the problems of the United States, but it is his everyman quality, particularly the way in which he related to people, that will be missed.

Episode Commentary “Sam Interrupted”

“There are no such things as monsters” are words that should never be uttered in a show that deals with the onset of the apocalypse. It seems the Winchester boys just can’t get a break. Apparently, there’s a demonic force preying on a mental institution. Between Sam’s addiction to demon blood and the mention of their angel-friend Castiel, admittance isn’t a problem for the brothers.

The hiatus hasn’t slowed the show down, as the pop culture references and the sibling-angst banter gives this episode a welcome break from the whole “world-is-going-to-end” situation. Ironically, this is the perfect place for Dean, as he is forced to confront the emotional baggage he’s been carrying around. For him, group therapy is more frightening than the evil they face on the outside. Also, interestingly enough, his diagnosis is apt for his personality.

The heart of this episode is about our inner demons. Yes, the obvious ones are scary. They are like a bright sun in the dark of night. Instead, the demon that causes the Winchester boys to degenerate is not revealed until near the end of their ordeal. Staring down your own fears can be more terrifying than facing down some evil force. At least when you’re hunting the things that go bump in the night and kill them more often than not they stay dead. In this institution, you never know what is real or what has been manifested based on your own insecurities.

There is a real monster in this episode a “Wraith” that sucks the brains of its victims until they’re dead. Essentially, this is one twisted version of “One Flew over the Cuckoo’s Nest.” Incidentally, the two constants in this show, which are ingenuity and the loss of their weaponry, make for one hysterical fight scene.

In the end, the way each brother deals with how he fulfills his purpose will either be their collective undoing or salvation.

Next week brings mayhem and an odd twist that needs to be seen to be believed.

Episode Commentary: “Bloodlines”

Damon and Elena go on a road trip without her magic necklace and the mystery of Alaric the history teacher deepens. Meanwhile, Stefan tries to help Bonnie come to terms with her abilities. The chemistry between these two is better than the whiny relationship that he and Elena share.

On their adventure in Georgia, Elena tries to put together the pieces of the night she found out she’s a dead ringer for Katherine. Just who was the vampire she ran over? And why is Damon traveling to Georgia? It involves an old flame of his (Gina Torres), who happens to be a witch. Then there’s Elena’s little brother. His history assignment is rattling the skeletons of good old Mystic Falls. In the interim, he meets a girl named Anna (Malese Jow), who can only be described as “awkward.” Is she a future victim or a hunter?

It seems that the hiatus from the show has improved the acting abilities of Katarina Graham (Bonnie). In her struggle with dealing with her powers, Bonnie projects a sense of fear and her scenes with Stefan and her grandmother (Jasmine Guy) feel genuine. On a side note, Jasmine Guy should be a regular. Her mere presence elevates the acting of everyone around her.

One of the highlights of this episode is the created folklore that Jeremy and Anna exchange. The idea of demon-warriors and Jeremy’s explanation of their metaphoric existence makes you want to hear more. Unfortunately, these scenes are too short. Delving into the history of this town makes for a more interesting show that improves when the ensemble cast is utilized. When it’s only about Stefan and Elena, the episode drags.

There are several surprises and the action scenes have increased in intensity. As the past comes back to haunt Damon, Bonnie continues to cope with her abilities; you should watch next week to see what unfolds.

“A Little Faster” – There for Tomorrow

There’s nothing like a hard and fast guitar riff to get you going and There for Tomorrow is happy to oblige their listeners. They’re no slouch in the lyric department either, as the words weave a riveting narrative that matches the speed of the musical arrangement.

“Unclothed Nocturnal Manuscript Crisis” – Bellowhead

This modern twist to English folk music will have you appreciating the use of strings and horns in a whole new way. The mixture of old and new sounds makes this song innovative and eclectic. You hear funk and elements of choral music instrumentation that definitely work here. If anything, it’s worthy of space in your mp3 player.

“Swim” – Surfer Blood

At first listen, “Swim” sounds as if it’s drowning – loudly. But stick with it. There is some interesting experimentation with folk guitar and hard rock. At times, the elements don’t always blend well, however, Surfer Blood is a group that takes musical risks and it is free, so you don’t have anything to lose.

“Zoquete” – Frank Rosaly

An experimentation in sound that is far too short. To some, it may seem as if there is no rhyme or reason to his synthesizer playing. But listen to it again. Rosaly is not randomly hitting keys. Besides, it’s barely over a minute long, and it’s free.

“First Flight” – John Turville Trio

The jazzy melody and rhythmic arrangement in “First Flight” makes this song a pleasure to listen to. Your ride to work will be enhanced by this band’s musical styling.

“As You Are” – Fran Healy and Andy Dunlop

There are songs that you can listen to when you’re really happy and “As You Are” is one of them. Having said that, it is an amazing track that is full of anger, pain and resentment. The guitar and moog-like sound reverberate through this song amplifying the lyrical elements. A plus is that it’s a live performance. This is something that could not be replicated in a studio. You should give it a chance.

“We’ve Got a Long Way to Go” – Joe Perry

Do you love Aerosmith? Their hard-hitting lyrics with a rocking musicianship as the backdrop are glimpsed in this song. But it doesn’t hold up to the band’s work. As a solo artist, Perry doesn’t seem to stretch his abilities. He needs collaboration and that’s sorely lacking on this track. There is only so much guitar masturbation a person can listen to. Skip it.

After being pushed back her latest album “Pulse”(from Atlantic Records) will be released in March. For the past several weeks, her single “Yesterday,” (written by M. White, T. Battle and J. Armstrong), has been on heavy music video and R&B airwave rotation. But it is the single featuring Trey Songz that makes this song stand out in a good way. Songz’s vocal contribution to the track keeps you interested. Without him, it’s your standard he-did-me-wrong-now-he’s-got-to-go song.

For someone who received solid reviews for her acting, it’s ironic that the music video has several awkward moments that are supposed to be romantic. Having said that, Braxton goes through several fierce hairstyle and wardrobe changes, which serve to make the song watchable.

How will her first studio album of original music do? With collaborations with Robin Thicke, and producer Ne-Yo, you’ll have to wait and see.

Wii Fit Plus builds on the original in that it has several exercises and games that are geared toward helping you be active and have fun at the same time. There is also a better way to monitor your weight, keep a record of how many steps you take in a day, the measurement of your waist and helps you set mini-goals when it comes to losing weight. There is even a “My Favorites” section which keeps track of your favorite games and workouts.

The new games are fun to play. The obstacle course can be a game onto itself, and being a leader in a marching band is more challenging than you might think. Essentially each new balance game is an involved process that challenges you far more than the original Wii Fit. Having said that if you’re looking to drop “Biggest Loser” type poundage with your Wii Fit Plus then you need to search elsewhere.

Anyone who has practiced yoga for more than five minutes will quickly become bored with this aspect of the game. It is nearly impossible to recreate an effective yoga practice. As a yoga practitioner you are constantly dealing with alignment and positioning and the Wii board is just too sensitive for that. There’s also the problem of breathing while you’re in a yoga position. If you hold your breath you may get a good score. What’s wrong with that? Yoga is all about breathing properly through the postures. With the exception of the sun salutation it’s a waste. Then there is the strength training aspect. If you have to be surgically removed from your couch then you may find this beneficial. However, if you ever had to run for public transportation, then this section wouldn’t be challenging for you either.

The bottom line is Wii Fit Plus gets you moving and with the multiple player option gets you involved with others. The games are still fun and if you break a sweat great. Just don’t expect to see a major weight reduction.

That said the program only shows a glimpse of what is on this multidisc set. The first part is a set of ballads and songs that were originally recorded at a faster pace have been slowed down. Two of the creative ways in which she reinvents her songs is by incorporating other songs with a similar theme. For the “Sweet Dreams Melody” Beyonce infuses Anita Baker’s “Sweet Love” and the title song from her “Dangerously in Love Album” to fade out with. For an artist known for singing at the near speed of light, it was refreshing to hear this interpretation of her songs alongside a classic R&B song. Then there is “If I Were a Boy.” The Alanis Morissette hit “You Oughta Know” is slipped in and fits perfectly into the theme of “If I Were a Boy.” This isn’t a remix; it’s a performance that without the technology would have only been appreciated by the audience. Think Judy Garland’s stints on the Vegas strip before her filmed performance at the London Palladium.

There are some lyrical lead balloons on this special. The song “Satellites” seems to be there for an audience intermission. And the “Déjà vu Jazz Melody” although high energy was a letdown, particularly when Beyonce attempts to scat like Ella Fitzgerald. The high energy second part of Beyonce’s show is her life story through song. Anyone who has a television knows that she was with Destiny’s Child and has been working since she was 9. The audience doesn’t need the rehash. Unfortunately you can’t skip these parts since it’s intertwined with the music. Still for a diehard fan it’s more Beyonce.

Part of this DVD is the making of the concert. This behind the scenes glimpse into how this performance came about isn’t the most riveting however it is an interesting look into how a show gets put on.

Having said that we can’t forget that there is a CD component to this. The music without the visual performance shows just how far Beyonce’s voice has come. In the early days of Destiny’s Child she seemed to have a hard time matching the performance with her vocals. On this most recent CD her musicianship and growth as a performer are spotlighted.

For lovers of Beyonce’s style and music “I Am Yours: An Intimate Performance at Wynn Las Vegas” would be a welcome addition to their music library. For the rest you might want to buy the CD separately.

This brings us back to the reality/game show mentality that has sabotaged the weight-loss of contestants in the past. If you don’t play the game right, you end up going home. As a result of the challenge, Migdalia’s (team Green) attitude tries the patience of both trainers particularly Jillian and it goes downhill from there. What happens between them will have you yelling at the screen in disgust.

Meanwhile the yellow and blue teams that were eliminated in week one are fighting for their chance to come back to the ranch. It puts Migdalia’s temper tantrum into perspective for the viewers. When it all comes down to it it’s about changing your lives as well as losing weight.

The second hour brings a challenge, immunity and of course there is a twist that is not to be missed. As the teams are playing out the result of the temptation, Mike (team white) seems to spend the last chance workout goofing off. As the biggest man on campus he couldn’t afford to slack off. We must not forget the weigh-in as one contestant causes Bob to completely lose his cool. This can only be described as one of the most contentious weigh-ins in “Biggest Loser” history.

The drama has certainly returned to “Biggest Loser.” There is no more touchy-feely, “we want everyone to do well” mentality. Now it’s every team for itself. The elimination brings out the claws from some unexpected places as someone gets sent home.

Next week, the game playing gets worse as yet another team implodes and challenges both Jillian and Bob’s experience. Tune in to see who it is.

Unfortunately this song takes too long rhythmic-wise to keep the listener interested. The languidly-sung lyrics will also lull you to sleep only to be jarred awake by a children’s choir accompanied by strong percussions. Skip it.

“Are You Really On My Side”  – Silver Swans

The ‘80s vibe of this song will have you nostalgic for groups such as The Go-Gos. Go find their music instead.

“Cryin Shame” – The Parties

With a sound between The Monkees and The Beatles in their early days, “Cryin’ Shame” has a happy, upbeat tune with the harmonica being a featured instrument. It’s a paradox since the rhythmic arrangement does not match the lyrics, yet it blends well.

“The Party” – Without a Fight

The hyperactive instrumentation on this track will remind you of Green Day. It’s one of those songs that you need listen to several times over because you’re sure there’s something profound that you’ve missed. If you need a reason to download it then use that one.

“Swim” – Oh No Ono

There’s a reason why some songs are free. Don’t waste your time downloading this repetitive tune that goes on 4 minutes and 37 seconds too long.

“You Look Good in Orange”  – Charlie Hunter

From the album “Gentlemen, I Neglected To Inform You, You Will Not Be Getting Paid” Charlie Hunter’s “You Look Good in Orange” is a welcome Jazz respite from the noise of this week’s free downloads. It’s also a lesson in how Jazz is a multifaceted genre that can be appreciated even when there are no lyrics. The solid musicianship is enough.

“Battles and Brotherhood”  – 3 Inches of Blood

Great name for a band, amazing lyrics and solid heavy-metal instrumentation would make this one of the best downloads for the week, if it wasn’t for the lead singer. His screeching throughout most of the track will turn you off. He never seems to find his musical footing or a balance between entertaining and irritating.

“Calling All Crows” – State Radio

This mild Reggae jam punctuates the lyrics causing both music and words to mesh into a strong, listenable statement. Seek out the rest of State Radio’s music if only to hear their views set to melodic, rhythmic harmonies.

The single is classic Sade as the opening includes heavy drums with a soft melodic undertone causing it to be on music charts that crosses jazz, R&B and the hot 100 pop genre. Written by Sade et al. it announces her return to the music scene. With the lukewarm music of other artists (Janet Jackson’s “Make Me” for one) this track is a welcome oasis. The video is also visually stunning as it is riddled with ‘80s clichés. There are male dancers in the roles as military-types, outdoor scenery as a backdrop that you know is a studio and a white horse. However it works since Sade is the undisputed warrior of the complex love song.

Will Sade’s newest album compare to the latest single? Stay tuned to find out.

He was one of the few singers who was more successful as a solo artist than with the group he was a part of (Harold Melvin and the Blue Notes.) It’s hard to believe that Pendergrass was originally a drummer for this rhythm and blues band. After two years with the band he became a featured singer which brought on several hits including their best and most well-known “If You Don’t Know Me By Now.” This track (written by Philadelphia song-master Kenny Gamble and Leon Huff) were rejected by such notable acts as The Dells and Labelle. However it made Pendergrass a bankable artist, so much so that his solo career made him one of the sex symbols of R&B music. Songs such as “Turn off the Lights” and “Close the Door” released in the late ‘70s furthered solidified that position.

Even after the car accident that left him wheelchair bound for life, Pendergrass went on tour and kept on making music. His duet with Whitney Houston (before she became famous) from his 1986 album Love Language (“Hold Me”) was a chart topper for several weeks on the R&B charts which helped the album go platinum.

Seemingly more active than before his accident, Pendergrass released more music, went on tour, acted and toured with the gospel musical production of “You Arms Too Short to Box With God” and wrote a book “Truly Blessed.” He even had time to form a foundation “The Teddy Pendergrass Alliance.”

Still Pendergrass was about the music and although he officially retired in 2006 his music has continued to be out there. Many of his songs were covered by musical acts the most popular being Simply Red (“If You Don’t Know Me By Now”) and recently sampled by rappers DMX and Ghostface.

As the contestants become physically exhausted their barriers are broken down. Michael wants more than a girlfriend he wants to experience life. As the largest person in the history of this show his need for an emotional connection is palpable. The same with John as he struggles to rid himself of the family “curse” he feels surrounds him. So many family members have died that he “doesn’t want to leave his son without a father.” Who’s there to comfort John – Jillian. Yes ladies and gentlemen we get to see the human side of Jillian, but that doesn’t mean she won’t punish the competitors in their last chance workouts.

Then there is the visit from the Biggest Loser doctor who seems finally fed up with encountering yet another group of the most unhealthiest people who have been on the ranch. The envelopes given to each person by Dr. Huizenga forces them to face their fears about their weight. Michael sees how he lives everyday on Bob. As more and more weight is added on to Bob, Michael feels the shame of what he used to consider normal. What’s worse is that he isn’t the sickest person on the ranch. It’s a sobering moment for all the contestants as they see the money, energy and health risks that they’re risking as a result of their weight. There’s one terrifying moment where Jillian has to eat one of the meals that the contestants consume in one sitting. It’s scarier than any modern day slash-fest. However it’s the meeting with Dr. Huizenga that should terrify you. As he reveals the real ages of the contestants in accordance to their weight and runs down their multiple health problems you won’t be eating while you’re watching this program anymore.

The challenges have reached a level of near-impossible proportions that can only be seen to believe. The winner of the challenge of course gets immunity, but the loser of the challenge gets a 2-pound penalty. For the second week that’s a huge deal. In seasons past contestants have either gained or not lost any weight at all.

The weigh-in will surprise you as the most unexpected contestants drop big numbers. Also see a team of one fight for their position to stay.

Next week is going to be insane as only one contestant’s weight will represent the team. Unfortunately the game playing will carry over into the next week as well. See who Bob and Jillian are thoroughly disgusted with on episode three of Biggest Loser.

Few greatest hits albums go triple platinum. They are usually a ploy by record companies to retrieve extra revenue for songs from an artist who has left the label (Following her departure from A&M records they released two greatest hits albums from Janet Jackson) with a previous released song in an attempt to further capitalize on the artist’s popularity. In Kravitz’s case his original track “Again” and the previously unreleased single “Black Velveteen” from the album 5 made multiple charts. The ballad “Again” (which is about a lost opportunity at love and the possible hope of encountering that person once more) gave Kravitz his third Grammy in the Best Male Rock Performance category – a rare feat for an original song from a greatest hits album.

Kravitz’s versatility on the themes in his songs is showcased on every track. In “Are You Gonna Go My Way” he writes (along with Craig Ross) “I was born long ago/ I am the chosen I’m the one/I have come to save the day/And I won’t leave until I’m done.” A hard rocking track such as this with lyrics such as these was one of the most played songs and on heavy rotation on various video-music stations for most of 1993. It was so heavy-hitting that it was covered by the likes of Metallica – showing the evolution of the same man who (from his first album) wrote the love-child, hippie anthem “Let Love Rule.”

The most outstanding tracks that showcase his musicianship the best are “Rock and Roll is Dead” and “Always on the Run.” Yes there are ballads that speak to the break-up of his romantic relationships, his biracial background and the loss of his mother Roxie Roker (Helen Willis, “The Jeffersons”), but it’s these two songs that reflect his influences in a way that doesn’t overwhelm his talent and what he has to say.

With two verses that speak to the over-the-hill rocker with a drug habit and the artist that is all show and no talent, Kravitz with tongue firmly inserted in cheek emphasizes that the rock-and-roll of that caliber is dead. And just so you didn’t catch it the first time he repeats the song title 16 more times. The lyrics are hard-hitting, in your face and to the point and punctuated with his favorite instrument – the guitar. Although this might be mistaken by some for a Led Zepplin track, what makes this distinctly Kravitz’s is his intricate use of bass and various types of Gibson guitars. It’s hard and fast whereas some artists would slow down the melody. In this instance you can’t. Kravitz wants you to sense the urgency, the need in which to bring these lyrics across and the rhythmic arrangement won’t wait for you to catch up.

Co-written with Guns and Roses’  guitarist Slash “Always on the Run” has a ‘70s funk sound that compliments the heavy guitar licks. It’s the horns that emphasize the repetition of the words of the track’s title that makes this song exemplary of what can be now characterized as a Lenny Kravitz song. Listen for the switch in rhythmic arrangement towards the end of the track and you’ll realize just how rare it is for a musician to successfully gel these types of harmonies together.

That said “Greatest Hits” is worth having in your mp3 player. Yes most of the songs are from other albums, but how many times have you pressed skip to get to the song you really want to listen to.

Don’t question why this song is free just download this hard-rocking, emotional rollercoaster track before it’s too late.

“There for the Taking” – Lou Rhodes

Lou Rhodes voice sounds as if it’s tearing through your chest. “There for the Taking” definitely grips your heart with its haunting, mournful melody. Her ghost-like rhythmic arrangements keep you absorbed in the short, crisp lyrics. This track will make you seek out other songs she had done.

“The Age of Anxiety” – Virgin Islands

Released in November of last year the hard hitting musicianship of this Seattle band’s track will have you playing your best air-guitar. Do the lyrics matter – probably. But you have plenty of time to figure that out once you’ve downloaded it.

“Annalee” – Ellis Paul

After listening to “Annalee” you’ll be wondering why Ellis Paul isn’t better known? This well crafted song that reflects the influences of rock and folk should be heard everywhere you go. If his recent album “The Day After Everything Changed” is remotely as amazing as this track, then get that too.

“Gramma (Blue Ribbon Sparkler Trailer Heaven)” – Lana Del Ray

The sing-song rhyme scheme of this track will have you absentmindedly singing this track – and that’s a good thing. Don’t let the new age influence of this tune put you off either. It’s worth the listen and the lyrics actually have something to say. It’s not a throwaway or a kitschy type of song. Definitely download it.

“Straight Lines” – Charlotte Hatherly

For the most part the new year has brought free downloads that are worth listening to. Unfortunately “Straight Lines” is not one of those songs. Although it has a familiar ‘80s flavor that would normally have you nostalgic for this era it goes on too long and is jarring to the ear. Essentially it’s a waste of musicianship that shouldn’t be taking up space in your mp3 player.

“Hum” – Jenn Mierau

It’s not bad, but it’s not great either. Mierau’s constant whispering throughout the track is a turn-off. If she had sung this track in a normal voice it might be worth the free download. Instead of trying to raise the volume of your mp3 player skip this.

In season nine the war against obesity began as the contestants weighed themselves in front of family and friends before arriving on the ranch. As they step out of the limo, before they unpack or face a last chance workout these warriors are confronted with a 26.2 stationary bike ride. What’s the catch – the two teams who come in last place are sent home. A frightening thought for people who weigh on average this season over 400 pounds (The Brown team alone came in weighing nearly a ton.) However there is a twist that you have to see for yourself to believe. After this challenge that happens within the first half of this two-hour season premiere, its workout time. There are contestants who have no cartilage in their knees, sleep apnea, onset diabetes etc. How are Jillian and Bob supposed to help the heaviest set of contestants yet – through a lot of yelling. Jillian wants warriors and Bob pushes these people past their limits. Together they are formidable and don’t even think of using the word can’t in their presence.

Of course pounds drop and yet another contestant is sent home (that’s five in the first episode). What’s amazing about this series is that it showcases the problem of obesity. With each season there are bigger people who are in desperate need of this life-changing experience. Also, say what you will about the practices of Biggest Loser as the seasons go on contestants have kept the weight off by implementing what they learned on the ranch. In the end it’s not about winning money it’s about living the rest of your life.

Of course, next week Jillian and Bob “beat the hell” out of the contestants, as they attempt to defeat the week 2 curse. This is where contestants gain weight as their bodies become accustom to the hellish workouts on the ranch. Either way be sure to tune in to see the sweat and tears flow.

In the books, Mercy’s world is established and relationships have already been defined, however, one who reads these books tends to wonder: Just who are all these characters and how did they become involved with each other? Most of all, in a world where everything is not as it seems, how can these people trust each other? That’s where “Mercy Thompson: Homecoming” comes in, a prequel where new readers can get involved with the novels and longtime fans see a fresh perspective on long-established characters.

We first meet Mercy running for her life and being cornered by a pack of werewolves. Along the way, she shape shifts from coyote back into human form, all while trying to figure out some sort of escape plan. She need not have worried, because the cavalry comes in when she’s about to be torn to pieces. Her cry of “When the Marrock comes looking for me…tell him I went down fighting!” brings in Adam and his crew to rescue her. And that’s only in the first eight pages. From there, the action doesn’t stop as we find out Adam is the alpha male in the area where Mercy is trying to get a job as a teacher. Yes, our heroine is no slacker in the intelligence department – tired of working for fast-food joints, she decides to put her degree to use, but to no avail. After her adventures with the rogue wolf pack, Mercy encounters a 9-year-old repair whiz that leads her into interacting with the vampire community, in particular Stefan, who has a penchant for Scooby-Doo. (Ladies and gentlemen, his van is made to look exactly like the Mystery Machine.) Luckily, that’s where the similarities end, as Stefan becomes a trusted friend and ally who helps Mercy out of a couple of scrapes.

The dialogue is witty, and the characters are smart and independent yet damaged individuals who are complex and multilayered. Briggs and co-writer David Lawrence have given us a glimpse into a world where you have an emotional investment in their lives. The storyline of the rogue wolf pack and the war over territory shows us the emotional baggage of the characters in this trade paperback. The fae, who owns the auto-repair shop (Zee) is an alcoholic with a 9-year-old son. It’s constantly brought up that humans should not interact with those of the other world. Yet we have Mercy, who is able to have a multifaceted perspective because she was raised by a pack of wolves. The paradoxes constantly abound, and that makes these characters even more interesting.

That said, this is a minicomic series, and without the artwork of Francis Tsai, Amelia Woo, et al., many of the scenes that cause you to keep reading would have been flat on the page. Mercy’s tattoos are consistent, and it’s difficult enough to do that on a human being, much less someone who repeatedly changes into an animal and back again throughout a comic series. Then there is the world that readers have only imagined in their minds. Mercy, Adam, Zee, etc., have been constructed for years in the imaginations of readers, and now they are on the page in full color. Zee has to look like a gremlin, and he does. Adam and his second are definitely leaders, and each panel portrays that. Then there is Mercy with her arrogance, self-doubt and cynicism, which is often expressed by the look on her face. In a comic, these emotions have to be translated to the audience quickly, whereas in a novel, Briggs has the room to ruminate over Mercy’s reaction to a situation. Here, it works.

At the end of the trade, Lawrence interviews Briggs on how this origin of Mercy in comic-book form came to be. It’s refreshing to read from the author her influences and her favorite comics growing up. It also explains the world she created and how it is so well-suited for the comic genre. Overall, you will be hard-pressed to put this rich and compelling narrative down.

In 2010, Briggs’ latest installment of the Mercy Thompson legacy will be in stores. If anything, read this first to gain a sense of what you’re getting into. It will be worth the ride.

The first track, “Wild Horses,” is a song written by Mick Jagger and Keith Richards of the Rolling Stones. This poignant melody is sung with raw honesty, and that lingering emotion is what the listener is left with. The song resonates and stays with you, as Boyle does not attempt to put her own stamp on it. Instead, her voice gives listeners room to experience the song for themselves. It’s unobtrusive and a joy to listen to, even if you are feeling despair over a lost love affair or are in a brooding mood.

“Les Miserables” is one of the most successful musicals in theater history. Claude-Michel Schönberg, with a libretto by Alain Boublil and lyrics by Herbert Kretzmer, have a beautiful way of weaving the same melody in various tones throughout the musical, and in “I Dreamed a Dream,” it shows the bitterness of a woman who took a chance on love, and in her naivete becomes a prostitute to survive. It is a song of a dream lost, and Boyle evokes that desperate anger to such an extent that you seem to be intruding on her private thoughts. However, you just can’t turn away, and you wind up enraptured in the heart-wrenching experience.

Boyle sings Arthur Hamilton’s “Cry Me a River” with an understated intensity. It is as if Boyle is singing about the hurt of an exposed nerve while trying to heal it at the same time. Its duality is compelling, and you can’t help but appreciate the lyrical story.

“How Great Thou Art” is a standard that Boyle covers well. The choir is also a nice touch. However, her voice truly shines when she gets a chance to emote a story through song, and Madonna’s “You’ll See” (co-written by Madonna and David Foster) is the perfect vehicle for her, as it gives her the ability to tell a narrative through several emotions that include defiance and anger. It seems to be Boyle’s anthem as she shows everyone that “All by myself/I don’t need anyone at all/I know I’ll survive/I know that I’ll stay alive” and that no one can “take it from [her].”

A personal favorite for many, “Daydream Believer” is a song that is best known as one of the Monkees’ major hits. Rarely covered, it stood as strictly a band song. Here, Boyle slows down the melody and gives the song a warmth that hasn’t been heard before. It’s a heartfelt and very personal melody that you will find yourself playing over and over again.

“Up to the Mountain,” written by Patty Griffin, is usually done with acoustic and electric guitar. Here, it is performed with piano, which makes the song laborious. The producers of this track should have given Boyle the chance to rock out, as this modern-day hymn deserves to be cranked up. Having said that, her rendition of “Amazing Grace” is perfect in its subtle yet desperate tone. It is a memorable take on this standard Christian tune, and one wishes that Boyle would have sung all the verses. Some songs do not need to be truncated.

Finally, “Who I Was Born to Be” is an original track. Written by Audra Mae, Mark Linn Baker (yes, the guy from “Perfect Strangers”), et al., it tells Boyle’s story. It’s her “turn to fly” on a song written for her based on her life experiences. It’s a smooth fit for this album that consists mostly of songs written and expressed by and for other artists. Here, Boyle has a signature song that is originally created for her.

Then there’s “Proud,” which is redundant, since Boyle has expressed that emotion in this track better in the previous songs, even in the boring “The End of the World.” Lyrically they do not add to her repertoire, but her voice is pleasant enough that it hardly seems to matter. Still, Boyle should have had more challenging material on this album. It would have been better for her to branch out than to stay safe. As an artist, these songs seemed to stifle her creativity. If the producers are going to do this, then for her next album they should have Boyle sing more challenging show tunes. Perhaps a tribute to Rodgers and Hammerstein or Andrew Lloyd Webber – something to make the listener wake up and take notice so that we don’t hear the frustration in Boyle’s voice when she has to sing these lesser tracks.

In the CD version, the last track is the holiday classic “Silent Night.” It’s a palatable rendition that will soon become one of the many versions you will hear at Christmastime, since a choir joins Boyle later on in the song and makes it slightly different than the usual holiday fare.

Together, the songs on “I Dreamed a Dream” show a mature woman burgeoning on what promises to be a career full of songs in which she can express every emotion in existence. Lyrically, Boyle is certainly up for the challenge.

No list would be complete without Jay-Z – after all, this is the man who brought musical theater to rap. From arguably his greatest record, “The Black Album,” “99 Problems” uses the ingenuity of Rick Rubin’s (longtime co-owner of Def Jam records) rocking guitar licks to explain that he has “99 problems/but a b—h ain’t one.” What makes this track a defining point in this first decade of the millennium are the samples of “Long Red” by Mountain, “The Big Beat” by Billy Squier, “99 Problems” by Ice-T and “Touched” by UGK. Essentially, Jay-Z is the Eric Williams of rap. (Williams was the prime minister of Trinidad from 1956-1981, and utilized the philosophical strategies of the likes of C.L.R. James and others to marshal his political strategies – making him a force to be reckoned with for decades.) It establishes Jay-Z’s ability to take from many influences and recreate them, making a track that’s distinctly his own.

“Stan” – Eminem

Dido’s “Thank You” would have been circling the drain on many a music chart if it weren’t for Eminem’s inventive use of incorporating her musicianship in this suspenseful narrative tale. “Stan” weaves a story that takes a disturbing look at the root of the word fanatic. We hear his fan’s downward spiral in epistolary/spoken-word form. It’s the best use of letter-writing in narrative since Samuel Richardson’s “Clarissa.” Yes, Eminem has a classic song on his hands, one that proves that white men can rap and reinvigorate a lost art form at the same time.

“Hurt” Johnny Cash

This track is perfect for the Man in Black: Cash was the man who spoke for the disenfranchised, the downtrodden and the hopeless. It is only fitting that, after a career longer than most people have been on the planet, he would cover Nine Inch Nails’ “Hurt.” Sung toward the end of his life while suffering a debilitating illness, the lyrics “I hurt myself today/to see if I still feel” held more meaning than its writer Trent Reznor had ever envisioned. Cash sang with an urgency that forces you to listen openly to each word. The video is equally compelling as it looks back on the life of a man so complex that he traveled to Christ’s birthplace to recreate an accurate account on the last years of his life. Although this track is a remake, Cash made it as synonymous with his mythos as “Ring of Fire” and “Man in Black.” They don’t make them like Cash anymore, and the decades to come will miss his influence.

“Gold Digger” – Kanye West

Whatever his antics may be, Kanye West created one of the most prolific, catchy anthems of the 21st century. He had everybody singing “We want prenup, we want prenup” as he rapped minuets of situations that happen to people in their everyday (and sometimes not-so ordinary) lives.

“Fallin’” – Alicia Keys

Remember the opening lines of this amazing track, which were sung a cappella? It announced the arrival of an entertainer with lyrical force and fierce piano skills. Could it be the second coming of Stevie Wonder? Sadly no, but “Fallin’,” (written by Keys) with its raw, emotional intensity, placed her on the same level as R&B artists that sang with their souls and embodied every emotion with song.

“Family Portrait” – Pink

It was 2001, and Pink was at a musical crossroad. Her collaboration with Linda Perry of 4 Non Blondes created an intimate and heart-wrenching look into the world that made Pink who she was at that point. There are several songs from the album “Missundaztood” that could have been chosen for this list, but “Family Portrait” (written by Pink and Scott Storch) is the type of track that is relatable to anyone who is going through a time of crisis. It put her family’s business out into the street, and though for a time it caused strife among her relationship with her family, it eventually led to reconciliation with her parents. Most importantly, it showcased Pink’s writing skills, which pushed her above the sugary pop songs that saturated the airwaves at the time.

“Don’t Know Why” – Norah Jones

This dreamy track (originally written and performed by Jesse Harris) made Jones a household name and won her several awards. However, what makes this track memorable is the playful use of the lyrics alongside the deceptively lingering melodic rhythm. Just when you are being lulled to sleep, the phrasing of the words will have you paying attention to what is being said by the protagonist: “I left you by the house of fun/Don’t know why I didn’t come.” Just what exactly is going on at the funhouse that makes her stay away “Catching teardrops in [her] hand?” And what was she doing with the other one?

“Superman (It’s Not Easy)” – Five For Fighting

“I can’t stand to fly/I’m not that naive/Men weren’t meant to ride/with clouds between their knees.” Truer words were never sung by this one-man band. Every lyric speaks to the Superman in all of us, who sometimes feel as if we were all the last son of Krypton. This haunting melody of piano with drums as a subtle accompaniment became successful after Sept. 11. It reveals the person inside of anyone who has to deal with situations that are so far out of our realm that our only solace can be from a Superman who can feel as miniscule as us mere mortals.

“Hey Ya!” – OutKast

Only six years old, this track has been covered by several artists, has become a part of pop culture and even helped revitalized the Polaroid for a time. “Hey Ya!” (written by Andre 3000) utilizes several genres as its multilayered rhythmic arrangement and memorable lyrics make this not only a dance track but a tribute to the many influences of the band. There’s funk, rock and the call/response tradition of the Negro spiritual. Most of all, it’s a fun song. You can either dance or listen to it – that’s no small feat for a track with a lot going on in it.

“Shut Up” – Black Eyed Peas

The perfect ring tone was first the perfect song about trust and intimacy in relationships. It gets to the point that the first lines of the song are “shut up/just shut up, shut.” That’s some serious frustration that escalates into a scenario of lies that capitulates into another tirade of “shut up.” You can’t not like a song that utilizes this phrase to express the rollercoaster ride that is called love.

Chesnutt had been around musically for decades. There are many who say that the accident that left him paralyzed from the waist down at age 18 was where he drew his musical creativity from. However, he was more than that. Yes, the car accident did help him focus and was a part of his experiences (oftentimes, his songs dealt with death as a lover, a betrayer and a friend), but it did not make up all of what he was and he did not allow it to define him. He continued to make music his way and released nearly 20 albums during his career (two of which were produced by R.E.M.’s Michael Stipe – West of Rome and Little).

On top of that, Chesnutt played acoustic guitar. At times, he used the guitar as a harmonic accompaniment. It was as if he gave this instrument a voice with which he could duet. Accompanied with his instrumentation, Chesnutt did not need much to prove his point, music-wise. His latest album is a testament, showing that stripped down folk music does not have to be compartmentalized.

If you like hip/hop, blues, R&B or rock, then Chesnutt has a place in your mp3 player. The ideas he wrote about speak to you on an emotional level, which crosses genres once you give yourself a chance to listen to what he had to say. His songs are like narratives of families, intimate relationships, observations and being alone. As a result, you can create your own story or relate to what Chesnutt emoted.

According to The New York Times, Chesnutt’s songs were covered by the likes of Hootie and the Blowfish, Smashing Pumpkins, Garbage and others to benefit The Sweet Relief Musician’s Fund – a fund that was needed to help musicians with their health care benefits.

Despite the title and lyrics the melody is a sophisticated jazz-like multilayered tune. One wishes the words were not a part of the track.

“Joy to the World” – Lee Greenwood

Remember “God Bless the U.S.A.?” Every time you hear that song it brings on feelings of patriotism. Having said that, skip this rendition of “Joy to the World.” You have better covers of this tune already at your disposal.

“I Celebrate the Day” – Relient K

The uplifting lyrics do not match the morose melody that accompanies them. Are we celebrating the birth of Christ or are we in mourning for his being nailed to a cross? Relient K needs to make up their minds.

“It Came Upon a Midnight Clear” – MercyMe

MercyMe does a fine rendition of this seldom covered track. It has a rocking quality where you won’t be embarrassed to listen to this song in the middle of March.

“Toy Packaging” – Sara Groves

This song is for anyone who has been defeated in their ability to open a toy for a child on Christmas day. It seems that they make it extra difficult at this time of year. As Groves attempts to “extricate this robot man” from its package the listener is left with the feeling that they are not alone in their cursing ongoing battle. It’s a fun track that can be played on any holiday that offers presents for children.

“I Heard the Bells on Christmas Day” – Casting Crowns

Amazing track. Casting Crowns covers this song with a harmonious children’s choir and a solid, melodic rock beat. Regardless of the time of year this tune should definitely be on your mp3 player.

In case you’re sick of “O Christmas Tree” or can’t stand to hear another rendition of “Rudolph the Red Nosed Reindeer” then you’re in luck. Here are ten Christmas songs that will keep your spirits high.

Who can forget this 1987 classic? Originally from A Very Special Christmas album, “Christmas in Hollis” with the sample of Clarence Carter’s “Back Door Santa” is modern holiday tune that you can proudly rap out loud with. It was featured in the first “Die Hard” movie – making this film arguably a Christmas movie.

“City of Silver Dreams” – Sugarland

Through refreshing lyrics and the sound of a mandolin Sugarland does a modern take on the birth of Christ. Together Jennifer Nettles and Kristian Bush have worked their way into the Christmas music canon with this instant classic.

“Father Christmas” – The Kinks

The Kinks singing holiday music? Yes in their irreverent way The Kinks put their stamp on Christmas with social lyrics that speak of the uselessness of toys when people need money. Originally released in 1977 it has not gotten the respect it deserves. Unfortunately it is as relevant as it was over 30 years ago.

“Funky New Year” – The Eagles

This iconic band rocks and that goes for holiday music as well as their plethora of hits. However, on the B-side of “Please Come Home for Christmas” is this little known gem. Originally released in 1978 it is rarely heard, but you should download it to play at your next party or if you want to practice air guitar. It’s something that should be cranked up year round.

“Last Christmas” – Wham

Yes the duo that brought you “Wake Me Up Before You Go-Go” has a modern Christmas classic. Before they parted George Michael penned this tune that was on the B-side of another Wham hit “Everything She Wants.” Since it chart topping success in 1984 it has been covered by the likes of Ashley Tisdale, the cast of “Glee” and a myriad of other artists.

“Celebrate Love” – Jordan Pruitt

Sometimes this is the only time of year where you can listen to a syrupy-sweet holiday tune without guilt. So unabashedly sing out loud with Pruitt as she “Light up the candles, dim all the lights/ [and] Now let the magic begin.”

“Soul Cake” – Sting

Not exactly a modern classic, but its Sting and what he does with this medieval tune makes it new. Previously written and reconfigured (“A Soalin”, circa 1963) by the iconic Peter, Paul and Mary, Sting adds to this tune ( that is based on praying for the souls of the dead) by bringing it back to its roots. It’s also on his current album If On a Winter’s Night and you should check it out.

“Get Your Hump on This Christmas” – Earth, Wind and Fire featuring Cleveland Brown

Say what you will about “The Cleveland Brown Show” when you put the iconic musical stylings of Earth, Wind and Fire you can’t help but enjoy this take on the commercialization of Christmas. It’s a fun song that is a welcome break from the usual take on Christmas music.

“2000 Miles” – The Pretenders

With its winter theme this track has become associated with the Christmas holiday. This song has been covered by other bands and made it into the top 20 in Great Britain in 1983 (the same year it was released). While the muted-tempo beat might not make you feel Christmassy; it is a nice change of pace from the formulaic Christmas tunes that you usually hear.

“Grandma Got Run Over by A Reindeer” – Elmo and Patsy Shropshire

It’s the 30-year anniversary of this modern classic written by Randy Brooks. It’s everything a fun holiday song should have – a dysfunctional family, PG rated violence and gifts you don’t want. If nothing else it reaffirms that “you may say there’s no such thing as Santa, but as for me and grandpa we believe.”

What is unusual is that the first single “The One” was released six months ago. This auto-tune track was left to languish on the charts with little support. The reason for this might be that as someone who could actually sing; using the voice correcting device lessons her legacy as a true songstress. Having said that her latest single “I Am” co-written by Blige and Johnta Austin is truer to Blige’s ability as a vocalist who can weave a story or empower people through song. It also shows just how eclectic Blige’s latest album is.

With no apologies for the use of auto-tune Blige brings her artistry to her most recent set of songs.

“Tonight” is a mixture of beats and auto-tune arrangements reminiscent of one of her earlier hits “No More Drama.” It’s not the strongest song on the album, but it does set the tone for what is to be an enlivening, emotional listening experience.

“The One” should have had a better chance than its demise on billboard charts by never getting out of the mid-sixties. Despite the use of auto-tune it is a solid track. Here Blige is experimenting with technology and similar to Kanye West attempts to negotiate her talent with this new machinery. However, the results are mixed since the song shines only when Blige’s voice is in the forefront.

The following track “Said and Done” is a better showcase of Blige’s talent. The overlapping lyrical arrangement emphasizes her ability to weave a narrative even when she is given little to work with. That said “Good Love” (written by Ne-Yo) sounds like a ‘70s throwback in a good way. It’s classic Blige in the sense that you won’t be able to sit down. With the strong vocals and up-tempo, thriving, infectious beat and rhythmic arrangement you can’t help but break out no matter where you’re listening to it. The rap by T.I. only adds to the solid hip/hop flavor.

Ne-Yo should have co-produced the entire album with Blige. Between “Good Love” and “I Feel Good” (co-written by Blige and Ne-Yo) this album has an amazing vibe that challenges Blige’s vocal range. She heartily meets it on both tracks. That said “I Feel Good” has a smooth-like-butter groove to the point that it doesn’t matter if you’ve encountered the theme of this track before. If you still need a reference think Chaka Kahn when she was with Rufus.

Then comes more classic Blige with the soon to be R&B classic “I Am.” Currently on billboard’s top 100 chart and co-written by Blige this short and sweet track is one of the best off the album. Companioned with “I Am” is “Each Tear” it builds on the idea of the album title. The well planned tracks weave a story of a woman who increases in her strength despite the challenges that have been laid before her. You too will realize that “Each tear brings you closer to your dream.”

“I Love U (Yes I Du)” is an unnecessary track that doesn’t cover any new ground. However, even one of Blige’s weakest songs is better than several albums released this year.

Blige quickly rebounds with the guitar prominent “We Got Hood Love” featuring Trey Songz. Perhaps hearing this song after the monotonous “I Love U (Yes I Du)” makes this sound better than it actually is. No matter it still is an amazing track based on the multiple, simultaneous harmonies and the added voice of Songz.

“Kitchen” reinforces Blige’s growth as a writer. Co-written with T. Nash with lyrics like “trying to take my man is like trying to take my money” and “never let a girl cook in your kitchen,” Blige uses the African-American center of the home as an analogy to put women on notice that messing around in her “Kitchen” is a no-no. It’s inventive, catchy and one of the more memorable tracks on the album.

Then we are slightly deflated with “In the Morning.” While it is a solid track that promotes Blige’s emotional singing voice it is not needed on this album. She’s sung of this theme before and better on previous albums.

The intensity is brought back to the forefront with “Color” (from the film “Precious”). This track lays it on the line emotionally. You can’t help but burst into tears as listening to it brings up every issue that has challenged you. Here Blige helps you realize that seeing your life in more than black and white is a good thing because it makes you stronger. If you’re still looking for comparisons think Billy Holiday with Phyllis Hyman thrown in for good measure. Yes it takes two women to match the power in Blige’s voice.

If you downloaded this from Amazon then the track “Stay” is not only a bonus, but a treat. This song will remind you melodically of “Without You.” For Blige to steal from herself and make you like it is further testament of her talent. “Gonna Make It” (also an Amazon download extra) is a solid track that makes it worth downloading the complete album. Yes the lyrics are repetitive, but wouldn’t you want someone with the power and intensity in Blige’s voice telling you to “hang in there?”

With the release of Stronger With Each Tear, Blige has helped end 2009 on a good musical note. She truly shows how you can experiment with new genres, yet stay grounded in your roots at the same time.

“Mr. Heatmiser” – Big Bad Voodoo Daddy

With a name like Big Bad Voodoo Daddy you can’t make a bad song. That said, this is one of the best upbeat, big-band songs about winter that you’ll encounter this holiday season. You’ll be jumping and jiving to this infectious beat. And with little reference to a specific holiday, this song can be enjoyed year-round.

“Joy to the World” – Stroudavarious Orchestra

This pleasant rendition of this classic tune will give you a warm fuzzy feeling. The slight rock elements mixed with classical musicianship to this instrumental also makes this two minute listening experience enjoyable.

“Oh Come Emmanuel” – Aliqua

Originally this Latin text that has become a Christmas hymn is rarely recorded. Thankfully Aliqua took on the challenge to create a lovely rendition of a narrative that tells of the coming of the newborn king.

“The Night Before Christmas” Brandon Heath

Released in November of this year “The Night Before Christmas” is relatively new on the scene Christmas music wise. Having said that, it has a place in the Christmas carol canon as it packs an emotional punch with carefully crafted lyrics and an insistent drumming that drives home the story of the birth of Christ.

“O Holy Night” – Mark Harris

“O Holy Night” again? Believe it or not there is room for more than one version of this classic carol. Here Harris sings lyrics that are rarely recorded making this version worthy of downloading.

“It Really is (A Wonderful Life)” – Mindy Smith

The title of this song will make you feel like George Bailey at the end of that iconic film “It’s a Wonderful Life.” You too will be reminded that your life is pretty good as you count the blessing(s) of the past year.

“Have Yourself a Merry Little Christmas” – Keyshia Cole

Christmas music is a difficult task to take on and it seems that every artist on the scene is forced to have a Christmas album or at least a song that is released as a compilation of artists on the label. This isn’t the case with Keyshia Cole as she sings the deceptively difficult “Have Yourself a Merry Little Christmas.” Cole sings this carol with the emotional intensity rarely heard in this tune. It’s a welcome version to one of the most well known Christmas songs around.

Soon after, she co-starred in “Girl, Interrupted” with Angelina Jolie and Winona Ryder where she played Daisy – a girl who has an unusual eating disorder due to her father molesting her throughout her childhood. After a confrontation with one of the main characters, Daisy commits suicide. Here, Murphy showed her vulnerability and her ability to disappear into a character. Watching “Girl, Interrupted” feels as if you were intruding on these people’s lives, not actors playing roles – and Murphy was a part of that. According to IMDB.com, it was one of her favorite acting jobs.

Three years later, she co-starred with Eminem in “8 Mile.” Murphy, alongside the famous rapper played Alex, a girlfriend who, through her duplicitous behavior, sets Rabbit (Eminem) on the right path to becoming a rapper and fulfilling his responsibilities as a father. It’s another solid role that Murphy acted well in. She had the ability to make those around her better; even when Eminem was playing out his life story. Since then, her acting career never seemed to catch fire.

However, she has had steady work. Because of her distinct voice, Murphy had been successful in voiceover work. For several seasons, she played Luanne in “King of the Hill.” She starred in “Happy Feet” as one of the voices of Gloria, the penguin who finds her “heartsong” by singing Earth, Wind and Fire’s “Boogie Wonderland” to Mumble’s (Elijah Wood) tap-dancing rhythm. Murphy also had a hit dance record (“Faster Kill Pussycat”) in both the U.S. and Britain.

Although she was involved with her “Just Married” co-star, Ashton Kutcher, it is her acting that she should be remembered for. Through her voice and acting ability, Murphy left her stamp on the acting world. Her legacy is one of vulnerable women who were struggling to find a place in this world. She will be missed.

The 13-second introduction to the album sets the tone for what you would think to be an inspirational and powerful set of songs. Fine, it’s not the hip-hop stylings of Jay-Z, but still you believe that you will find a different perspective on the world. Instead you wind up wishing that the album would be mostly done in spoken word. From “Love is Blind” to “Un-Thinkable (I’m Ready)” is one long narration about love in its many stages. These tracks bore the listener as you will be constantly checking your mp3 player to see if you are on the same listless track.

Then there is a glimmer of hope. “Love is My Disease” lackluster lyrics is saved by Keys’ inventive musical arrangement. One thing is for sure this woman knows how to work a piano and she has to use her whole repertoire with this track to keep the listener interested. Then there is “Put it in a Love Song” featuring Beyonce. This track is made for Beyonce’s unique form of singing. When Keys attempts to do it, it sounds as if she needs an asthma inhaler.

“This Bed” sounds like a Prince hand-me-down from the ‘80s. Its ordinary words set to a beat reminiscent of “When Doves Cry” on acid will make you pull out his Purple Rain album. “Distance and Time” and “How it feels to Fly” are two tracks that given time would have been amazing. The rhythmic arrangement with piano once again at the forefront cannot save the monotony of the lyrics. The most disappointing track on the album is “Empire State of Mind (Part Two) Broken Down.” Instead of the timely intensity of the Jay-Z track, you have this morose, depressive ode to the working man. Not even the moog could have saved this.

It’s difficult to believe that this is the same woman who sang “Fallin” with a mature-emotional-raw-nerve intensity or “Karma” with its witty lyrics and rock out beat. If this was her first album her future as an artist would have been in doubt. Perhaps a remix album is in order to give a fresh vibe to these tracks.

For many of us there are triggers that remind us that it is Christmastime. Ham wafting through the air, Yule Log, Christmas carols and baked goods that are made only during this time of the year are some of the key ways in which we bring in the holiday season. That goes for the specials and movies that only show during Christmas. The following is a list of specials that make us know it’s time to buy a tree and hang some mistletoe.

Garfield just wants to be left alone to eat his lasagna. Instead he is dragged to Jon’s parents to celebrate Christmas on the farm. The tabby that made “Big fat hairy deal” famous helps Jon’s grandmother find her holiday spirit as only he can. It’s fun, heartwarming and has a good soundtrack with the voices of Lou Rawls and Desiree Goyette leading the way.

9. A Claymation Christmas Celebration

Originally featured in a commercial singing Marvin Gaye’s version of “I Heard it Through the Grapevine,” The California Raisins appeared in this 1987 claymation holiday special. At the time this cutting edge technology mixed with the voices of Buddy Miles (as the raisins) made for must see television. The premise was that two dinosaurs guided you through the traditions of the holiday and gave a funny spin on several of these legends. Currently it’s on DVD, so you can start the Christmas season as early as you want.

8. It’s A Wonderful Life

Poor George Bailey (Jimmy Stewart) never made it out of Bedford Falls, but he was the “richest man in town.” As a man who feels he never made a difference he’s guided by the angel Clarence who needs to earn his wings. This storyline has been duplicated on several television shows and movies with varying degrees of success. One of the more comical ones is from Married with Children, where if Al Bundy had never existed the lives of those around him seemed infinitely better. So what does Al do? He goes back to make everyone’s lives miserable.

7. How the Grinch Stole Christmas

“You’re a mean one Mr. Grinch.” Boris Korloff’s narration of this Dr. Seus tale is a classic. The Grinch goes from a thieving miser to one whose heart grew in size. There is the movie version, but it’s the classic cartoon that makes people know when it’s Christmas.

6. A Charlie Brown Christmas

Good old Charlie Brown. The Peanuts gang are putting on a Christmas play and it’s Charlie Brown’s responsibility to get a tree. What does our sad-sack hero do – get the most dilapidated tree on the lot. By giving this poor thing a home he felt that he was embodying the spirit of Christmas. However, even his dog laughs at him. In the end the day is saved by a group effort that makes that sorry tree into something special. Originally broadcast in 1965 it has been a Christmas staple ever since.

5. A Christmas Story

The leg lamp, getting your tongue stuck to pole and shooting your eye out. The Christmas Story is one of the best movies about the Christmas season. Family dysfunction abounds as all Ralphie wants for Christmas is a BB gun. First aired in movie theaters in 1983 critics were hard pressed to give the director of the movie Porkys praise for this Christmas classic. However once it started showing on television it finally got the props it deserved. This truly is one of the greatest holiday movies recently made.

4. The Bishop’s Wife

The smart, sophisticated film starring Cary Grant as the angel Dudley is sent to help Bishop Henry Brougham (David Niven) to help him build a new church. However the real reason for Dudley being there is to repair Henry’s relationship with his wife Julia (Loretta Young). With witty dialogue set to a Christmas backdrop “The Bishop’s Wife” did not do as well as it should have in 1947, but thanks to television it can be appreciated as the solid film it is.

3. Mr. Magoo’s Christmas Carol

Mr. Magoo’s Christmas Carol is a take on Dickens’ A Christmas Carol. This musical adaptation originally airing in 1962 launched the television show that starred the titled cartoon character. But what makes this program iconic is that in its 48 year history it has not gone stale. When a young and old Ebenezer Scrooge sing their duet emphasizing “millions of grains of sand in the world, why such a lonely beach” you’ll find yourself wiping back the tears.

2. Rudolph the Red Nosed Reindeer

Specifically made for television Rudolph the Red Nosed Reindeer is based on the song recorded by Johnny Marks. Since 1964 the Rankin/Bass misfit has been lighting up Christmas with his red shiny nose that glows. It’s a story of finding your place in the world and belonging to something bigger than yourself. One of the clever parodies of this iconic figure is from Mad TV in which “Ragin’ Rudolph” behaves as a character in a Martin Scorsese film.

1. A Christmas Carol

Charles Dickens’ tale of a man who finds redemption by being visited by the ghosts of Christmas has been revised, modernized and set to a musical score all with varying results. We all know the story, still by the end we are relieved that Tiny Tim will live because of the love that Ebenezer Scrooge finds in humanity. If you cannot get a chance to see the one currently in theaters then there are several that you can catch on television. The best versions are A Diva’s Christmas Carol starring Vanessa Williams (Her behind the Music ghost of Christmas future is an inventive interpretation of the standard visitation) and the standard Christmas Carol versions starring Patrick Stewart, Alistair Sims and George C. Scott. When the ghost of Christmas Present (the late Edward Woodward) lifts his coat to show what Scrooge (Scott) should look out for it becomes one of the most chilling moments in this made-for-TV film.

“Christmas Tree” – Lady Gaga

This isn’t your mother’s Christmas carol nor is it meant for children. With lyrics such as “Light you up put you on top” and “Yes everybody knows we will take off our clothes” Lady Gaga is bringing a sexy vulgarity to seasonal music. That said it’s an intriguing take on traditional music and well worth a listen.

“No Room” – Todd Agnew

This track starts off with promise. A folk/rock beat brings in melodic sounding lyrics that draws you in to what is going to be an amazing story, then you realize that you’re beaten over the head with the fact that there was “no room at the inn.” We get it. Skip it.

“Hark the Herald Angels Sing” – Carola featuring Aygun Beyler and Mahsa Vahdat

This multi-lingual singer’s approach breathes new life into this traditional tune. Unfortunately, Carola cannot sustain the inventiveness that starts off this track. It tends to get tedious and the chanting seems to bring the track down.

“The Christmas Girl” – James Pants

This has got to be one of the worst Christmas songs ever recorded. James Pants should be roasting over an open fire and forced to listen to this tune repeatedly.

“Silent Night” – House of Heroes

This stripped down acoustic version of “Silent Night” is a listenable version of a classic. While there isn’t anything special about it, the round that is sung towards the end of the track makes it worth downloading.

“Oh Holy Night” – Richie McDonald

McDonald does a respectable version of this classic seasonal track. He’s not over ambitious in his delivery, but he’s not horrible either.

“All Wrapped Up in Christmas” – Tracy Lawrence

This Christmas song with a country twang is short and to the point. Nicely sung by Lawrence he lyrically illustrates how we can all get “wrapped up in Christmas.” Well worth the download.

For many people the holidays are a time of reflection. As you’re wrapping presents and reminiscing of Christmas’ past, there is the music of the season wafting through the air.  Which brings to mind which one is your favorite? Is there a certain song that just isn’t Christmas until you here it? What’s the song that kept you up waiting for Santa? And was it during this special time that a certain someone made your winter truly special? The following are songs that remind us what it means to love this time of year.

10-“Back Door Santa”

Yes “Back Door Santa” returns to the holiday top ten – this time as a single. This is a fun song that Clarence Carter revels in singing. It’s the players’  anthem for the holiday season.

9-“O Holy Night”

Originally a French poem written in 1847, “O Holy Night” has been the standard in celebrating the true meaning of Christmas. What makes this song stand the test of time is the lyrics. Though rarely recorded the words which include “Chains shall He break For the slave is our brother/And in His name All oppression shall cease” refer to a time fraught with racism and prejudice. Unfortunately the lyrics are as timely as ever. Best covers of this track are: Nat King Cole and Mariah Carey.

8- “Silent Night”

No matter your beliefs there is something about a Christmas carol sung in a language other than your own. In this case “Silent Night” originally written in German brings to mind the traditions of this holiday season. After all it was the Germans who introduced the Christmas trees inside the household along with several other ideas that have been associated with Christmas. Best covers of this track are: Nat King Cole, Mariah Carey and Johnny Mathis.

7- “What Child is This?”

Rarely heard during this season, “What Child is This?” has been around since 1865. Written by William Dix during a dark period in his life this track has held heartfelt meaning for those who are steeped in the religious aspects of Christmas. Best covers of this track are: Vanessa Williams and Sarah McLachlan.

6- “O Tannenbaum”

Another original German Classic “O  Tannenbaum” (“O Christmas Tree”) is a celebration of wintertime. Although it was used during the reign of Hitler to rid the religion out of this holiday, it has withstood that to be associated with the birth of Christ. Best covers of this track have been recorded by Nat King Cole and “A Very Charlie Brown Christmas.”

5- “Do You Hear What I Hear?”

This track written in 1962 as a response to the Cuban Missile Crisis has been covered by nearly every artist. Some have done it justice while others should have left well enough alone. Made famous by Bing Crosby this song has several solid renditions that will have you enjoying the holiday season. Best covers besides Bing Crosby’s are Vanessa Williams, Linda Eder and The Tropical Flavor Steel Drum Band.

4- “God Rest Ye Merry Gentlemen”

A favorite in many households “God Rest Ye Merry Gentlemen” is a classic song that takes a lot of effort to be sung badly. It’s amazing that this track has been respectably rendered by several artists. While the origin of this song is disputed, we can safely say that it became popular in the 1830s. The best version to date has been done by Barenaked Ladies featuring Sarah McLachlan. Their rendition features a round arrangement that emphasizes McLachlan’s lyrical voice and is punctuated by the acoustic guitar playing of Barenaked Ladies.

3- “Children Go Where I Send Thee”

This track is one of the best examples of the call/response method in singing. Originally this Negro spiritual was a hymn emphasizing certain tales in the Bible. As the years went on it became another song in the Christmas canon. There have been several renditions that have been respectable, however the best rendition has been done by Peter, Paul and Mary. For many years this song was a staple during pledge drives on your local PBS station. Though it has not been played this holiday season you can still find it on their album A Holiday Celebration.

2- “Peace on Earth/Little Drummer Boy”

“Peace on earth, can it be?” You just might believe it when you hear the voices of Bing Crosby and David Bowie harmonize on this iconic Christmas tune. The lyrics for Bowie’s part were written especially for Bing Crosby’s last Christmas special that aired in 1977. The point/counterpoint method perfectly blended the crooning style of Crosby with Bowie’s no-nonsense vibe (Bowie at the time attempted to showcase a toned down persona. It made for an awkward moment for the two men as they knew little of each other. It was actually Crosby’s childrens’ suggestion to record this track with Bowie). For several years this version was not made available to the public. People hunted down the original version and made bootleg copies from the radio until it started showing up on compilations. There is no better version. “Peace on Earth/Little Drummer Boy” by Bowie and Crosby is the only version worthy of mentioning.

1- “The Christmas Song”

“Chestnuts roasting on an open fire” begins the holiday season. You know it’s Christmas when this song plays. Originally written by Mel Torme and Bob Wells with music by Torme, this holiday staple has defined the holidays for generations. Nat King Cole’s voice defines this classic that makes “tiny tots with their eyes all aglow…find it hard to sleep” whenever they hear it. Though this song has been covered by several artists including his daughter Natalie, it is Nat’s voice that rings in the season. Like the Bowie/Crosby tune, “The Christmas Song” sung by Nat King Cole can’t be done better. It’s the only rendition that one needs to own.

“CJ” – Los Fabulosos Cadillacs

This long, monotonous Latin tune would be better served if there were no lyrics. It drags the song down leaving the listener wondering why they downloaded this track in the first place.

“Wilson P” – Six Finger Satellite

This track is the reason why a band that formed in the early ‘90s is still around. “Wilson P” is an electronic guitar lover’s dream and together with the lyrics makes a solid rock song.

For the 24 days before Christmas the remaining downloads are holiday songs.

“Joy to the World” – Casting Crows

You can’t get Christmas music wrong as long as you sing it straight and that’s exactly what the Casting Crows do. Too often music acts attempt to put their stamp on holiday music with abysmal results. Luckily this track doesn’t do that.

“Snow Angel” – Tori Amos

Who allowed Tori Amos to sing a holiday song? Even Ebenezer Scrooge before he met the ghosts of Christmas Past, Present and Future would tell Amos to lighten up. Skip it.

“The Coventry Carol” – Mediaeval Baebes

This track’s slumbering tune is strictly for the insomniacs. If you’re in the Christmas spirit, this song isn’t what you want on your mp3.

“Slower Than Christmas” – The Boxmasters

Reminiscent of “Grandma Got Run Over by a Reindeer,” this short country ditty is about a dysfunctional family Christmas. Unlike the family the band sings about you want it to stay for a while.

“God Rest Ye Merry Gentlemen” – Jars of Clay

What could have easily been a boring rendition of a Christmas standard, Jars of Clay made this track a song that reminds you of the season in a good way. The guitar arrangement makes this song something that you could listen to out of season. A rare feat for a seasonal tune.

That said Bocelli takes on the greatest challenge of his career – holiday music. There’s only so much you can do with “Silent Night.” Some singers try the over-the-top method that doesn’t always work while others sing it so subtly that it puts the listener to sleep. Here Boccelli smartly sings it in Italian giving this standard new life with this interpretation. It is when he switches to the English version where things fall flat. It’s completely unnecessary. Anyone who knows about Christmas knows the lyrics and for Boccelli to switch into English takes the specialness away from this version. Throwing children at the end of it doesn’t help either.

With the release of his latest album Truelove’s Gutter (which is currently in the top 20 on the British album chart) “Don’t Get Hung Up in Your Soul” is exemplary of a tortured person’s way of cheering themselves up.

Set to a haunting melody this track feels like an exposed nerve. It’s the sort of song that keeps you in a place where you want to remember all the bad things that have ever happened to you – if for no other reason than to exorcise the demons that won’t leave you alone. The lyrics like the instrumentation are minimal, but pack an emotional punch as the title is constantly repeated.

The unnerving whistle at the end is also a not so subtle reminder that loneliness can’t be battered away just by saying “Don’t Get Hung Up in Your Soul.”

“Come On” – Green River Ordinance

Currently in the Top 20 on Billboard, “Come On” is your standard rock song. There isn’t anything revolutionary about it, but it has a catchy tune that you can’t help humming and the chorus stays with you long after the song is over.

“All For Love” – Serena Ryder

Ryder’s distinctive voice makes this folk-rock song. For those who need a comparison, think of her as a cross between Melissa Etheridge and Bruce Springsteen. Yes, she’s that good.

“Be Set Free” – Langhorne Slim

The slow, melodic-folk beat makes “Be Set Free” the type of song you can listen to regardless of the mood you’re in. This 29-year-old sings with the experience of an old-time rocker. If his album of the same title is half as good as this track, then get it.

“Pat a Pan” – Mannheim Steamroller

From their chart topping 25th anniversary collection, “Pat a Pan” is reminiscent of the sounds of Christmas and for the Neopagan in you that celebrates Winter Solstice. Essentially, it’s this band’s usual fare, only toned down. If you’re in the mood for New Age holiday music, then give this a try.

“Molalatladi” – BLK JKS

South African rock? Yes, you can believe that BLK JKS can rock. At first, the music sounds disjointed, but give it a chance. Eventually, you’ll get into the rhythm of it, particularly the long guitar solo that leads into a slower beat, mixed with a multilayered harmony at the end.

“Final Frontier” – RJD2

From the 2002 album DeadRinger, “Final Frontier” featuring Blueprint (with the voice sample of Evelyn Champagne King from the song “The Show is Over”) will remind you of old school rap, where there were two turn tables, an infectious beat and rhymes that weaved a lyrical adventure.

“Think I Need It Too” – Echo & The Bunnymen

This middle-of-the-road chart single is in tandem with the type of song it is. It’s punk-rock light with no edge. “Think I Need It Too” sounds as if it wants to be an early INXS song (Think “I Need You Tonight”); instead, it comes off as background music that you want to turn down.

10. 8 Days of Christmas – Destiny’s Child

It’s nearly impossible to make a Christmas song your own, but Destiny’s Child managed to do this with such staples as “This Christmas,” “White Christmas” and the title song. The best song off the album is “Opera of the Bells,” as it is a rare classic that few people have taken on successfully.

9. Now That’s What I Call Christmas – Various Artists

Who could not love an album that has both “Grandma Got Run Over by a Reindeer” and Ella Fitzgerald. This eclectic mix of classics and new favorites has something for everyone to listen to.

8. Star Bright – Vanessa Williams

Williams’ dreamy voice smoothly croons over several songs such as “What Child is This?” She can also belt it out (“Go Tell it on the Mountain/Mary Had a Baby”) with ardent fervor. It’s definitely one to own.

7. The Ultimate Motown Christmas Collection – Various Artists

The Jacksons, Supremes, Temptations et al give a special Motown flavor to several Christmas standards. The Temptations’ “Rudolph the Red Nosed Reindeer” is a hipper version than the Gene Autry one and they make it a song you can groove to. But it is Stevie Wonder singing “Someday at Christmas” that brings us back to why we celebrate this holiday in the first place.

6. Christmas Stays the Same – Linda Eder

Best known for her Broadway performances, Eder takes “Silent Night,” “Do You Hear What I Hear” and “The Little Drummer Boy” to another level. You haven’t heard Christmas music until you’ve heard Eder sing it. The multilayered harmonies backed up by a choir will have you playing this album in the middle of July.

5. Merry Christmas – Mariah Carey

Carey made it okay to like Christmas music again. Her version of “O Holy Night” alone is worth the price of admission. She is also one of the few artists to write a successful original Christmas song (“All I Want for Christmas is You” co-written with Walter Afanasieff).

4. The Christmas Music of Johnny Mathis: A Personal Collection – Johnny Mathis

This perennial favorite doesn’t have a lame or sappy track on this album. Mathis’ voice can make any song sexy, soulful or peppy. His version of “Let it Snow” rivals any Barry White song on the sensuality meter, it’s that good.

3. Christmas Jollies – The Sal Soul Orchestra

Families would play the vinyl version of this album until it warped into unshapely proportions. When it was finally released on CD, people relived their childhood as the smells and sounds of Christmas were finally complete. The medleys are the best off the album, in particular at the end, when one of the children yells out a heartfelt “Merry Christmas Everybody.”

2. The Christmas Song – Nat King Cole

No one does it like Nat King Cole. The Christmas Song is an album that is one of the best selling in the history of music. Its ability to cross genres, particularly the holiday one, is a testimony to how amazing this man’s voice was. Cole not only sings the perfect Christmas song (the title song of the album was written by Mel Torme), he also sings in German and beautifully. This album is Christmas.

1. The Original Soul Christmas – Various Artists

There are several reasons why this album is number one. For one, Booker T. and the M.G.s have three songs on this collection (“Jingle Bells,” “Silver Bells” and “Santa Claus is Coming to Town) that were music chart toppers for several weeks. Not only that, King Curtis’ saxophone versions of “The Christmas Song” and “What are You Doing New Year’s Eve?” set the mood for reflection or time alone with your favorite someone. Curtis could make a saxophone do nearly anything and these two tracks showcase that. But the main reason why this album is number one is Clarence Carter’s “Back Door Santa.” Written by Carter, this track has little to do with Christmas and more to do with the opportunities a man dressed like Santa Claus has in getting his groove on. It’s funny and unapologetically sexual.

So haul out some holly and hang some mistletoe, but most of all, when you listen to your favorite Christmas albums, don’t forget why.

Several outstanding tracks abound on this album. “Feast in the Time of Plague” is definitely one of them. Lyrics like “You were a beautiful pig” give upsetting images a sense of levity and thoughtfulness at the same time. This duality is emphasized with Chesnutt’s minimal use of instruments. It gives the maximum effect of evoking loneliness and heartache. Then “Unpacking my Suitcase” reflects how much we take with us when a long-term relationship is over. We often unknowingly do what Chesnutt says and take the good bits of our romances by “squirreling them away//for the long lean winter.” Another emotional heartbreaker – and yet the song fades out with a sense of hope. Just because something is lost doesn’t mean you can’t find it again. That’s a comforting thought, even if it’s not Chesnutt’s intent.

“Dimples” weaves an interesting story that you will continually replay to get a sense of how everything unfolds. It’s like reading a Cormac McCarthy novel, only you’re satiated at the end, since every time you listen to the song, you can interpret the last line of the track depending on your mood.

Chesnutt has a way with words that keeps you engaged in his music and “Rips in the Fabric” is exemplary of that. Although downbeat, it has this catchy-haunting sound that resonates within you long after it’s over. Ironically, the up-tempo “Society Sue” has a depressing storyline. The “Calamity Jane” figure of the title song never seems to realize that she’s the third wheel. Deeper still, you wonder if there is a bit of “Society Sue” in all of us – those of us who are desperate to fit in and are either oblivious or don’t care how they come across.

“My New Life” is the type of song that you can only hear when you’re really- really happy, or you’re so low that this song will help you realize that you’re not alone in your misery. Either way, it’s thought-provoking. It’s also a testament to Chesnutt’s songwriting skills to have a song that can make you smile after going through a rollercoaster of emotions.

Depending on your politics, you’ll take or leave “Dick Cheney.” It’s not the strongest song on the album; perhaps because it is obvious. And Chesnutt is at his best when the listener finds their own meanings to his songs. That said, “Worst Friend” is the best song off the album since it will remind you of all the people you attract, particularly “the friend who likes to get peed on – sexually” and the one “who touched you inappropriately.” The album ends with “Sewing Machine,” yet another haunting song about a family that could be turned into a short story. Once again, you get to create your own ending.

Recorded live, all the songs written by Chesnutt will leave you feeling like an exposed nerve. The thing is, Chesnutt makes you like it, and that’s not a bad thing.

The album starts off with the melodic “I Should Be Born.” There is nothing outstanding about this track. Yet, it’s the sort of song to which you’ll find yourself humming the tune long after it’s over. The fluid movement of the album is taken further with “Heading for Nowhere.” It’s another song that resonates with you long after it’s over, particularly the last minute when the heavy guitar and percussion beats chime in.

The album slows down its tempo with “Weathervanes (In the Way).” This un-intrusive track is perfect for when you have a lot on your mind, or when you just need some background music that won’t annoy you; and at the same time, keep you focused on what you need to do. While all this is going on, you still remember the song long after it’s over – an unusual feat.

The title track plays with the harmonies as the song is sung in a half round. It’s an interesting arrangement of vocals and instrumentation, which makes the song a pleasant experience to listen to.

“Sure Sign” grabs your attention with its subtle lyrics and melodic music arrangement. The passive-aggressive approach is an intriguing tactic for a song and it works here. However, “Time Will Remember” is too subtle. The piano playing in the beginning makes you groggy where you feel in a state between sleep and wake. Perhaps the intent of this track was a dreamlike state. It’s unfortunate that it works too well.

Jets Overload is at their best when guitars and drums are at the forefront of the song as shown in the track “Fully Shed.” Both instruments propel the storyline forward and force the listener to be involved. You can’t help but try to get what is going on in the song.

Fortunately, the album continues its collaborative ways with “Always a First Time.” Reminiscent of the Nicks/Buckingham era of Fleetwood Mac, this track is easily the best off the album as the harmonies are right on point. “It’s a Funny Thing” continues on with this vibe as the harmonic sounds of both lyrics and understated instrument-playing combine to give a haunting melody that you won’t be able to tear your ear away from. “Tired of the Comfort” is sadly the last song on the album. It is also one of the best since it masterfully uses percussion, drums, guitar, Wurlitzer and Rhodes as a backdrop to deeply, thought-provoking lyrics. It’s the sort of poetry you wish you could write.

Luckily, you can replay it and experience it whenever you like. That is once you get the album. And that’s what you should do.

Elements of blues and folk-rock intersperse through the songs of Jason Yates’ self-titled album. His influences and expert keyboard playing on the songs make this album one that you will have on a continuous loop on your mp3.

“My Way Out” starts the festivities as Yates’ piano intro sets the tone for the upbeat track. The musical arrangement makes this song infectious. Reminiscent of Randy Newman’s “You’ve Got a Friend in Me,” this track has the sound of a classic. You’ve heard it before, yet it’s new and that familiar feeling will have you in a good mood long after the song is over.

“Nobody So Far” deals with people who aren’t as they appear to be. As the protagonist sings about a betrayal in the third person, you wonder just who is the wronged party here. The rhythmic arrangement will have you thinking that this is the B-side of an Al Green record, but no – it’s all Yates. The only thing that gives it away is Yates’ rock-blues-style voice.

“Comin On Back” has heavy guitar licks that makes this song over long before you want it to be. Influences as far-flung as jazz and country combine to make this an unforgettable track.

The piano-organ sound in the intro of “Paper Tents” underlines this song about the mixed messages of love. The tune is constructed much like its title – one spot of rain and (like the relationship he sings about) it could all fall apart. Luckily for Yates, the sun shines on the rhythmic arrangement of this track. Helped by Marc Ford (lead guitarist from the Black Crowes), this track is rich with emotion and will resonate with you long after it’s over.

You just want “I Run” to keep on going. One would not think that a haunting melody interwoven with expressed uncertainty and doubt in the lyrics would make for a song that you would hum long after it’s over, but that’s exactly what “I Run” does.

Arguably the best song on the album, “To Reason” reflects the best of an amalgam of genres. What could have been easily an R&B, blues, folk-country mess, instead is a well-crafted story that unfolds with one of the most memorable rhythmic arrangements off the album.

In the tradition of men who can effectively sing R&B, Yates touches on the Motown/Philadelphia sound with “To Chance.” It’s the piano that truly takes this song to another place as it propels the lyrics into an emotionally-restrained direction.

Although not one of the strongest songs on the album “Tear Drops” is still a solid track. The dreamy melody betrays the true meaning of the words as this song struggles not to be a love-lost number.

Yates shows his skills as a poet in “Sing for You” as the images he sings about comes alive inside the listener’s mind. The lyrics are highlighted by the melancholic, sing-song musical arrangement. It’s a song about loneliness and loss, but you don’t have to be in a particular state to listen to it.

Overall, Yates has a solid album that cannot be pinned down by genre, and that’s a good thing. There’s something for everyone here, and depending on your mood, you just might like all the tracks. That isn’t a bad thing at all.

Remember the ‘70s? Bell bottoms, Black Power, disco? Well, it was a great time for comedies, too. The following are Review Fix’s favorites- the first few seasons are out on DVD at most retailers as well, so check ‘em out!

Together, Tony Randall and Jack Klugman made television magic as Felix Unger, the obsessively clean metro-sexual and Oscar Madison, the messiest, slob of a man who reluctantly allows the former to move in with him. Based on the play of the same name by Neil Simon, it was highly successful, however, the television show made these two characters iconic. The storylines were based on the idiosyncrasies of both men. It dealt with their dating habits, parenting skills and their relationships with the other members of the cast – and what a cast. Penny Marshall played Oscar’s secretary, Myrna Turner, and before there was a “Happy Days” Al Molinaro played Murray, the cop. The casting is no surprise considering that Garry Marshall was executive producer of the series. He had a way of bringing out highly comedic moments where you wouldn’t think there was anything to laugh about. On a side note, Klugman’s ex-wife (Brett Somers) on the series was played in real life by the wife who he was unofficially separated from until her death in 2007. The theme song is equally iconic as the series and was featured on “Friends” and is a popular ringtone. For a show that suffered from poor ratings, its five-seasoned run garnered Klugman two Emmys and a Golden Globe, as well as an Emmy for Randall (the same year the series was cancelled). Thanks to syndication, we can enjoy the lives of these two men.

“All in the Family”

The comedy that launched a plethora of spin-offs was groundbreaking in its own right. Here we have equal opportunity bigot Archie Bunker (Carroll O’Connor) faced with the changing landscape of the ‘70s. With comedy and dramatic episodes “All in the Family” (based on the British comedy “Till Death Us Do Part”) faced the war in Vietnam, feminism, racism and his wife Edith (Broadway and television star Jean Stapleton). What made this series a mainstay on CBS for eight years was that it was smartly written. No one ever had to reach for a laugh. And when Archie called his son-in-law (Rob Reiner) a meathead, you agreed with him. Even when you didn’t like what he had to say, you respected him for voicing it out loud. Although it limped out in the last two seasons, it is still remembered as one of the iconic shows in television history.

“The Jeffersons”

During its eleven-year run, “The Jeffersons” was never out of the Top 30. The show that spun off from “All in the Family” dealt with reverse racism and interracial marriage in an intelligent, comedic way. As George Jefferson, Sherman Helmsley’s antics brought guffaws from audiences every Sunday night. His favorite targets were interracial married couple Tom and Helen Willis (Franklin Cover, Roxie Roker). One of the funniest episodes consisted of Tom and Helen taking George to small claims court because his dry cleaners couldn’t take a chocolate stain out of Tom’s pants. How he knew it was chocolate is one of the most hilarious threads in the episode. Incidentally, Ja’net Dubois (Willona Woods “Good Times”) co-wrote and sang the theme song.

“Maude”

“And then there’s Maude.” Yes, people, before Bea Arthur was a Golden Girl, she was Edith Bunker’s outspoken cousin, Maude. In another spin-off from “All in the Family” and creation of Norman Lear’s, this was a groundbreaking show that took on the politics of the day head on. Maude fought for gender and racial equality and when she became pregnant late in life, abortion. It was truly a revolutionary show as it dealt with these issues in a way that did not pander to the audience, stood up to its principles and made no apologies for it.

“Good Times”

A family living in the projects; you may ask yourself: how could this possibly be funny? Well, it was one of the best series on television that introduced us to a cast of colorful characters; and who could forget J.J.’s (Jimmie Walker) famous catchphrase, “Dy-no-mite?” As a spinoff of “Maude” and produced by Norman Lear, the first few seasons were of an African-American family with a strong black male figure in the household. “Good Times” (co-created by Mike Evans who played Lionel on “The Jeffersons”) dealt with teen suicide, alcoholism, poverty drugs and crime, all with uproarious humor and dry wit. However, people had issues with J.J., (including his television mother) as he was seen as more buffoon than part of a family unit. Still, the show was a well-rounded ensemble with two loving parents, until Lear began working on “One Day at a Time.”As a result, the show lost its father figure (John Amos) and soon after, Esther Rolle, as the matriarch of the household, had a decreased role in her children’s lives. The one bright spot in the last two seasons was a young Janet Jackson, who played abused child, Penny. The scene where her mother is about to burn her with an iron still sends chills up one’s spine. This series finally jumped the shark when J.J. dreamed he was white. Still, before the Huxtables, there was the Evans family.

“One Day at a Time”

Before the revelations of her past came to light, Mackenzie Phillips was part of a groundbreaking show that faced teen pregnancy, divorce and the feminist movement. Ann Romano (Bonnie Franklin) played straight-man to her daughters Julie (Phillips) and Barbara (Valerie Bertinelli). Rounding out the cast was nosy super Schneider (Pat Harrington), who used his pass-key at every opportunity. “One Day at a Time” was never preachy and every episode had a healthy dose of comedy thrown in to temper the dramatic moments, making it a Top 20 show until its last season. Early on in its run, in a three part arc, Julie runs away with her boyfriend, Chuck, giving her mother an ultimatum between accepting their relationship and losing her daughter. Romano does one of the most surprising things in history and tells her eldest daughter not to come back. It sent a gasp through audiences as it was one of the highest rated episodes in the show’s history and when in syndication, has been a fan favorite.

“Sanford and Son”

The sharp-tongued, junk man who was always getting into get-rich-quick schemes was created by ‘70s master creator Norman Lear. Starring Redd Foxx as Sanford and Demond Wilson as his son Lamont, “Sanford and Son” (based on the British series “Steptoe and Son”), became one of the most iconic series in television history. Surrounded by a cast of characters to play off of, Foxx did his best work and the series is remembered for several of his catchphrases and the way he sparred with his dead wife’s sister, Esther (Lawanda Page). It made for must-see TV. What’s more, Fred Sanford owned his own business, one of the few men of color to do so on television. The show became as famous for its theme song, which was composed by none other than Quincy Jones.

“What’s Happening!!”

Because of the demands of the three main characters of the series, “What’s Happening!!” only lasted three seasons. However, they had some of the funniest moments on television. The premise was as a working-class, single parent household headed by Mama Thomas (Mabel King) raising teenage son Roger (Ernest Thomas) and smart-aleck, quick-witted young daughter Dee (Danielle Spencer). Rounding out the cast were Roger’s friends Rerun (Fred Berry), Dwayne (Haywood Nelson) and waitress Shirley (Shirley Hemphill), who insulted and intimidated the teens who hung out at Rob’s Place. The show had many funny moments that centered on the high jinks of the friends with Dee throwing in dry wit and constantly showing how she was smarter than big brother Raj and his friends. Additionally, there were several guest musical acts, such as the Doobie Brothers and a myriad of celebrities, as in one of the episodes Rerun appears on the “Gong Show.” Sadly, Berry’s demand for the first incarnation of this show was the catalyst that forced the producers to cancel it. Several years later in syndication, the show came back as “What’s Happening Now!!” with the teens all grown up and living out their dreams. It wasn’t half as funny and never recaptured the spirit of this show.

“Three’s Company”

Arguably the first show about nothing, “Three’s Company” was not based around a place of business. Instead, the focus was on cooking student Jack Tripper (John Ritter) pretending to be a homosexual in order to live with two women, Chrissy Snow (Suzanne Somers) and Janet Wood (Joyce Dewitt). Added to the mix were nosy landlords Mr. and Mrs. Roper (Norman Fell and Audra Lindely), then when the Ropers were spun off into their own series, “Mr. Furley.” For years, the show centered on hiding the truth about Jack from the landlords, as well as several misunderstandings. Someone was always overhearing part of the truth and creatively filling in the blanks. One episode in particular had Mr. Roper listening through the pipe he was supposed to fix in the kids’ apartment. Once he heard Chrissy saying she wanted to get rid of it, he naturally jumped to the wrong conclusion. It made for several funny moments on the show. Sadly, it ended with a finale that instead of having Jack do what the fans wanted and marry Janet, he winds up shacking up with a woman the audience knows nothing about into an unsuccessful spinoff; centering around Jack and his new relationship. Still there are enough moments that made this show one of the favorites of the late Lucille Ball.

“The Carol Burnett Show”

One of the best sketch shows ever, for 11 seasons, “The Carol Burnett Show” changed the way we saw television. Weekly, Burnett, Harvey Korman, Vicki Lawrence, Tim Conway and Lyle Waggoner (yes, ladies and gentlemen, that’s Colonel Steve Rogers from “Wonder Woman”) gave audiences iconic characters that can only be associated with these stars. No one can forget the parody of “Gone With the Wind” when Burnett as Scarlett O’Hara with the curtain rod between her shoulder blades, lumbers into the scene telling Korman as Rhett Butler “I just saw it in the window and I had to have it.” It’s no wonder that this cast had a difficult time keeping a straight face. Nearly everyone got their start on that show and the musical acts of the day would pass through and reveal their acting chops, as well. Even designer Bob Mackie did some of his best work creating costumes for the infamous skits. We will always remember Eunice and the issues she had with Mama (which was later spun off into the syndicated series “Mama’s Family”). And where would we be without Burnett’s signature ear pull and cleaning woman? This was truly a series that could be shown today and still be relevant without having to change a thing.

The night kicked off with Kelly Osbourne as she recalled the previous nine weeks of challenges and breakthrough moments. Then it was time for her tango. The judging made things look hopeful for the rocker who has turned into a lady.

For Mya, her toughest critic of the season (Len) came in to help this celeb with her Paso Doble. Len told Mya that she needed to bring attitude to the dance and it worked. She not only brought it she received one of the highest scores of the night and was claimed to be the “Queen of the Paso Doble.”

Then we were made aware of how voting makes a huge difference in who stayed and who was sent home early as Donny Osmond is among the final three for that reason. The past two weeks Donny has admittedly been not stellar (battling both illness and injury), but he’s a lovable character and the fans love him. As Bruno gave them tips he reminded Donny that he’s “not doing Vegas, [he’s] doing Dancing With the Stars.” Ever the consummate performer Donny turned it out to Earth, Wind and Fire’s “September”, making the night a true competition.

The mega-mix routine separated the real celebrity performers as Mya shined, Kelly nearly had a wardrobe malfunction and Donny at times was mistaken for a professional, yet the judges had to name a winner. With two rounds to go the “freestyle is the most important one of the season” as past winners of the mirrored ball reflect on why it’s the dance that separates the winners from everyone else.

Who can forget Marie Osmond’s dead-doll dance routine? It was the hope of the night that the stars, in particular, Donny would not have a similar bizarre moment. Kelly came out first with Gloria Gaynor’s “I Will Survive.” The performance was not up to her usual standards, possibly costing her the competition. Mya didn’t fare much better as her dance was ordinary leaving a window of opportunity for Donny to possibly win it all. One thing about Donny’s freestyle is that he took lots of risks. As Bruno and Carrie said of Donny’s routine: “Mr. Showbiz at his best” and “Welcome to the hall of fame of the freestyle” receiving a perfect score for his freestyle. Donny also knows how to work the fans; since his appeal for their votes was the most heartfelt.

After the first night with only two points separating first and second place, the intensity did not let up.

Night two brought back the cast and a recap that reminded the audience that the show is live. Then Whitney Houston wisely chose the up-tempo song “Million Dollar Bill” that included several dancers and lots of audience participation.

Then there was the unnecessary “induction into the Loser’s Club” where the casted off celebs took one last turn around the dance floor. To add insult to injury, losers from past seasons also performed. Why does the audience have to see horrendous dancing from people who did not receive enough votes to be a worthy candidate in the finale? Having said that, the dance off between football Hall of Famers Michael Irvin and Jerry Rice was entertaining as they were both awarded glittering ball rings to rival their Superbowl ones.

If you are a regular viewer of “Dancing With the Stars,” you wouldn’t have been surprised of the winning results. What was surprising and endearing is the reaction of the winner. It made the season.

At last another season has come to a close. Who will be the next set of celebs to duke it out on the dance floor? Find out when “Dancing With the Stars” returns next year.

After a five-year break between her multi-nominated Latin Grammy album “Pafuera Telarañas” (Blowing Away the Cobwebs,) Bebe returned in October with the album Y (And That’s That). Bebe had a modicum of success in the mid to late ‘90s in Spain and then her 2005 album made her a household name in the U.S. among the Latin music world. Defying the pattern of churning out another record to capitalize on her success in North America, Bebe decided to plan what her next album would be.

The first release off the album “Se Fue” (She Left) with its acoustic beginning is a stripped down song that even if you don’t know the words you can relate to the emotions that Bebe emanates. However, knowing the lyrics enhances the relationship the listener has with the song: “There are eyes which can’t find places where to stop and look, however there are other eyes which strip your dress off and leave.” It’s enough to make you go out and learn a new language.

Co-written by Jovi and Ritchie Sambora, this track is classic Bon Jovi. Currently it’s climbing multiple charts, including five different genres on Billboard, truly a testament to a band that has been rocking together for over 25 years.

“Selfish Gene” – Jimi Tenor/Tony Allen

This Finnish/Nigerian jazzy mixture creates an infectious beat. Led by Tenor’s tenor saxophone and Allen’s drumming, the multilayered rhythms will have you swaying and enjoying the music.

“Ninna Nanna” – Pink Martini

What is it about hearing a song sung in a language other than your own? The jazz/latin infused melodic rhythms from this band creates a song you will never tire of listening to.

“He’s a Bully” – Robbie Wyckoff

This is the perfect free download: short, with a hard-rock beat that kicks butt. It’s over way too soon and leaves you wanting more.

“Say I’ll Be Gone” – The Little Heroes

From their 2009 album “Thank You,” The Little Heroes have created a tune that you won’t be able to get out of your head. At first, there isn’t anything extraordinary about it, then the song is over and you find yourself humming the melody or singing some of the lyrics. Try it for yourself.

“Clandestino” – Manu Chao

This song has been covered by several Latino acts; however, the original version is the best. Chao’s exceptional guitar playing is prominent on this live version. If you speak Spanish, you will be singing along and if you don’t know this language, this track makes you want to learn it. If for nothing else than to find out how the story unfolds.

“Flaming Arrow” – Jupiter One

Best known for being the king of the video game soundtrack, Jupiter One has created a song that is appropriate for the game “Fallout 3” and for your mp3. It’s definitely a track with replay quality.

It’s the end of the world in the aptly named episode “Abandon All Hope,” the Winchester boys find Lucifer and attempt to end him with the colt before he can inhabit Sam’s body. As the boys act on a tip from their number one fan, they learn that a demon named Crowley (“Battlestar Galactica” Mark Sheppard) has the colt. The show builds on last week’s theme as Crowley seals his deals with a kiss.

This charismatic demon adds a touch of wit and disproves the rule that all demons are stupid. It seems that Crowley has the same objective as “The Hardy Boys.” For a demon whose work is in buying souls, business has been bad. He wants things to go back to normal and hands over the colt to Sam and Dean. Perhaps they should take the advice of last week’s episode “cannon fodder” and find something to attach their weapons to. They always seem to be conveniently losing them and this is not a good time to lose the colt.

As Castiel bonds with Ellen, Dean attempts to get some other type of action with her daughter Jo, after all it might be the last night of their lives. Dean’s comedic air to the situation is tempered with Castiel’s realistic approach to what they are about to do. As the demon hunting crew take the traditional portrait, Castiel reminds everyone that: “Tomorrow we hunt the devil. This is our last night on earth.”

“Gathering in times of great catastrophe” are an obscene amount of reapers. Apparently something of cataclysmic proportions is about to happen in the town where they track down Lucifer and it starts with the disappearance of Castiel. As Satan’s vessel deteriorates he attempts to lure Castiel to his side. It doesn’t work, but it still leaves the four remaining demon hunters unprotected.

It seems that Lucifer is about to unleash Death and the “Last time they hauled him up Noah was building a boat.” Things are about to get real ugly as the near impossible task of defeating the devil turns from bad to worse.

Phillip Sgriccia directs this well oiled machine of a cast by portraying a realistic vision of any intense role-playing game out there. How well do you think you would do with hell hounds, Death and the devil after you, as your comrades fell one by one and you have no health left? Add the writing of Ben Edlund and you have one action-packed, tear-jerker of an episode that will have you searching for a reset button. You’ll have to settle for the replay button as the many shocks in the episode will cause you to want to go back and review the several times over.

If the Winchester boys survive this onset of revelations, you can bet that there is even more adventure to come. Tune in next time to find out if they and Castiel can outrun the devil.

Episode Commentary: “The Turning Point”

Remember the slimy newscaster Logan? Well he’s back and he’s thirsty. Meanwhile Jeremy is rediscovering his love of drawing as he goes through his ancestor’s journals and Jenna grows a spine. One thing the journal talks about is the fear of the night. Then there’s Damon and Stefan as they decide their next move, Damon suggests they join “The Amazing Race.”

As Mystic Falls gets back to normal there seems to be another sign of an animal attack. As Logan pumps Damon full of wooden stakes, he tells him what he’s been up to. Apparently Logan wasn’t turned by Damon. Damon then finds out an intriguing fact about the founders’ and the journals that have been handed down to their families. It seems that they chronicled everything they observed about the vampires.

Everything culminates at the local high school during career day and as the mayor and sheriff attempt to protect their children, Logan continues on his search for who turned him – while he looks for a snack. That tasty treat happens to be Caroline. It just doesn’t pay to be a dim bulb in Mystic Falls. Things get a bit tense between the new history teacher and the mayor as he attempts to force Jeremy and Tyler into having a battle royal. Alaric gets the best line in the episode as he diffuses the situation by telling the mayor that he’s behaving like a “Full grown alpha-male douche bag.”

As Damon closes in on Logan, he reveals that there is another way to get underneath the church where Catherine and the other vamps are entombed. He allows Logan to escape – big mistake on Damon’s part.

Directed by J. Miller Tobin (Supernatural) this episode is fast paced and shows very little of Elena and Stefan, and practically nothing of Bonnie, which seems to make this one of the best shows of the season. The small doses of Elena and Stefan are punctuated with just the right amount of angst and as the two share a passionate moment, Stefan pulls back. Elena’s acceptance of who Stefan is makes her almost palatable – no small feat that works with well with Barbie Kligman’s writing. And finally there’s a real cliff hanger.

What will the next episode bring? Will Matt and Caroline get together? Will Damon find a way to get Catherine back and just who is Alaric? Stay tuned to find out.

After last week’s tumble from the leader board Donny must redeem himself from his last place status. So they brought in Gilles from season eight to show Donny how to “make everyone uncomfortable” in a good way. Unfortunately “he completely lost it” and there was “no drama” as his partner experienced a costume malfunction. He redeems himself with his samba, but this could cost him the silver ball.

For Johanna consistency is the key. With frustration mounting Brooke Burns is brought to levy the tension, giving Johanna the self-assurance to dance the Viennese waltz. According to Bruno it didn’t get him “up to paradise”, but still was an amazing performance. Then she became “the wild child” in her next dance, but according to Len “could have been a little more cheeky” and Bruno “can’t get [Johanna] out of his bed.”

Kelly experiences the loss of a pet which would have sidelined her early on in the competition. However she keeps her composure and does a performance with a higher level of difficulty than in previous weeks, bringing Carrie Ann “to tears.” But left Len and Bruno pointing out what went wrong. It is the semis and the judges are keeping their high scoring paddles in hibernation until they are totally dazzled by the celebs; which Kelly did. The praise from the judges was the best of the night.

After her perfect score last week, Mya has to bring it with her waltz. With a high level of difficulty Mya achieved the highest score early after the first set of dances. Her second dance had Len going “Tutti Frutti fresh and booty” as he couldn’t stop looking at her bum through her high energy Latin dance. The sexy moves paid off as Mya scored another perfect 30.

The first night was interspersed with commentary from family and friends of the remaining contestants. It was interesting to see the takes on these celebrities who have battled addiction (Kelly), poverty (Johanna) and an intense case of over-perfecting everything (Donny). This season more than any other reflects the humanity of the celebs. It’s refreshing and doesn’t bore the viewer as you realize that Donny Osmond is friends with Stevie Wonder – yes Stevie Wonder.

This week the third dance was a surprise that the celebs have been working on in case they faced the dance off. It’s the first time in “Dancing With the Stars” history that three dances were done by each performer. It made for high entertainment as each celebrity brought it with high results. But it was Mya who benefitted the most from with the highest scores of the season.

Night two brought on even more intensity as the celebs were whittled down to three. Interspersed throughout the episode were a myriad of talented acts. To bring on another type of tension the dancers from the soon to be released movie “Nine” performed “Be Italian.” Heat doesn’t begin to cover the amazing dancing of this troupe. Then Alicia Keys performed her newest single “Try Sleeping With a Broken Heart.” What made this otherwise ordinary love song were the dancers performing the words of the track. Then there were the celebrities lip-synching to Queen’s “Pressure” – a minor blip in an otherwise great night of performances.

When it was Leona Lewis’ turn to sing her new release “Happy” she knocked it out, making the dancers surrounding her unnecessary. This chick can emote the hell out of a lyric and she does it effectively with this track.

Meanwhile the remaining BeeGees performed “You Should be Dancing.” Those high falsettos and that ‘70s fast paced beat was the perfect companion to the dance moves by the professional dancers and fan favorite celeb from season 8 Melissa Rycroft.

The show has brought on incredible talent as the weeks have gone on and it’s a joy for the audience to watch.

As we know this is a competition and as one celeb has their fate decided by the lack of fan votes, the remaining three are settled on to duke it out in next week’s finals. Tune in to “Dancing With the Stars” to see who wins the coveted silver disco-globe trophy.

The intro, “Mad House,” warns and welcomes those who can handle what this album has to offer. This leads into the reggae/rap style of “Wait Your Turn.” Co-written by Rihanna and The-Dream, this track sounds as if Rihanna pulled her heart out of chest with her bare hands and left it beating on the table. That type of intensity captured in the heartbeat-like rhythm makes for a track that you can’t tear your ears away from.

Then comes “Hard” featuring Young Jeezy and written by The-Dream. Here, Rihanna has “no fear” – this upbeat yet intense song pulls you in and makes you want to dance as she “shuts it down.” Young Jeezy adds his flavor to this track, which is a nice complement to the hard-edged lyrics. Definitely a diva anthem.

We then arrive at “Stupid in Love.” Co-written with Ne-Yo, you know what Rihanna’s singing about. The slow melodic beat emphasizes the lyrics of “I may be dumb, but I’m not stupid.” The warning from her friends is a reminder of the dangerous situation she allowed herself to get into. A writer who’s worth her salt, Rihanna puts her pain on paper and helps those who need a wakeup call to hear it. (It helps that the song isn’t preachy.)

This is your average “I don’t give damn about you” track. What makes “Rockstar 101” worth listening to is the guitar genius of Slash – his contribution will keep you engaged with everything that’s going on.

Apparently, Ne-Yo is helping Rihanna exorcise her relationship demons, because “Russian Roulette” is another high-voltage track. And, even though it still works that heartbeat-type rhythm, it doesn’t sound as if it’s a rehash of “Stupid in Love.” There’s a place for “Russian Roulette” here, because although it deals with the hardships of love, it’s a different take on it. The gunshot at the end is a bit over the top, though – the lyrics and melody are enough.

“Firebomb” deals with somebody about to explode. Here, Rihanna exposes her heart once again, and deals with the electricity and fiery intensity of a potential relationship. While “Rude Boy” is reminiscent of her usual sound, it’s a fun track that makes you want to groove. The rhyme scheme is reminiscent of Debarge’s “I Like It,” except with an edge. “Photographs,” which features producer and co-writer Will.i.am, is a run-of-the-mill R&B track that leaves listeners feeling as if they have treaded this ground before. The music is lively and the Will.i.am riff is interesting, but it’s not enough to carry the lame lyrics.

“G4L” produced by Chase and Status, brings us back to the dark style of the album. Here, Rihanna raps and sings her pain. She’s at her best when she’s raw and in your face. You’ll also love “Te Amo,” written by James Fauntleroy, as it has a distinct Caribbean sound. It brings us back to Rihanna’s debut album, only with richer, more mature emotion. The beat will have you moving as the ambiguity in gender that is being sung about will find you replaying this track to confirm what you thought you heard. You did.

Here, Justin Timberlake’s writing style works. “Cold Case Song” is the best track on the album, as it encapsulates various emotions with an infectious beat. The musical arrangement takes advantage of lots of instruments, from violins to bass guitars. Rihanna’s vocal range and subtle intensity also blend well together. Produced by the Y’s, it has a similar sensibility to “Te Amo” than any other song, yet it stands on its own. Even if you don’t like Rihanna, you need this song – it’s worth the price of the album.

The album ends appropriately with “The Last Song.” Written by Rihanna, it returns the listener to the dark edge. With intense guitar licks and mournful yet melodic backup singers, this track might be the last love-lost tune that Rihanna sings.

With “Russian Roulette” climbing the charts and stronger tracks yet to be released, this album may be on multiple charts longer than any of the previous three – and deservedly so.

In “Rise of the Olympians,” Wonder Woman’s life is completely shattered. With her friends, family and potential for love destroyed by Genocide, you would think that our favorite Amazon would find a corner and remain in the fetal position. But this is the Amazon princess we’re talking about. Shaped from the earth of Themyscira and born from the blood of Hippolyta and the power of Athena, Wonder Woman remains strong through several shattering revelations.

Through the manipulations of Cheetah (Dr. Minerva) we see the creation of Genocide, a monstrous creature born of the genocides that are constantly occurring around the world. As Dr. Morrow relates: “After the holocaust…people said…They said, ‘Never again.’ They were wrong. There have been dozens of attempted genocides since. We’ve learned nothing.”

In attempting to defeat this foe with no off-button, Wonder Woman learns the true nature of this abomination. And that’s not even the worst of it.

Of course, the Olympian gods are involved. Ares plays a significant role, since war and carnage are everywhere. Godly allies also fall, but give Wonder Woman information to help her temporarily rid the world of Genocide. Yes, it will only be a short time because if gods are involved, you can bet that nothing stays buried forever.

And as the revelations continue, Wonder Woman does what no one will see coming, but will highly respect her for.

The artwork of Aaron Lopresti, Matt Ryan and company is top notch and the way the alternate covers are dispersed throughout the trade gives the reader a chance to catch their breath before returning to the pulsating action.

However, it is the amazing writing of Gail Simone, Grant Morrison and Geoff Johns that makes this paperback worth owning. As chief writer of this book, Simone gives Wonder Woman the personality that Superman wishes he had.

Yes, she feels a duty to her people and the United States, but her dry wit and warrior instinct make her actions unpredictable. When she gets angry and allows the rage to take control – watch out. The panel where she rescues her friend Etta, in particular, will leave you awestruck.

Gathered from “Wonder Woman” issues 26-33, “Rise of the Olympians” (January-June 2009) is the perfect starting off point if you have not picked up the comic for a while, or if you’re new to the Amazon mythos. With open storylines and dramatic twists, this is one trade that will have you clamoring for more of the Amazon princess.

Remember the prophet Chuck who writes about the lives of Sam and Dean? And remember Becky, their number one fan? Well she’s set up a convention with panels discussing Dean’s lonely boyhood and the “homo-erotic subtext of supernatural.”

In this exceedingly creepy and funny episode directed by Jim Conway, Sam and Dean are a little busy “hunting the colt and finding the devil.” Yet they have to endure “Larping (Live Action Role Playing)” in which a murderous school mistress killed several boys. One problem, the ghosts are real and in a place full of fake Sams and Deans it’s going to take the Winchester boys all of their patience to solve this one.

Things get intense as a set of fake brothers see the real Sam and Dean at work. It becomes all too real for these two as they experience what the real deal has to deal with all the time. One more problem, the Winchester boys off the wrong ghost and unleash the scariest entities known to man – bratty ghost children.

As these boys who go around terrorizing the inn where the convention is being held, it’s up to the fake Sam and Dean and Chuck to rescue the Winchester boys.

At the end of the episode Becky has a newfound respect for Chuck, the fake Winchester brothers (Barnes and Damian) have a healthy appreciation for the supernatural and Dean gets schooled on why his life doesn’t “suck.” “To wake up and save the world and have a brother die for you” that’s a reason to get up in the morning.

Will the brothers find the colt and what does Crowley have to do with it? Find out as the “one shot heard around the netherworld” reverberates throughout next week’s episode.

Episode Commentary: “History Repeating”

Bonnie’s ancestor is haunting her, Caroline still won’t speak to her and there’s a new history teacher in town. Of course Damon and Stefan are as affectionate as ever and Jeremy gets a clean slate from the new history teacher by writing a paper on the history of Mystic Falls. The intriguing part to this is that Alaric Saltzman has a ring – similar to the Salvatore brothers, only garish and big, really big.

As for Bonnie instead of doing the smart thing and going to her grandmother for advice, she decides to hold a séance with whiny Elena and dim-witted Caroline. However, the results are unexpected. Though you’ll find yourself rooting for Emily (Bonnie’s ancestor) to take over, if nothing else than to give Bonnie a personality.

The scenes between Stefan and Damon are finally starting to get interesting as the brothers attempt to imitate each other and bond over darts, football and looking at the stars. Apparently Catherine is still a sore point between the two as Damon attempts to resurrect the one who turned them both. Or so it seems. The story that Damon tells draws you in and makes you want to watch the rest of the episode. Finally the show doesn’t save the most exciting bits in the last few moments.

The director of this week’s episode (Marcos Siega) has let the actors do their thing – and the results are amusing. Even Aunt Jenna is more interesting as she finds the new history teacher attractive.

In addition to the direction what makes this episode better than in previous weeks is that the storyline is finally starting to cook. The history teacher seems to have several mysterious layers. Between the ring and the dead wife who is an unsolved cold case, the brothers bonding and the witches of Mystic Falls leads to a balance of stories that doesn’t heavily rely on Elena’s angst. It’s about time that the cast gets to be a true ensemble.

Cliffhangers abound and stories are being shaped for future episodes. What’s Alaric’s agenda? What will Jeremy find in his father’s papers? Most of all will Bonnie recover from the events of this week’s episode. Stay tuned.

It’s no wonder that “One Time” is one of the four songs that’s climbing the billboard charts. It has that bubble-gum pop flavor that is infectious without being annoying. However, the auto-tune effect that is used throughout the song is unnecessary. This kid can sing and his vocal ability should be showcased more. Then there’s “Favorite Girl”, another pop-song that is riding the high wave of the charts. A-plus does a great job of writing lyrics appropriate for this 15-year old YouTube sensation.

As “Down to Earth” shows Bieber can write too. Co-written with Jackie Boyz, the piano intro and heartfelt lyrics make you believe what he’s saying. It’s another solid track that lets you know that he will be around for a long time.

However, “Bigger” is a letdown as it doesn’t stand up to the emotions of the previous tracks. By the listen of this song Justin Timberlake should stick to writing his own tracks and not venture out in writing for younger artists.

The album gets back on track with “One Less Lonely Girl.” The overlaying harmonies alongside the music arrangement make this another infectiously good track. Ezekiel Lewis and Balewa Muhammad know how to capture mature-teenage love in their writing. They should have worked on the “Bigger” track. One could imagine what they would have done with it, since “One Less Lonely Girl” is one of the best off the album.

“First Dance” guest starring Usher gives this song an R&B kick. Although if Usher wasn’t on this record, it still would be a solid track, as Bieber knows how to use the maturity of the lyrics and his voice to his advantage. The song comes off as an intense first love and not a vulgar bump-and-grind.

“Love Me” is a great way to end this album as it leaves you clamoring for more, since it encapsulates all the good parts of the previous tracks.

With the second part of this album being released in February 2010, fans of Justin Bieber will have to be satisfied with this nicely done EP.

“The Trapper” – Zack Martin

This track is hard to pin down. The electronica parts give it an otherworldly air. It’s as if you’re being sucked into someone’s consciousness and you don’t get your bearings until the end of the song. It’s definitely one strange trip that’s worth taking.

“Hand Me Down” – Visqueen

This track is a solid rock song. There’s nothing exemplary or interesting about it, then again it’s free so what do you have to lose?

“Fly Me Away” – Annie Little

This song makes you happy. It’s Little’s use of piano and marching band-type instruments that gives the listener a sense of contentment. You’ll be keeping this one on a continuous loop just to keep the feeling going.

“Jolene” – Dolly Parton

Dolly Parton’s live rendition of one of her iconic tracks makes you feel as you’re at the concert. Of course there is the storyline in the song that keeps you riveted. Parton can tell a tale as she pleads with Jolene not to take her guy. Download this “just because you can.”

“The River” – Audra Mae

This stripped down track pulls you in with its subtle use of guitar and keeps you while the other instruments chime in. Of course it is Mae’s voice that makes this track extraordinary. Her voice sounds otherworldly and down to earth at the same time.

“Wonderlust King (BBC Sessions)” – Gogol Bordello

Imagine the strong messages in the music of Johnny Cash matched with the rhythms of Bob Marley. Then you would have an idea of what Gogol Bordello is attempting. In the beginning of the song it doesn’t work, but stick with it. The interesting mix of genres brings an entirely new listening experience that isn’t entirely unpleasant.

“Again” – Flyleaf

There is a reason why this is a billboard topping single. The hard-rock, pulsating rhythms let you know that you’re in for a wild ride. In addition the lyrical harmonies drive this song’s message home. Give in, let go and download this now.

The judges give tips to the final five and while informative is unnecessary. We just want to see the celebs dance. After being criticized for not enough content Mya picked up her game leaving Len nothing to criticize and Bruno with one of the oddly appropriate comments of the night: “After you taste it nothing else will do.” In her first dance of the night Mya raised the bar into the stratosphere with her score of 29. She continued the trend with her samba making Mya “the baddest of them all” – in a good way with a score of 30. It’s the first perfect score of the season.

After surviving the dance-off Aaron Carter’s Foxtrot had to be on point. It didn’t help that his partner was battling the flu, but we saw what happened to Marc when he had three different partners, so battling this virus to help her celeb make it to the semis next week was Karina’s top priority. That said Aaron’s dance came off stiff with its “lack of fluidity.” But he redeemed himself with his ‘90s samba. Finally there was a place for all his frenetic energy to go.

Meanwhile, last week, Joana and Derek’s moves were so hot that Bruno “could taste it.” This week she had to top the leader board once again to remain in the competition. According to Len “this is not the standard for the quarterfinal” and Bruno wondered if she “was running away from the scene of a crime.” Their samba crowned Derek the choreographer of the night. It truly was what the judges called “genius.” The semis are next week and these celebs are stepping it up.

Then there’s Louis and Kelly Osbourne. As Louis locks up all of Kelly’s distraction, she becomes that performer that got a standing ovation in the first episode. If she maintains her consistency, Kelly could win this thing.

As we see Donny have a “Paradigm shift” he begins to love the competition again. His standing ovation dance was according to the judges “mesmerizing” and “was like watching a lifetime movie.” Then Len poured a bucket of cold water with his myopic view of the dance. Considering that Donny is dancing with a broken toe, it’s a wonder that he was able to perform two dances. The quarterfinals are bringing out the killer instinct in these performers making the competition an entertaining experience for the audience.

Night two brought a repeat performance of Derek’s “genius” futuristic Paso Doble. The night was fraught with tension as mere points differentiated the top of the leader board from the bottom dwellers. As favorites were saved the song stylings of Michael Buble and Susan Boyle soothed and electrified the audience. Although the audience could have done without the commentary from Kenny Mayne and Jerry Rice. Recaps are fine, but the fillers are tedious. It would have been better if the singers had more air time. Then they brought back season 5 Sabrina Bryant (“The Cheetah Girls”) who was the viewers’ choice to dance to a song and dance in an outfit picked by the fans. Bryant showed why she was such a fan favorite; however the fans should not go into fashion design – ever.

As usual a celeb is eliminated. Next week the semi-finalists perform three dances as the finals are a mere two weeks away. As the end is near who will be the one to claim that disco ball trophy?

“Mulatu” – Mulatu Astatke

The jazz-Ethiopian infused arrangements shine in this melodic track. It’s the perfect tune to chill out and relax to. Although Astatke has been around for decades he still seems under the radar. Give this song a listen – it’s a nice change of pace from the tween-tunes that are out now.

“Boat Behind” – Kings of Convenience

With its mediocre lyrics and boring musical arrangement you’ll probably fall asleep before this song is over. Skip it.

“Hello Sunshine” – Barlowgirl

This happy ditty will instantly put you in a good mood. Set to a whimsical, rhythmic beat “Hello Sunshine” demands you to “let in the sunshine” and makes you like it.

“Scream” Lita Ford

If there is such a thing as a subdued heavy-metal rock song, then Lita Ford has found it. “Scream” makes you wonder where has Ford been? From the album Wicked Wonderland this song should put her back on the music radar.

“Every Little Thing She Does is Magic” – Mitchell Musso

Remember The Police and front man Sting? They made this track an instant classic. If you don’t already have their version, get it instead of this watered-down one.

“Hell” – Tegan and Sara

This song comes off annoying at first, but stay with it. Its fast rhythmic pace coupled with the urgent sounding lyrics makes it a fun bubble-gum, rock fest that will be over before you know it. Not bad for a free download.

“These Roads Don’t Move” – Jay Farrar and Benjamin Gibbard

Farrar and Gibbard have created an ordinary track. It’s not terrible, but it’s not memorable in a good way either. Before the song is over you’ve already forgotten it. Skip it.

Episode Commentary: “Changing Channels”

The trickster’s (Richard Speight Jr. “Jericho”) back and traps the Winchester boys in a demonic version of TV Land. As the onset of the apocalypse is on the verge of erupting Sam wants to make “Facebook friends” with the demi-god who repeatedly killed Dean off in one of season three’s episodes (“Mystery Spot”). However, before they can talk to the trickster he traps them in the medical show “Sexy Hospital.” This is Jeremy Carver and Nancy Weiner’s way of exploring the fascination that people have with shows such as “Grey’s Anatomy,” Japanese game shows and commercials that propagate medication for sexually transmitted diseases.

As Sam and Dean unsuccessfully deal with the trickster, they decide to play along until they find a way out of this fabricated reality. What is revealed is that someone wants Sam and Dean to “play the roles that destiny” has chosen for them (to be the vessels of Satan and Saint Michael) and have the ultimate showdown. The problem is that if they don’t agree they’ll be trapped there – forever.

Although they cleverly escape the trickster’s trap (or so they think), the Winchesters have a bigger problem. It seems that who they were dealing with is taking orders from someone, or is more powerful than their mischievous nemesis, especially since he cancels out Castiel’s angelic abilities and sends him to whereabouts unknown. Once again we come across another archangel with family issues who schools Sam and Dean on “What you call the apocalypse, [he] calls family dinner.”

Yet another layer is added to this intriguing saga by answering the question: what do you do when you’ve brought Armageddon to earth? As the writers and Charles Beeson answer with witty dialogue, comedic touches and heart wrenching moments we see that there are many more stories to tell about these brothers.

Tune in next week as we see multiple Sams and Deans; yet another episode not to be missed.

The Jersey band that has been rocking for nearly 30 years is back with their eleventh studio album The Circle. Here Bon Jovi shows why they have survived punk, glam-rock, grunge and the Lilith fair.

Already climbing multiple music charts, this song is classic Bon Jovi. With Jon on lead vocals the rock anthem makes a comeback. What could have been a rehashed version of “You Can’t Go Home” is saved by the musical arrangement as each band member vibes off the lyrics co-written by Jon and Richie Sambora. In the years they’ve been a band we have seen their musicianship only get stronger and this song is a prime example of that.

“When We Were Beautiful”

This slow paced, melodic track will lull you to the point where you’ll want to keep this on a continual loop to hold onto the feeling it gives you. Yes it’s that good.

“Work For The Working Man”

For a band that has made millions and have been around the world, they know how to keep in touch with their Jersey roots. It’s a shame that Jon Bon Jovi is not as well known for his songwriting skills as he is for being the driving force of this group. The words ring true as he weaves stories of the working man who at some point won’t “be able to look his family in the eye.” These are his people and you feel the connection that he still has with them through his music.

“Superman Tonight”

Bon Jovi takes his Superman fascination and makes it into a rocking love song. As in the previous tracks the lyrics and rhythmic arrangement creates a story that your ear will be riveted to, then before you know it the track’s over. You’ll want Jon to sing to you: “I wish that I could be your Superman tonight.”

“Bullet”

At first listen “Bullet” sounds like their older tracks, but wait. The harmonies between Sambora and Jovi alongside throbbing percussion and drums make this track worth listening to. It’s a song about the need to believe in something, but what gives it replay value are lyrics like “what is the distance between a bullet and a gun” combined with that writhing beat.

“Thorn In My Side”

You can tell that Tico Torres (percussionist, drummer) had a ball recording this track. His expert playing is the reason why this song is worth listening to. Other than that it’s standard Bon Jovi – well done, but has been done before.

“Live Before You Die”

This track is in the spirit of Harry Chapin. It’s one of those songs that force you to sit and think about where your life is going. Of course it’s done to a rocking beat with tight harmonies, which makes this song another must have.

During the making of this album there must have been a “no horrible songs allowed” sign on the studio door because “Brokenpromiseland,” “Love’s The Only Rule,”  ”Fast Cars,” “Happy Now” and are well done tracks that showcase Jon’s vocal-range, the guitar work of Sambora, the drum-work of Torres and the keyboard playing of David Bryan. “Learn To Love” is the perfect cap to this album as Jon reminds us that “you’ve got to learn to love the world you’re living in.”

With so many solid, well done tracks, there is no way that you can only download one song. To get the full impact of this well crafted album you need to hear it as a whole. Once again Bon Jovi proves why they’ve been around for decades.

Episode Commentary: “162 Candles”

Then there’s Stefan and Elena’s doomed romance. This was done much better on “Buffy the Vampire Slayer” as the slayer (Sarah Michelle Geller, Buffy) and the charismatic-brooding vampire (David Boreanaz, Angel) had real chemistry. As we return to Damon we see when he doesn’t get what he wants chaos and much blood-letting ensues. In typical Vampire Diaries fashion Damon’s propensity for violence causes possible interesting plot developments that eventually lead nowhere. The one shining factor in this episode is Lexi. One wishes that she would stick around, since she’s the only one who rises above the material and heavy-handed direction.

As usual the show only becomes exciting in the final moments of the episode. This tactic has become a staple that is as tiresome as Caroline’s low self-esteem, Stefan’s brooding and Elena’s whining.

Instead of falling back on the tropes that makes a show about vampires and witches worth watching, what we have here is a show that is as Caroline describes herself “as deep as a kiddy pool.”

Then there was Mya’s foxtrot that Len hated, but was loved by Bruno and according to Carrie Ann “Len is officially smoking crack.” The scores reflected their comments. Meanwhile Aaron Carter’s dance had Len taking his 10-score paddle out of hibernation. What made the night was Kelly’s judging. Though she faced her fear of the dance, it was the judges’ reaction to her performance that made the night. As usual this is one show that is always surprising its audience – in a good way.

However, as the weeks go on and there are less contestants the show has too many fillers such as the opening dance routines of professional dancers and the unnecessary, staged scenes between Derek and Johanna. If Derek is auditioning he should do it on his own time and not on the viewers who only want to see him dance.

To add spice to the show the celebs are broken up into two dance teams – team Paso and team Tango. With Donny Osmond in the mix team Tango devastated team Paso with a collective score of 29, which was added to their individual score. Their dance was also privileged to be the repeat performance on Tuesday night.

The second night had a variety of musical guests with varied talents. Colbie Caillat performed her short and sweet tune “Falln’ for You” for an appreciative audience – then it was the musical styling of the Ballis- Hough band? Their auto-tune performance reminds the audience why it’s for performers who do not have a modicum of singing talent. Stick to dancing gentlemen. For a welcome change of pace Rod Stewart came out and sang a ‘60s favorite “It’s the Same Old Song.” His voice isn’t what it used to be, but anything is better than hearing people sing who are best known for their dancing.

As always the night was filled with tension as the focus went back to double-elimination, where Marc was a victim of having three partners and a lukewarm performance. Joining him were Aaron Carter and Michael Irvin, proving once again that this is a vote-in show. The judges are only a minor part of the equation and if you want the likes of Aaron Carter (who topped the leader board) to dance another day, then you have to vote and not count on Len to carry him to the next round. With one of the couples out-of-the-way, double-elimination set the stage for an intense dance off. It was an emotional send-off as the entire dancing cast joined in the farewell dance.

With the finale three weeks away, the remaining celebrities are sure to feel the heat.

The title track, “You Gotta Believe,” starts at a frantic pace and doesn’t let up until the end. You’ll find yourself singing along in spite of yourself.

As you attempt to recover from the first song, “Hills and Valleys” takes you on a journey that mirrors the track’s title. However, at times the momentum seems forced as if Avary is playing catch-up with his own lyrics and arrangement.

Electric guitar dominates “Light” and continues this high-energy party. This track has an intriguing arrangement where these emotional lyrics are couched in this hard-pulsating rhythm. It compels you to listen to the track several times to hear if there is something profound that you’ve missed. By the end of the song, it slows down to let the impact wash over you. This tactic causes the tune to remain with you long after it is over.

Unfortunately, “The Fight” is the weakest song on the album as it sounds like a watered-down version of the previous tracks. It doesn’t have the emotional impact of “Light” or the fun vibe of “You Gotta Believe.”

The songs on this EP are uplifting and high spirited and “Hills and Valleys” is currently on the Top 200 on the iTunes Alternative chart.

With the push for the old 45 format (where there were two songs on an album, one single and a b-side track) to return, perhaps Rocket Summer should have released these songs in that capacity.

That way, the listener would have a solid music experience instead of an uneven blend of tracks.

This track is reminiscent of Jefferson Airplane’s “White Rabbit” only at a faster pace, with the remaining 30 seconds sounding like a descent into hell. Then the song mercifully stops. It’s too much at once giving the listener sensory overload. There’s a reason why they call it psychedelic rock – you’d have to be on acid to listen to it.

“Elvis is Everywhere” – Mojo Nixon

Aside from the unnecessary insults to Michael J. Fox and Star Trek, this track is completely worthless. The beat is so monotonous that you wouldn’t hum this in the shower. It even has the audacity to be over four minutes long. Skip it.

“In These Arms” – The Swell Season

Once you’ve found your happy place you can appreciate this track. The mourning-like quality to the song will make you feel as if you’re in the middle of a funeral procession, but stick with it. The protagonist is begging to have his potential lover see the possibilities of life without the [insert curse word of your choice here] they’re with. It’s touching and worth a listen.

“Don’t Download This Song – Main Version” – Weird Al Yankovic

Weird Al is the master of parody. He has an uncanny knack for coming out with songs that have timely lyrics. So, “Go and buy the CD like you know that you should [so] he can buy another solid gold Humvee.”

“Leave Us and Forgive Us” – Alberta Cross

Cross’ voice is turnoff to what is otherwise a well produced song. If only she toned down her voice and let the musicians play, then this would have been an amazing track. Instead your ear is assaulted with a cacophony of noise. Pass on this one.

“Siface – Come Nave In Mezzo All’onde” – Cecilia Bartoli

Bartoli’s classically trained mezzo-soprano voice shines on this track. Her vivacious personality is revealed through each acrobatically sung lyric. You don’t care what she’s singing as long as she doesn’t stop. Definitely worth a listen.

“Love is All I Am” – Dawes

This quartet harmonizes in a nonintrusive way allowing you to be carried away by the emotional subtly of the lyrics. It’s amazing music that is difficult to pin down by genre – and that’s a good thing.

Young men are either dying of extreme old age or are living the high life. It’s a floating poker game where a “man-witch” (Hal Ozsan) adds or takes away 25 years of your life.

In this amusing, fast paced episode, Dean gambles away 50 years of his life to save his friend Bobby. Now Sam and the “Grumpy Old Men” have to retrieve the witch’s chips, reverse the spell and pull a “Benjamin Button.”

It’s a laugh a minute as Robert Singer’s direction emphasizes the lighter side of Sam and Dean’s (older version played by Chad Everett) relationship. Each line is delivered by the actors with biting wit and uncanny timing.

It then takes a serious turn as Bobby faces his own mortality and the reality that he can no longer hunt sets in. What’s a man to do when he feels useless?

He gets lucky.

The male witch’s paramour (Pascale Hutton) gives the old men a spell that can reverse all that has been done to the witch’s surviving victims. Then everyone’s luck runs out.

The thing that makes a high-suspense show based on the supernatural is the chemistry between actors and the writing. Even the guest stars are fleshed out and given a back story. Their unnatural lives (to live forever young) cannot be sustained; as a result of this, the male-witch grants his love her last wish.

What is always at the core of each episode is the bond between brothers. As Sam battles for Dean’s life, we see how far these siblings will go to save each other. Then there’s Bobby, who is one of the few remaining people that the Winchesters consider family. When facing the apocalypse, it’s important to know who one can hold on to.

Next week, the Winchester boys get trapped in TV land. Tune in to see how they get out of this one.

Vicki’s a vampire and she’s hungry. As usual, the opening of “Vampire Diaries” gives the viewers high expectations as she attempts to handle her new identity as a “vampire with issues.” If it were up to Damon, they would all be living the lifestyle of “snatch, eat, erase.”

Instead, Stefan attempts to “12-step” Vicki with her blood addiction.

Meanwhile, Bonnie tries to get advice from Grams (Jasmine Guy) about her new-found witch abilities. There are no revelations here. As Bonnie’s Crone grandmother informs her of her background, you get the feeling that this is filler for the real action. For her costume, she gets a witch outfit (surprise-surprise).

But there is a twist – as an accessory, Caroline gives her the necklace that she took from Damon. Of course, this necklace holds some importance to the plot; however, this storyline is wearing thin. One wonders if this piece of jewelry will be as exciting as the watch that’s a vampire compass.

Throughout the episode, Vicki is the most fun to watch as the vampire with no self-esteem – she schools Elena and works out her newfound abilities. Then there’s Jeremy, who’s trying to figure everything out. It’s sad when the best thing that’s ever happened to you is a drug/blood addicted vampire.

Damon is the only one who seems to be investigating the threat to his existence. As he attempts to enthrall the mayor’s wife, he gets a surprise of his own and realizes he has to get information the old fashioned way.

The backdrop to all this drama is a Halloween party and Vicki goes as our friendly neighborhood vampire. What will she do with all those naked necks around?

If only this show had a faster pace. It’s obvious that these actors can handle more than the fluff that is imposed on them. Bonnie is a key to destroying the vampires, but the dialogue between her and Damon is worse than a reenactment of a scene from “Unsolved Mysteries.”

The action scenes are also few and far between, which frustrates the audience. Just when things start to heat up, there’s a commercial. This doesn’t heighten suspense; instead, it dampens the intensity and you become less interested in what’s going on.

It’s episode seven and with a full season ordered, this show has got to pick up the pace if it’s expected to make it to season two.

There’s a twist in this episode where the celebrities have to learn three dances and face a double elimination. These curve balls are what makes this reality show more entertaining than watching people lose weight.

Seeing C-list celebrities attempt what some professional dancers take years to accomplish in a minute and a half is highly entertaining. Now throw in another dance and a freestyle mambo dance-off and watch these wannabe dancers either meet the challenge or have complete meltdowns. Surprisingly, several stars rose and exceeded the challenge of performing.

Mark Dacascos (Iron Chef America) and his partner Lacy wowed the audience and the judges with his energetic jitterbug and Aaron Carter was brought to tears in a good way. Meanwhile, former favorite of the competition, Mya, had a jitterbug that was too tame. If it were up to Len, Mya should have spent less time “polishing his desk” and more time dancing.

Then there was Melissa Joan Hart (“Sabrina the Teenage Witch”) who, as Bruno put it, spent most of the time on the dance floor “trying to remember what [she] was told.” However, Len loved it and thought the “critiques [of Carrie Ann and Bruno] were a little bit harsh.” It seemed as if Bruno and Len exchanged places, as it was Bruno’s turn to put his high-scoring paddle in hibernation – showing once again that this show is must-see television.

But it was the Mambo dance-off that made the show. As dancers shook their thing across the floor, the judges had total control. The first to get tapped out received one point until only one couple was left and that celebrity would get nine points added to their score.

As expected, Michael Irvin was the first to go. Of course, the final two couples on the floor were Mya/Dmitry and Joanna/Derek. After an amazing move done by Dmitry and Mya, Dmitry committed the ultimate sin and stopped moving, causing Joanna to run away with an undeserved nine points.

Night two was double elimination night when Taylor Swift performed. Fortunately, her flat vocals were enhanced by the professional dancers.

Then the multitalented Tiempo Libre brought the heat with their high-energy Latin vocal stylings. However, finding out who was next to go was the real thrill of the night. In this elimination, one celebrity knows that he or she is leaving, then the two stars that are in the bottom two dance for their lives. It’s a great way of thinning the herd.

Next week is another double elimination and with seven remaining contestants, it will be intriguing to see who remains dancing and who is sent home.

However, I decided to try it.

“Cadillac Records” stars Adrian Brody as Leonard Chess, the founder of Chess records and the talent he had working for him over a 20 year span. Already, I saw problems with the film. The premise is way off since Leonard co-founded the record company with his brother, Phil. In the movie, Leonard frequently refers to his impoverished childhood, yet no word of his brother is mentioned. (Although he is listed in the credits you have no idea that Shiloh Fernandez is supposed to be Phil. When he’s on screen, there is nothing to indicate that he is nothing more than a sound engineer). However, I decided to stick with it and the results were surprising.

The story is cleverly narrated from the perspective of songwriter, Willie Dixon (Cedric the Entertainer), and chronicles the record company’s upbringing through the lives of the artists and their relationship with Chess.

It is the introduction of the artists that makes the film worth watching. When we first meet sharecropper Muddy Waters (Jeffrey Wright), we get a sense of musical history that doesn’t bore nor insult the intelligence of the viewer. These artists, who started out in obscurity, faced racism and underhanded dealings from their “daddy” Chess. The Cadillacs they all drove were bought against their royalties, something that Howlin Wolf (Eammon Walker) and Chuck Berry (Mos Def) didn’t go for.

As the success of Chess records increases, so do the insecurities and addictions of the artists. Waters’ jealousy of Howlin Wolf causes him to try to steal away one of Wolf’s band-members, leading to a violent result. His addiction to women also causes him to continually ask his “daddy” Chess for money. Between the child support and the palimony suits, Muddy gives away more money than he takes in. However, what could have easily been another cliché instead turns into a comment on the unscrupulous practices of the record business.

Other tragedies that play out are at the height of his career as Chuck Berry gets locked up for taking a white underage girl across state lines. This was one problem that daddy couldn’t fix.

Then there is the short, sad life of harmonica virtuoso Little Walter (Columbus Short). We see through a series of events how he goes from one taste of liquor from Muddy’s flask to a down-on-his-luck heroin addict.

While the drama plays out in the film, you get the sense that director Darnell Martin wanted this to be about something more than the beginnings of a record company. However, his need to give nearly every artist and Chess their own subplot led to an uneven mix of voices that didn’t always work.

Case in point – when Etta James (Beyonce) appears on the screen, there is no sense that she was one of Chess’ biggest recording artists. She, along with Chuck Berry, helped the Chicago sound crossover into pop music. Instead, Etta is portrayed as someone with whom Chess fails to fulfill a sexual fantasy that is hinted at throughout the film.

The music is the best part of the movie. After all, this is about a groundbreaking record company. From Waters’ “I’m Your Hoochie Coochie Man” to James’ “At Last” (sung on the soundtrack by Wright and Beyonce), we are reminded why Chess Records, at one time, rivaled the Motown sound.

In short, “Cadillac Records” wasn’t a complete waste of time and succeeded in keeping me distracted for a couple of hours. But next time I think I’ll listen to the album instead.

“We’re Gonna Fight” – Pennywise

Have you ever been so angry that you’ve bashed your fist through a wall and didn’t feel it until much later? If so, you will be in the right frame of mind to listen to this song. Drums, guitars and lyrics are at a high-fevered pitch for nearly three minutes. This unrelenting track will either exhaust or reinforce your anger. Either way, it’s worth a listen.

“Where Would We Go” – Rusty Anderson

This multitalented musician and songwriter creates a monotonous tune that doesn’t go anywhere. If his point is to show the fruitlessness of inertia, then he succeeded.

“Ela (On My Way)” – Bebel Gilgerto

The equivalent to easy listening, this bossa nova tune is laid back, yet expressive. Gilberto’s voice has a sense of poetry that adds to the lyrics sung in both Spanish and English. The dreamy quality of this track is just what you need when you need to stop and relax.

“Piano Trio In A Minor, Op.50 – Var. VIII: Fuga (Allegro Moderato)” – Lang Lang

Classical music can be a chore to listen to, however, this track from the album Tchaikovsky/Rachmaninov: Piano Trios showcases the subtlety, exuberance and excitement that this genre can achieve. Give it a try.

“Get it Right” – Breakestra

Upbeat with an early ‘70s funk vibe, “Get it Right” is bluesy and will make you want to get up and shake your groove thing. The lead singer’s voice reminiscent of Seal’s smooth, velvet tone gives this track a sexiness that works. It’s definitely worth your time.

“Magic Man” – Aliens

Sometimes electronica can work, and then the lyrics chime in, ruining a perfectly played melody. The song goes downhill from there as the lead vocalist drones on incoherently, causing a cacophony of noises to invade your space. Skip it.

“Pulling on a Line” – Great Lake Swimmers

This must have been the sound Rusty Anderson was looking for. “Pulling on a Line” has simple lyrics that have an underlying profound quality to them. Equally, the instruments accompanying the words create a song that forces you to stop and think. This short tune is sure to leave you in a state of contemplation, and that’s a good thing.

Remember, all these songs are free downloads on Amazon.com.

“Blue Skies” – Noah and the Whale

At first listen this is simply another break-up song, but stick with it. The lyrics are honest and thoughtful behind a slow, melodic electronic-drum driving beat. “Blue Skies” (which is currently 95 in the UK music chart) is part of the album The First Days of Spring, which is a story told about a relationship that has fallen apart. An ambitious endeavor that could well be successful by the sounds of this track.

“Saviour” – The Lights

This bubble-gum pop song borders on annoying and then pulls itself from the edge to create a listenable song. The rhythmic lyrics set to a guitar laden backdrop will have you singing the lyrics in spite of yourself.

“Sentimental Journey” – Nellie McKay

From the album Normal as Blueberry Pie: A Tribute to Doris Day this track is everything a Doris Day song should be and more. It has a sultry rhythm set to a melodic Calypso steel-pan vibe. This sexy track will lull you and make you think of Doris Day in a new light.

“Detonate My Dreams” – That Petrol Emotion

This heavily laden guitar track suffers from lyrics that are not necessary. As an instrumental this song from their 1993 album Fireproof would have been a superior show of musicianship, instead, it’s seen as a way to overcompensate for the barely audible lyrics.

“These Days [Live at the Olympia]” – R.E.M.

R.E.M. is an iconic band with an eclectic rock sound. In this live concert recording the lyrics match the frenzied sound of bass, drums and electronic guitar, which makes it seem as if you are actually in Greece mixing with the crowd. It is difficult to carry off the experience of a live concert in audio form, but judging from this song R.E.M. has succeeded.

“Idle Hands” – Shane Tutmarc

The great-grandson of Bud Tutmarc (arguably the creator of the electric bass) uses a funeral procession-type beat played by piano and drums to emphasize the title’s meaning. If Tutmarc is indeed doing “the devil’s work”, then Hell is a happening place.

“Hands” – The Dutchess & The Duke

Judging from this track this band has been heavily influenced by ‘60s folk and acid rock. The lyrics are in your face accompanied by stripped down and intense playing of the guitar, tambourine and drums. It’s the sort of song that you will think is a well done remake of Jefferson Airplane, but no – it’s strictly original music from an awesome sounding band.

Night one brought out the A-game of the stars. It also brought out a case of the flu as Derek was temporarily sidelined from competition, causing his partner Joanna to learn a new routine with Maksim. Although their Argentine Tango got high marks from the judges it did not keep her from possible elimination, proving that the fan votes have been going to Derek.

One of the highlights of the evening was Kelly Osbourne dancing to her father’s hit “Crazy Train.” While doing the routine, she injured herself, but improved dancing-wise and was highly commended by the judges.

On the first night the group dance was introduced as the dancers and stars did a routine based on the hustle in full ‘70s regalia. Donny Osmond was most definitely in his element.

Elimination night was the better of the two as several unexpected couples found themselves in the precarious position of being sent home. Norah Jones performed and showed her versatility as an arranger and song stylist. In a nutshell “It’s Gonna Be” from her latest album has the type of infectious rhythm that makes you wish it could go on indefinitely. On her second go round, Jones’ stripped down version of her breakthrough hit “Come Away With Me,” was also enjoyable to listen to. The performance was heightened by the professional dancers moving to the guitar playing of Jones and a band member.

Interspersed throughout the elimination episode had the professionals reflect on their past dance routines to Michael Jackson’s music as a buildup to their tribute to the king of pop. It brought home just how influential he has been to dance as his songs were the most performed to (a whopping 17). According to one of the professionals he truly was “The father of choreography.” With a mixture of Latin and Michael Jackson moves to a melody of his tunes, the dancers did him proud.

At the end of the show we are reminded that voting counts. You can’t just dance well and get near perfect scores from the judges. You have to be popular and put your face out there. In this competition if you don’t campaign for the votes you’ll wind up going home.

Will Donny maintain his high scores? Will Kelly lose her confidence? More importantly has Michael Irvin found a new place to put his spare change? Tune in next time to find out.

Domino: Her checkered past has been filled with mystery, and the attempts to find answers have only led to a gorgon knot of questions. From her appearance to her mutant ability, Domino stands apart from others in the Marvel Universe. Yes, she is associated with the X-Men through Cable and her various bouts as a mercenary would make for a rollicking game of six degrees of separation, but what makes Domino underrated is her mutant ability. You might think that the writers were scraping the bottom of the barrel when they came up with probability as a mutant power, but no. Instead, what could have been a joke has kept alive her companions and caused her enemies to be eliminated. You don’t become one of the best in the business without a little luck on your side, and Domino is exactly that – lucky.

Wolfsbane: Rahne Sinclair has had a troubled life. From the time we are introduced to her, she has been nearly burned at the stake (once her lycanthropy powers were manifested) by the priest who is later revealed to be her father, has been psychologically manipulated and has experienced tragic loss all in her short life. During her stints with the New Mutants, X-Factor and currently with X-Force, Sinclair is the type of character that is often taken for granted. However, she represents the mental instability and the struggle of what it means to be a mutant with a feral appearance. After all, we can’t all be Beast, and the amount of times she has been used as a tool (at one point she literally devours her own father as a result of his brainwashing her) would cause her to seek the easy way out. It is only her strict religious upbringing that causes her not to end her life – no small feat considering what she has gone through.

Shadowcat: Kitty Pryde has been an X-Men staple since her appearance in issue 129 of “Uncanny X-Men.” With the 1980 comic, the artwork of John Byrne and writing of Chris Claremont brought Pryde on the scene as a highly intelligent 13-year-old girl who has the ability to phase through walls. What could have been a useless character turned out to be one of the few X-Men to “grow up” in the marvel universe. She has been paired with Wolverine and has had an on-again, off-again romantic relationship with Colossus. Her affiliations with Excalibur and the first incarnation of the New Mutants has made her invaluable to the X-Men mythos. After recent events in Astonishing X-Men, she is currently hurdling through space in a phallic-like bullet. However, no one is completely gone in the Marvel Universe.

Nightcrawler: Beloved by fans of the X-Men, this swashbuckling blue elf is one of the most underrated characters in the marvel universe. With such a rich history, Kurt Wagner should be able to break out of the X-Men’s sphere. Instead, he is pigeonholed as a sidekick on a mutant team. Being the son of Mystique and biblical mutant Azazel, Kurt has the ability to teleport, looks like a demon and is a devout Catholic. Although his adventures with the X-Men have led to moments of levity, action and drama, there is still more to explore from the man who leaves the smell of brimstone in his wake. He got his own series in 2004, which was cancelled before it had a chance to gain momentum. Perhaps a limited run in the “Marvel Knights” comic (which deals with mature themes) would be a place where the “fuzzy elf” can delve deep into issues that have only been hinted at in the X-Men comics.

Moon Knight: Marc Spector has been a boxer, CIA operative and a mercenary – in other words, a perfect vessel for the god of Khonshu. From his introduction into the marvel universe (1975), Moon Knight has struggled to be a continuing series. In one of the incarnations of the comic, Moon Knight carried several personas. He was the wealthy entrepreneur and a cabbie in order to aid him in his crime fighting. With a close confidante in Frenchie and his lover Marlene that helped him keep a tenuous hold on his sanity, it seemed that there were storylines readymade for him. Perhaps it is because Spector has been surrounded by mentally unstable people and at times has struggled with his own sanity that a monthly comic with him as the star has not been able to sustain a long run. He has been paired with the likes of Spider-Man and the Punisher, and has had a love-hate relationship with the Avengers (which caused him to burn his membership card) to aid in making him popular. Still, he has trouble maintaining a comic as a solo hero. Besides having an apparent personality disorder, Spector has no problem killing his enemies. With a man who has no qualms killing people he believes needs to be eliminated, has a drinking problem and has assumed yet another persona, it remains to be seen if his most recent series will have a long run.

Cloak and Dagger: This tragic pair has had a difficult time in the Marvel Universe. Introduced as runaways in issue 64 of “The Spectacular Spider-Man,” Cloak (Tyrone Johnson) and Dagger (Tandy Bowen) are mutants whose powers manifested when they were injected with an experimental street drug. In a world where it seems only villains are killers, Cloak and Dagger took revenge on the man who caused their mutant abilities to manifest and turned their backs on Kingpin when he asked for their help in healing his wife. One reason why they are under the radar is because of their powers. While Dagger manifests light in the shape of her name, Cloak literally absorbs his enemies. This has caused a need to have Cloak’s costume purged, and when that doesn’t happen, chaos ensues to the point where the likes of Dr. Strange have to be called in. Straddling the line between vigilante and the supernatural, Cloak and Dagger have yet to find their place in the Marvel Universe. There were rumors about a miniseries starring the pair, but it has yet to materialize.

Firestar: Initially, Angelica Jones was not a character in the Marvel Universe. Instead, she was a construct for the cartoon “Spider-Man and His Amazing Friends.” Her origin in the animation was that she was a teammate of Iceman (one of the original members of the X-Men). Soon after the cartoon ended, Firestar had a comic-book miniseries that revealed her true origin. Her powers are generated from microwave-type energy. Firestar has had an interesting history. As one of the original surviving members of the White Queen’s Hellions, she went on several adventures with the X-Men. She was also an integral part of the “Maximum Carnage” storyline and a member of the New Warriors and the Avengers. During this time, Jones has had to deal with everyday problems along the superhero ones. Her father being shot, her short-lived engagement to Justice and facing infertility if she continued to use her powers cause Angelica Jones to be yet another character who is under the radar. As a result of the Civil War saga, she has decided to retire from the superhero business. And in the limited run of “Marvel Divas” it was revealed that Angelica is suffering from cancer as a result of her mutant powers. It would be a shame to see this character fade into obscurity, particularly since she’s one of the few people to have touched the lives of nearly everyone in the Marvel Universe.

Polaris: Being a member of the X-Men will eventually lead to mind control, and that has happened to Lorna Dane, a plethora of times. From the time she came on the scene (in issue 49 of “X-Men” in 1968) Lorna’s powers (the ability to manipulate magnetism) have been used by some malignant force as a tool to take over the world. Through it all, she has had an on-again, off-again relationship with Havok (Alex Summers). Lorna was most prominent during her stint with X-Factor. Being on a government-operated team led to her working with Mystique and Sabretooth, and nearly being killed by the latter. After several years it was finally revealed that Magneto is indeed her father, however, her mother is still unknown. After M-Day, Lorna lost her powers, but after being forced to be one of the Horsemen of the Apocalypse, it was revealed that her powers are mutating. What makes Dane underrated is that she is related to several major players in the Marvel Universe. As a result of this, writers use her as a tool, which is a waste for a character who has been around for over 40 years. As a member of the Starjammers, Lorna is currently involved in the “War of Kings: Who Will Rule?” crossover. It remains to be seen if her family ties will once again be the cause of her being used as plot device.

Power Man: Luke Cage could have easily been discarded after the blaxploitation period of the 1970s. His origins are simple – New York teen gang member decides to clean up his act, and is then set up by his former friend and sent to prison. Once in prison, he is subjected to cruelty and the experiment that makes him impenetrable to harm. Cage is most famous for his team up with Iron Fist under the persona of Power Man, where they were guns for hire. Not knowing what to do with a man who is nearly indestructible, the powers that be decided to put Cage into early retirement, returning him to his Harlem neighborhood to clean up the streets. Recently, he has been involved in Nick Fury’s “Secret Wars,” Marvel’s “Civil War,” the Skrull invasion and now the period of Norman Osborne’s “Dark Reign.” Luke Cage has always been a dependable character. Whenever you need muscle, he’s there. During the past seven years there, have been rumors regarding a Luke Cage movie. Scripts have been written, but it never seems to come together. And although he is a popular character, he has been unable to hold a comic-book audience on his own. Perhaps with the recent events in the Marvel universe, the writers will be able to utilize Power Man, and not just for his abilities.

Spider-Woman: Although she has been around since the late ‘70s, it has taken over 30 years for fans to begin to appreciate her worth in the Marvel Universe. Her auspicious beginnings were that of a literal spider. With a demand from Stan Lee to create a new origin, Jessica Drew had her own comic from 1978-1983 – then, nothing. As other characters took up the mantle of Spider-Woman, something was missing. The grit, angst and underbelly of this world, with the exception of Wolverine, was sorely lacking until 2005, when Brian Michael Bendis brought the original Spider-Woman back to the forefront. Her five-part miniseries, although successful, did not create enough buzz to give Jessica her own comic book until the Skrull wars. It was discovered that she was replaced by a Skrull, and now she has her own motion comic soon to be released in hardcover about her dealing with the fallout of being in captivity. As a current agent of SWORD and former double agent of HYDRA and SHIELD, Drew has a lot to work out. Luckily, with the writing of Bendis and the artwork of Alex Maleev, it will be a fun ride that’s sure to bring new fans to this complex woman.

Honorable Mention: While Nova has his own monthly comic, the “War of Kings” and “War of Kings: Who Will Rule?” series have garnered him a larger audience. Nova’s history consists of an alien imposing his powers on an unsuspecting Richard Rider with no instructions. As he develops his abilities he joins the New Warriors, teams with Spider-Man and is involved in several storylines, all leading up the present space opera. It is hard to believe that a character that has been around since 1976 has been underutilized until recently. Then there is Darkhawk, who is yet another superhero that has been kicking around the Marvel Universe since 1991. Since his own series ended in 1995, Darkhawk (Christopher Powell) has been teamed with the New Warriors, the West Coast Avengers and has guest starred in the Iron Man and Nova series. Thanks to this crossover, Darkhawk is finally getting some recognition.

Marvel has had a difficult time with their otherworldly characters. With the exception of Silver Surfer, it has been rare that intergalactic-themed comics have been able to succeed. However, due to the “War of Kings” storyline, Nova and Darkhawk have found a new lease on life in the Marvel Universe.

So, who do you believe to be underrated in this comic world?

This showdown reveals the simple truth about Spider-Woman. As an underrated character in the Marvel Universe, it is revealed why the Skrull Queen took over her identity. The one thing the Skrull race was sure of was that Jessica Drew wouldn’t be missed. As that revelation comes to light, the real Avengers come in to show just how wrong that Skrull was. Yes, was, since, as Wolverine (Jeffrey Hedquist) says, “We take care of our own,” as he proceeds to help Jessica handle the alien threat in his subtle fashion. As usual, Spider-Man is written not just for comic relief, but to point out irony and to intelligently add levity to a tense situation. Then there’s Captain America being his usual man-in-charge self, and Luke Cage being Luke Cage. But it’s Carol Danvers (Ms. Marvel) who has been Jessica’s friend, and offers a tender moment amid the chaos.

On the plane ride back from her most recent adventure, Jessica and Wolverine have a heart-to-heart and reminds her that he’s “still the most screwed over person in the history of the universe.” As this mission comes to a close, Jessica receives a message from Brand, who has a plethora of issues for Jessica to sink her teeth into.

The artwork of Alex Maleev is once again top-notch, as we can see every moment of Wolverine’s life etched on his face the same way in which we see Jessica’s trauma embedded in her soul. It’s hard to look into her eyes and not feel the pain of not knowing who to trust – even with the assurance of Wolverine. The voice work of the actors plays well alongside the action packed scenes; with every grunt, scream and whispered emotion, they set the right tone.

The thing about this ongoing series is that even though Jessica gets the answers she’s looking for, there are still many unknown factors involved. Wolverine says he knows Brand (the woman who Jessica reports to), but that isn’t necessarily a ringing endorsement coming from a man who is still worse off than a woman who was impersonated by an alien and imprisoned for a long period of time. In the upcoming episodes, it will be interesting to see how this storyline unfolds. At least Jessica won’t be alone this time, since she just might have a little help from her friends.

People are being killed by hand-buzzers, one bad-looking tooth-fairy, urban legends and a series of fairy tales. It seems that whatever a demon spawn thinks is true comes to life.

One problem: the good guys “don’t just kill children” and this anti Christ (a hybrid combination of human and demon), who is a boy, can be used by Satan to “kill the host of heaven.”

In this fast paced, intense episode (written by Andrew Debb and Daniel Loflin), Sam and Dean are reminded by Castiel that they would have done anything to avoid the apocalypse. Since the world is on course for Armageddon, Castiel’s logic is faulty and results in him being turned into an action figure. Meanwhile, the demon that gave birth to Jesse (Gattlin Griffith) is looking for him. It all comes to a head and the Winchester boys are outmatched.

But not outwitted.

It isn’t a good idea to lie to a child, particularly to one who can control things and people with a thought. And Sam lays down the facts to Jesse in hopes that he will take the path that Sam was not brave enough to take. Jesse makes the right decision, but with an extremely powerful and volatile child who doesn’t know how to control his abilities; allowing him to be left alone is not an option.

In this war, there are casualties, and in this case, it’s this boy’s childhood. Once again, the Winchesters learn more about themselves and go over their own lost youth – wishing that their father had lied to them instead of telling them the truth about the things that go bump in the night.

Gattlin Griffith is an exceptional actor and director Charles Beeson brought out emotions in him that made this episode thrilling and heart-wrenching to watch. He lights up the screen. Since he hasn’t been killed off, perhaps he will be featured in future episodes.

After all a child who can travel half-way around the world in seconds is a good ally to have on your side.

The next episode of Supernatural will be sure to age you. Tune in to see how.

Remember “Dark Shadows”? Barnabas Collins is the accursed vampire who falls for a woman who is the dead ringer for the love he lost centuries ago.

Well, in the tradition of this iconic television show, the history of the Salvator brothers is revealed as Elena learns the truth as to why Stefan has been so secretive.

In the meantime, Damon has escaped his cell and feeds off of the druggies from last week’s episode. For some unexplained reason, he rescues Vicki and proceeds to spend the day exchanging fluids – with an inexplicable amount of dancing going on. Somehow they bond over Vicki’s extremely low self-esteem.

Then Damon does something typical, yet unexpected.

Meanwhile in a series of flashbacks, it is explained how Katherine came between the Salvator brothers. It seems that Katherine was a vampire who, in an intimate moment with each brother, turned them. She wanted the three of them to spend an eternity together.

Then there is the situation with a watch that belongs to Elena’s family. It seems to hold the key to whatever it is the Mayor and his cohorts are planning. Sheriff Forbes and reporter Logan Fell are sent into the woods to eliminate the problem of Mystic Falls. Unfortunately, they bungle the job and get the wrong brother, which leads to a domino effect that no one will be able to handle.

The story is interesting and in a book it would be a page turner that you could not put down. However, there needs to be a different type of pacing that should heighten the exciting moments for the viewer and that isn’t in this episode. The momentum is still like rolling a boulder uphill. And the exertion isn’t worth it in the end.

The rope trick in the beginning of their two-step performed by Chuck Liddell and Anna T. did not go off as well. However, the “carnage and mayhem” that Liddell brought to the dance seemed to fit with his UFC championship roots. Melissa Joan Hart did some magic and scored a 28, rebounding from her dismal score last week. Then it was Aaron Carter’s turn. His performance of the Lambada was a make-it-or-break it situation. The sexiness had to come out in order to make this routine work. To the tune of Miami Sound Machine’s “Dr. Beat,” Carter seemed to falter and the judges had no mercy. Len and Bruno wanted to see more raunchiness, while Carrie Ann told him his dance was “hard to watch” – and for a dance that is supposed to ooze sex-appeal that’s not a good thing.

In the meantime, Donny Osmond played to his strengths with the Charleston. And according to Len, Michael Irvin’s Bolero was “economical.” Bruno carries on the metaphor with saying his dancing is like the economy “each week it’s supposed to be getting better, but then nothing happens.” Then there was Mya who ended Monday night with a fiery Lambada, which was an “erotic, exotic roller coaster” that Bruno wanted to ride till he couldn’t ride no more. This performance was so sexy and elegant that even Len brought out his high scoring paddle out of cold storage.

Tuesday night had Shakira as the featured singer. Her performance of one of her songs from her upcoming album She-Wolf seemed inaudible, but the Asian drummers saved a lukewarm performance. Then it was the professionals’ turn to perform the Argentine tango and the Paso Doble. They showed effortless passion, reminding us all why this is a vote-in show. In the meantime all the women were safe leaving the men in a precarious position. Then it was Shakira’s turn to perform again; this time it was “Hips Don’t Lie”. Let’s say her backup dancers made the song bearable as it was difficult to tell if Shakira was singing live or Memorex.

However, the focal point of Tuesday night is to eliminate another celebrity. A male does go home, sending a warning to the other stars that if you don’t have a fan-base you’re not safe.

As the weeks go on the judging will get tougher and the professional dancers won’t be able to hide the imperfections and lack of rhythm of the celebrities. With the high scoring paddles kept in hibernation by the judges these performers better step it up.

Next week, the celebrities have to learn two dances. With the pressure getting to these stars it will be interesting to see how they handle learning more than one routine that lasts one minute and 30 seconds.

“Vapours” – Islands

With drums, bass and an electric sitar this song has a happy rock sound. It’s also short and to the point, a plus for a track that straddles the line between pop hit and car commercial.

“If You Want It” – Pacha Massive

The heavily laced electronic beat combined with lyrics alternating between Spanish and English makes this listenable tune stay with you long after it’s over – in a good way.

“Last Dance” – The Raveonettes

“Last Dance” is one of those middle-of-the-road tracks that you don’t realize is over until you hear the opening throngs of the next song. Its bland melody and lyrics makes this track a total waste of time to download. Skip it.

“Castle Lights” – The Bats

From their 2008 album The Guilty Office, this track is depressing with little to say that hasn’t been sung before by better artists. If this was purely an instrumental track it would have been able to give the listener a moment of respite from their chaotic life. Instead it just drones on for nearly four minutes.

“Even If It Breaks Your Heart” – Will Hoge

“Keep on dreaming even if it breaks your heart” may not be an original thought, but backed up with solid musicianship makes it worth listening to. The mandolin makes this track a cut above the usual inspirational fare, making the beat so infectious that you’ll find yourself humming along.

“Ugly on the Inside” – Owen

This self-indulgent tune is not worth the two minutes it took to download. Better lyrics have been sung about heartbreak – listen to one of those songs instead.

“Read Between the Lines” – KSM

Reminiscent of the Go-Gos this track is one of those songs that you will like in spite of yourself. It’s not deeply introspective, but it’s fun and sometimes a song should just make you feel good. Currently it’s number 5 on Billboard’s Top Heatseeker chart – and deservedly so.

Sam and Dean are back to what they do best – hunting down the supernatural. It seems that cursed collectibles are out to kill, literally. The episode starts with a “dude who has a head on collision with a parked car” – a death car with a James Dean legend. As Sam is concerned about the colt (a gun that was created to kill any supernatural being that’s out there), Dean decides that as a team they need “training wheels” and this case is it. This fresh start gives us a break from the apocalypse and brings us back to the light-hearted, quick-witted banter without the heavy gloom that has been a looming shadow over the Winchester boys since the season began.

With Armageddon on the back burner, cursed objects continue to run amuck. It seems that these objects are bringing out some angry famous ghosts to Canton Ohio. Actually these “ghosts” are in reality wax figures wearing Abraham Lincoln’s stove top hat, Roosevelt’s iron lung and Gandhi’s glasses. After their encounter with a “squirrely” Gandhi the boys will be careful who they call a Smurf. They do take care of these haunting figures; still there is something amiss.

The casting of Paris Hilton as the real menace in this episode is bordering on jumping the shark and is not necessary for a show whose guest stars have more talent than some shows’ regular cast members. Barring Hilton’s poor acting, the episode is successful as it again reveals simple truths about the Winchesters.

Through it all Dean and Sam are still working out their trust issues. How is their partnership supposed to last if Sam’s always on “double-secret probation?” In order for them to survive the end of the world they must do this together and that means that Dean has to reconcile the fact that Sam while still his younger brother is no longer the child his father made him responsible for.

Next week is sure to be one of the scariest ever as the Winchester boys deal with the most frightening of all beings – a child. Stay tuned to see how Sam and Dean get out of this one.

It’s the fifth installment of Vampire Diaries and things are beginning to get interesting. Damon’s in the basement, but is the wrong brother imprisoned? Stefan, the mysterious eternal teen vampire is still keeping things close to the vest. However, being that Damon is locked up he begins to open up about Catherine. He is finally connecting with Elena, but the vamp in him is desperate to come out at the slightest sight of blood.

Meanwhile Damon attempts to get out of his prison and feed by any means necessary. That means calling on his sycophant Caroline, but even that doesn’t seem to work. Then there’s the manifestation of Bonnie’s powers and Elena’s aunt who seems to be rekindling a relationship with the town’s creepy newscaster; who seems to be part of a conspiracy involving a watch that belongs to Elena’s family.

The drama is heating up much earlier than in previous episodes and that’s a good thing. After two encounters with an elderly black man who believes that he met Stefan in 1953 Elena begins digging into Stefan’s past. We also see that Damon is more dangerous when he’s weakened. It’s not quite the edge-of-your-seat action that it could be, but it’s definitely getting there.

The direction of Kevin Bray coupled with the writing of Sean Reycraft & Gabrielle Stanton makes this episode worthwhile viewing. Will Elena find out Stefan’s secret? Will Damon be able to leave the house? Will Jeremy dump Viki and stop getting high? Most of all why is Jasmine Guy playing a grandmother? Next week is sure to leave more questions than answers. You should tune in to find out.

Iron Chef chairman Mark Dacascos’ Latin dance was, according to the judges, flat and “difficult to watch.” For once, their scores truly reflected the routine. Derek, as usual, carried his model partner, who Len lavished praise on. It seems that he came back a kinder, gentler Len – then it was Aaron Carter’s turn. The judgment from Len will be sure to leave emotional scars.

The banter that was sorely missing from last week returned, and not just between the judges and Tom Bergeron. This time the contestants joined in on the fun, giving the show several highlight moments. Donny Osmond and Bruno shared an intimate moment that left him questioning whether he’ll be let back into Utah. In the meantime, Mya’s Rumba nearly caused a riot as Len told Bruno that he needs a “checkup from the neck up,” while Bruno retorts that if he wants “calmness” (referring to the sultry rumba) then he should take a Valium. It was this type of laugh-out-loud laughter that was lacking in last week’s episode.

One of the heartwarming parts of the night was Tom Delay’s performance. He danced the samba on two injured feet. As a choreographer, Cheryl has worked wonders with a man who has two stress fractures. Unfortunately, he had to withdraw from the competition, but that doesn’t mean that someone was not eliminated.

Night two was highly entertaining as Queen Latifah and JabbaWockeeZ performed with professional dancers Cheryl, Maksim, Lacy and Mark. It made a usually boring night fun to watch. Yet another star deservedly went home, but it was still unexpected. Some dancers are slowly fading into the woodwork, which is the kiss of death where fans vote. If you don’t make yourself known, then you’re as sure as gone. The same goes for stars who don’t improve – Michael Irvin has a reputation to maintain, as footballers have been highly successful on this show. He needs to step it up (literally).

Next week, some of the contestants will be performing the Lambada – the forbidden dance, bolero, the Texas two-step and the Charleston, which should be interesting to see. Will Aaron Carter recover from Len’s tongue lashing? Will Michael Irvin abandon his dance checklist? More importantly, will Carrie Ann Inaba and Paula Abdul make out? Stay tuned to find out.

Monday night’s scores reflected the absence of Len Goodman. It was a chance for dancers to rebound from the previous week’s abysmal numbers. Contestants, such as former Dallas wide-receiver Michael Irvin and Chuck Liddell (Light Heavyweight Champion) reaped the benefits when replacement judge Baz Luhrmann (director of Moulin Rouge) did not give the harsh and honest criticism with the same bite that Goodman is infamous for. With the love fest going on, the show seemed to lose some of its sizzle of the season premiere. Goodman was sorely missed.

Still, there were several dances that deserved high praise. Mya had the best dance of the night and was asked by the judges to repeat her performance in the elimination episode; while Iron Chef Chairman Mark Dacasos quick-stepped his way into the judges’ and fans’ good graces.

Unfortunately, last week’s star celebrity, Kelly Osbourne, teetered off her pedestal when she made a mistake and came out of her character. If she’s going to remain in this competition, she’s got to bounce back quickly. As for Kathy Ireland’s performance, the band was exceptional as always.

Part of what makes this show interesting is the dance rehearsals. Between Michael Irving giving himself pep talks and Melissa Joan Hart’s giggle-fest, the behind-the-scenes gives an inside look to what the professionals have to go through in helping these celebrities look half-way decent on the dance floor – you will surely feel Maksim’s pain as he attempts to quiet Debi Mazar down and teach her the dance routine.

Elimination Night brought few surprises in who was next to go home, but the singing guests made Tuesday’s show. Joss Stone’s voice was sultry with a soulful grit that made you search for her latest album, Selena Gomez’s sugar pop vocals served up a listenable presentation and the USC Trojan Marching Band performing with the Stomp the Yard crew gave an electric performance.

As the weeks progress and the lesser known contestants are sent packing, it will be interesting to see who remains.

When Luthor extends an olive branch to Superman, we all know it’s a trap. However, Superman goes and chaos ensues. Through some well executed camera splicing, he is now seen as a murderer and thanks to the billion dollar bounty on his head, becomes the most wanted man in America.

From there, the action is non-stop. In a showdown with Metallo, Superman and Batman barely survive – and that’s just within the first 10 minutes. There are also cameos of heroes and villains, which add up to some of the most entertaining scenes in the film. Adding even more entertainment to the story is Amanda Waller (CCH Pounder) who’s put in the unusual position of being Luthor’s Jiminy Cricket. It seems that his vendetta against Superman is getting in the way of the little problem of a Kryptonite meteor hurdling toward Earth. As Waller attempts to keep him on track, we find out that he has a drug problem, causing him to be as unstable as he claims Superman is.

One of the things that make this movie enjoyable is the familiar voices of Luthor (Clancy Brown), Batman (Kevin Conroy) and Superman (Tim Daly). In the midst of their confrontation with Metallo, Daly and Conroy show why they’ve been playing these characters through three television series that have spanned over 15 years. When Superman makes a joke and Batman tells him to “do himself a favor and lose the sense of humor,” Supes replies “do us both a favor and buy one.” In a highly successful, well-written comic that had amazing artwork, you need an edge – and the banter between these two make these characters come alive. Their inflections bring out the humanity, compassion and brotherly issues that can’t be expressed the same way on a page or in a motion comic.

In the end, Superman and Batman, through a little planning and a lot of luck, save the day.

In viewing this DVD, one mourns the cancellation of the “Justice League” animated series. Although a weekly dose of DC universe was enjoyable, it is understandable why the straight-to-DVD format is a better fit.

This two-disc set is chock full of extras. While the previews for the other animations are repetitive, it is the second disc that makes this purchase worthwhile. Disc two contains a psychological look at the relationship between the Dark Knight and the Man of Steel and how the history of their team-ups led to this film.

There is also “Dinner with the DCU and Special Guest Star Kevin Conroy.” It’s an unguarded look into what it takes to cast an animated show and the intricacies of the business. This discussion includes a preview to the next DC feature arriving in 2010 that includes the voices of James Woods and Gina Torres. The conversation of the new film is carried over in a special look at what will be called “Justice League Crisis on Two Earths.” As always, Bruce Timm has handpicked two cartoons that bring this two-disc set full circle.

As one of the new trends in animation, this straight to DVD release will no doubt be highly successful – giving viewers many more entertaining storylines to come.

“Get a Move on!” – Mr. Scruff

This jazz infused song has been a theme for several car advertisements. That said it’s a well done composition that can stand on its own. Horns and the Electronica genre come together with a little help from DJ Sneaky (from Fingathing) to make this near 8 minute track a pleasure to listen to.

“Made For Glory” – Landon Pigg

This haunting song of love lost is a heartbreaker. As piano, guitar and tambourine emphasize the protagonist’s pain you take this journey with him, then he sings of hope and it doesn’t come across as hokey. Its subtle orchestration will keep you involved until the end and you’ll be glad you did.

“What Are You Gonna Do?” – Miranda Lambert

Lambert’s rich vocals make this track. This is one country song that takes all the tropes of the genre and makes it fresh. Download it soon before it’s gone.

“Para Ti” – Joshua Bell; Tiempo Libre

Violinist Joshua Bell is an amazing artist. His inventiveness is showcased here by his ability to fuse Classical, Latin and Jazz influences. The song makes you want to get up and dance. It’ll have you searching for anything associated with Joshua Bell.

“Blame it on The Girls” – Mika

This is one infectious track. With its spoken word intro followed by well executed vocals and musicianship it’s no wonder that the single has reached number one in Japan. The arrangement of the lyrics makes it one of those ready-made songs that will have everyone singing along. You won’t care what Mika’s singing as long as he doesn’t stop. Luckily the words make sense.

“For The Right of Love” – Butterfly Boucher

Boucher takes on folk music and turns it on its head. This singer/songwriter takes on the confusion emotion of love and in this drum influenced track attempts to figure out while it’s worth it. With guitar and tambourine accompanying her you’ll stay with her to see if she’s found out what it’s all about. Well worth a listen.

“Racing Lights” – Star of Track and Field

This track is one of those middle-of-the-road rock songs. It won’t set the music world on fire, but it is well done. The vocal and instrument arrangement work in tandem to create a listenable song – best of all it’s free.

It seems that President Palin has helped bring Ragnarok, Dean’s hunting buddies have passed on and worst of all: his car is left to rust. Essentially, the arch-angel Zachariah (Kurt Fuller) has sent Dean “back to the future” to find out what life will be like if he doesn’t allow himself to be the archangel Michael’s vessel. This adventure leads the 2009 Dean to encounter his 2014 self and it isn’t pretty – but it is humorous. This time, the writing reigns are held by Ben Edlund and as usual, it is top notch as it blends action, drama and wit.

As with every episode, the core deals with family relationships. It seems that Lucifer simply couldn’t bow down to his father’s “hairless apes.” Yes, folks: the devil has a daddy complex. Zachariah brings Dean back, begging him to give himself up to Michael. The choice Dean makes is in typical Winchester fashion and as usual, Castiel has impeccable timing. Although they brought on the apocalypse, the five years of this show has proven that these brothers are stronger together than apart.

One thing is certain: Dean and Sam will “make their own future.” It’s as Satan said: no matter what happens, they’ll always end up “here.” Tune in next week as the Winchesters fight the evils of the world.

Episode Commentary: “The End”

“Vampire Diaries” tries to find its groove by making fun of the genre and giving homage to Anne Rice. Damon is trying to become a more entertaining character, while the citizens of Mystic Falls are attempting to break out of their one-dimensional shells. Unfortunately, the plot seems to drag on.

It’s the annual Founder’s Day event, hosted by the mayor and his wife, who happen to be the parents of Tyler, who’s going out with Vicki; apparently behind his parents’ backs. The teenage angst is increasingly grating on the viewers’ nerves.

The “girl from the wrong side of the tracks” story got old from episode one. And when his mother reminds Tyler that “that’s what you get when you bring the trash into the party,” it’s rehashed dialogue from better shows with more interesting characters.

Meanwhile, after her talk with Damon, Elena demands answers from Stefan. In traditional, mysterious vampire fashion, Stefan refuses to talk about his past, leaving Elena “to believe what other people” tell her.

This dance between brothers is not developing into the interesting storyline that it could be. Stefan still attempts half-lame stunts to get rid of Damon and you get the feeling that his heart isn’t in it.

There is too much subtlety in these episodes and nothing happens until the last few moments of the show. This can’t continue if “Vampire Diaries” is going to last a full season. The cast is better than this. And they’re chomping at the bit to sink their teeth into some real action.

For the viewers, “trust is earned” and the audience “can’t just magically hand it over.”

By delving into Thor’s history, Straczynski inventively places his resurrection after the Civil War by having his Odin-created persona, Dr. Donald Blake, bring him out of the void. A particularly devastating version of Ragnarok has decimated the Norse gods, giving Straczynski the freedom to play with the Norse mythos. It seems that Thor has broken the cycle of destruction and rebirth, thus creating a new destiny for Asgardians.
Conjoined once again, Blake and Thor seek out the other Asgardians who are trapped in mortal bodies. His first stop is Oklahoma, a wide open space that is perfect for a new Asgard. After the amusingly establishment of home base, Thor goes to seek out his brethren. He is met with the devastation of New Orleans.

For a god who is best known for commanding the weather with a thought, it is a humbling moment.

He is met with resentment from a small band of people still struggling to survive and with the knowledge that had he been there he would have found some way to stop it, while there Iron Man confronts him about his castle in the sky. Stark’s disregard for where this tete-a-tete is taking place and his droning on about politics is a further example of Thor’s absence from the world having an effect on the personal relationships that he has built. It also shows Thor fully embracing his godhood. The meeting with Stark and the following sequence of events is Straczynski at his best. Coupled with the artwork of Olivier Coipel and company, these scenes help pack the emotional punch of Thor’s words and actions.

With the promise of continuing his “conversation” with Stark regarding his betrayal, Thor continues on his quest.

Straczynski not only has the expert capability of making Thor relevant, but he also makes the Donald Blake construct interesting as well. There are several instances where Blake is allowed to have a personality. It is refreshing to see the characters in Thor’s neighborhood being used to their fullest. There are also several surprises in the first six-issue in this trade paperback. Loki, ever the trickster, causes a sequence of events that gives Straczynski an out, just in case his re-imagination of Thor is a total bust. Somehow Dr. Doom is involved and Thor has yet to find his beloved Sif.

By using Thor’s history to the fullest, Straczynski has created a world full of intriguing characters, while opening a plethora of storylines. Taking a myth and giving him humanity is a near impossible feat that has been successfully accomplished.

With a melody reminiscent of The Monkees’ “Daydream Believer”, Brown Recluse has created a catchy song that you will be happily humming throughout the day.

“Chain” – Vic Chesnutt

Through acoustic guitar and a haunting piano, Chesnutt sings his pain. Although short this track will stay with you long after it’s over.

“I Don’t Know What It Is” – Rufus Wainwright

Any track that uses “perfunctory views” as lyrics is definitely worth a listen. Wainwright’s inventive use of words and rhythmic arrangements reflects his experiences and sense of humor. Having barely cracked the UK top 100 in 2004 and not being noticed by U.S. audiences, this song deserves a second chance.

“Come Saturday” – The Pains of Being Pure at Heart

Mercifully short “Come Saturday” harkens back to a time where punk rock had a hit-em-hard-and-fast approach to music. Here it works.

“The Bird That You Can’t See” – The Apples in Stereo

This song exudes happiness. You too will “Turn off your mind and use your imagination” – good advice that we should all follow.

“Is It Love Or Desire” – Betty Davis

Funk has a name and it’s Betty Davis. With lyrics like “I’m too hot to handle, I’m too cold to freak” set to a hardcore, ballsy funk arrangement, it is a wonder why this song took 33 years to be released. Artists today wish they had the type of sexual energy and charisma that oozes throughout this track. Download it now.

“I Believe I’m In Love” – The Fabulous Thunderbirds

Good old fashioned rock and roll shines on this track. Originally from the album Butt Rockin, this 1981 song is a refreshing break from the auto-tune sound that seems to be glutting the market today.

Before the chaotic battle between green and yellow, we find Sinestro nude and plotting. With a version of the power battery emblazoned on his back by Kyle Rayner, we see Sinestro remembering how it got there and the revenge that he will take not only on Rayner, but the Green Lantern Corps. Here we see Geoff Johns expertly recap the history of Sinestro’s relationships and his plan to instill fear into the universe. The foundation is set, and as Sinestro escapes the antimatter universe to propagate his plan, we cut to the other players in this tale and realize how Sinestro’s machinations will come to fruition.

After realizing that Sinestro is not on Earth, Hal Jordan meets up with the other human Green Lanterns in an attempt to speak with the Guardians. Once there, his past as Parallax is thrown in his face. As Parallax, Jordan nearly wiped out the corps and left many to die – it was only with the help of Spectre that he was able to overcome his affliction and become a Lantern again. However, his light no longer shines as brightly as it once did. He was the best of the corps, and now he is seen as a constant reminder of how fear corrupts even the greatest of men. We also see a morose Rayner, now Ion, the carrier of the light of the corps. He is in a state of guilt for missing the reading of his mother’s will. As we will see with Johns, there is no such thing as filler. This scene not only propels the narrative forward – it also is at the root of what it means to be a Lantern, of belonging to something bigger than your individual needs.

In a series of panels, the artwork of Ethan Van Sciver and company come together to show how merciless Sinestro is. Between literally ripping Ion out of Rayner, forcing him to become Parallax and watching the floating green rings search for new owners, we see Sinestro creating a new-world order. It is frightening, and that is exactly what Sinestro wants – to instill fear. The remainder of volume one deals with the fallout and the Guardians’ unusual emotional response to what is occurring. Yet while Sinestro and his allies execute their plan, the Guardians are still keeping vital information to themselves and panicking, causing them to make decisions that play right into Sinestro’s hands and will change the corps forever.

Volume two, storylinewise, lays the foundation for the Blackest Night series, as banished Guardians Ganthet and Sayd explain to Jordan, Rayner, Guy Gardner and John Stewart the mythos of the Blackest Night that will bring on something along the lines of Ragnarok. The art in volume two is even more intense than in the first, making the fight that has now come to earth an action-packed, well-written tour de force that is nearly impossible to top. At the end of the narrative we see a modicum of hope as people return to Coast City – in the same breath, we also see the beginnings of the repercussions of this amazing saga. The Sinestro Corps are too rebuilding, and with the new laws written into the Book of Oa, it will mean a drastic change to the DC Universe. Besides the story, the pinups and the discussion among the team that brought this series to fruition make these trades a welcome addition to your library.

Hope, fear, loss – these are all themes that Johns successfully controls. He has laid out a master plan that will keep us interested in the lives of these intriguing men and women for many issues to come.

The eclectic array of professions range from modeling to former politician Tom Delay. On Monday, the men took their turn on the dance floor. There was some serious flirting going on between these male celebrities and their vivacious, professional dance partners. Unfortunately that chemistry didn’t always translate from rehearsal to dance floor – and the judges let them know it. Len Goodman as chief judge was brutally honest from the start. Even when he gave praise, it was tempered with the cold water reality that these stars definitely need to work to stay on this show. Even showman Donny Osmond did not come away unscathed as he was told that he put too much razzamatazz and not enough dance in his routine. Near the end of the night even Michael Irvin queried “Why did I do this?” With eight men in season nine, the show decided to have a dance off in the season premiere instead of wait until the semi-final portion of the competition. The men were placed from fourth to first place. All together the men had to perform three dances. The same process would be repeated by the ladies on Tuesday.

However, what made Monday’s show worth watching was the banter between the judges and co-hosts. After a particular harsh score given to Michael Irvin, Tom Bergeron gives the dry-wit reply of “I’m not leaving the parking with you tonight.” It’s in part what makes this show highly entertaining. If nothing else sparked on Monday it was the chemistry between these regulars that made the show watchable.

Tuesday night was much more entertaining dancing wise. Eight women ranging from Kelly Osbourne to Kathy Ireland took to the stage where the heat of the rehearsal translated to the dance floor. There were surprises and dances that left the judges speechless – and not in a good way. Kathy Ireland’s salsa had no “sex” and Debi Mazar was accused of “over-thinking” her dance. But the highlight of the night was Kelly Osbourne. She turned from hard-rocker to graceful dancer before the audience’s eyes – instantly making her a fan favorite.

Night three consisted of filler as performances from the cast of The Lion King to Miley Cyrus filled the hour. The highly anticipated tribute to Patrick Swayze fell flat as the professional dancers had no sexual chemistry with their partners. However the judges requested the dance that they wanted to see performed again which goes to show that this Osbourne is not only loved by the viewers, but the judges as well. Let’s not forget that two celebrities were eliminated. Being a competition that heavily relies on fan votes the two couples who were the first to go were unsurprising.

Overall it was an exciting premiere, filled with surprises and entertaining performances from the dancing and judges alike.

Who will make it to the end and win the coveted disco ball? Tune in next week to find out.

“Lose Your Way” – Nicolay

This is an exceptionally boring song with nothing new to add to the music world. Instead of the slow-paced beat that runs for over three minutes, it would have been better if the last 11 seconds of the song was interwoven throughout. By doing this, the track would not sound like a monotonous hearing test. Skip it.

“Young Fights” – Amusement Parks on Fire

The guitar and piano gives this tune a moody tone that reminds you of lazing the day away in a hammock; then the loud clamoring kicks in – for nearly two minutes. What could have been a mellow track is ruined by the noise-fest at the end. What a sad waste of instruments and talent.

“Earthly Bodies” – J. Tillman

The vivid imagery that is laid out in the lyrics in tandem with the subtle use of guitar and tambourine make this one thought-provoking tune. It’s not earth shattering music, but it has its moments. And it’s free.

“Walking on a Dream (Exclusive Amazon MP3) – Gary Go

Inner reflection abound in this song as Go uses the constant refrain of doing things for the “thrill of it” to emphasize the self-destructive behavior that we as humans experience by various means. The melody works in companion to the lyrics, making a song that is worth listening to.

“Tequila Sundays” – The Maldives

This run-of-the-mill folk/rock song is the type of tune that is not intrusive to your own thoughts. It’s music to listen to when you don’t want empty silence in a room – and that’s a good thing.

“Begin the Engine” – Andrew W.K.

Crickets are the star of this track for 42 seconds. Then we hear the sound of an engine starting. It takes over a minute before you hear the piano – and it is well worth the wait. W.K. plays the piano with a raw, urgent need that makes this instrument hauntingly sexy. Every key is stroked with intensity. Get this before the-powers-that-be realize what they are giving away.

“Mean Old Man” – Jerry Lee Lewis

Lewis has lived this song. He’s been the “mean old man,” the “good ole man” and “the voodoo doll,” among other things. With harmonica, piano and guitar prominent in this hard-living track, Lewis is making the statement that he isn’t going anywhere – and he makes you like it. This “Mean Old Man” has still got it.

When last we left the Winchester boys, their mistrust caused them to take separate paths. While Sam attempts to give up the demon-hunting business, Dean joins Castiel in the search for God’s meat suit. In order to find God’s vessel they need to hunt down the archangel Raphael for information. This is where things start to get interesting.

Jeremy Carver does the writing honors as Dean and Castiel become a dry-wit comedy duo. Playing straight man to Dean’s sardonic humor mixes laughs and terror – a rare combination that causes an hour’s worth of entertainment. Meanwhile Sam is doing some research on the apocalypse in Arkansas. This draws him back into the hunting business and a little too close to hell for his comfort.

Returning to the odd couple of Dean and Castiel, Dean takes him to have the last night of his life human style whereas Sam can’t seem to “store his baggage away for the apocalypse.” Switching back and forth from the “den of iniquity” to Sam’s inner angst you almost forget that you’re watching a show about surviving evil until you hear the blood curdling scream of a prostitute. There’s also the girl who asks too many questions. Anyone who is that curious about Sam or Dean either ends up being a baddie of the otherworldly persuasion or on a slab in the morgue. It’s interesting to find out just what this woman will mean to the boys in the following episodes.

As we get back to why the show is called Supernatural, laughs are tempered and give way to heart-pounding action and psychological warfare. Raphael gives Castiel some truth and Sam is once again tested. The scenes with their intensity will find you on the edge of your seat. This expert direction of J. Miller Tobin in part is what makes this series exciting to watch. Through his expertise you’ll attempt to laugh and hold your breath at the same time.

Through it all Castiel retains his faith, Dean gets to have some fun and Sam – he’s still having dreams about his dead girlfriend. And the frightening revelations that are revealed at the end will have you reeling. The upcoming weeks for the Winchester boys are bound to the most exciting on television.

Elena is finally seeing the bright side of life, Bonnie is getting bad vibes and Caroline has just woken up from her night with Damon. In the meantime, Stefan tries out for football. The scariest of these four scenarios is definitely football. And that history teacher is still lurking; not only that, he’s also the football coach. It makes you wonder why the show is focusing on him so much.

In the meantime, Caroline finally resurfaces. Apparently she and Damon are now an item and it’s Elena’s turn to get the heebie-jeebies.

Admittedly, most of the episode is slow and one wonders when is something going to happen. Damon taunting Stefan about Elena is getting old and the teenage angst of a nearly 200-year-old vampire is also tedious. During the dinner party that Elena inflicts on Bonnie and Stefan, Damon and Caroline come over and tension ensues. Perhaps now some revelation will occur, but no. Elena does connect with Damon, but this triangle is expected and it doesn’t add to the drama. It’s just more Damon being Damon. He makes his usual threat and then leaves in an anticlimactic fashion and through his vampire powers now begins to stalk Elena – yet another huge surprise.

It’s the night of the football game and Stefan becomes the great vampire hope. However, just before the game, he stops a fight between a heavily inebriated Jeremy and newly replaced wide-receiver Taylor. Blood is spilled and again nothing happens – until the final minutes of the episode.

The monster in Damon is reaffirmed, Stefan realizes that he must stop his brother and Elena is still confused by her dreams.

Although the final moments are shocking, it doesn’t seem to be enough to hold the viewer’s interest. If the next episode unfolds this slowly, then viewers will be looking elsewhere for their entertainment.

Shingai Shoniwa’s voice shines in the title track. The upbeat, catchy tune betrays the lyrics in a good way. It’s a thought-provoking song that will have you bopping your head at the same time. “Don’t Upset the Rhythm (Go Baby Go)” would be another run-of-the-mill rock song if not for the inventive way that Shinowa, Dan Smith and Jamie Morrison utilize bass, guitar and drums, respectively. The lyrics are repeated constantly, but the arrangement makes it fresh at every refrain. No wonder it peaked at number two on the U.K. music chart.

The Noisettes show their versatility on the track “Never Forget You.” Influences from Motown, Ronnie Spector and the Philadelphia sound shine here in the melody, lyrics and musical arrangements – this track will have you shimmying in no time. Always keeping their listening audience guessing, “Saturday Night” is a combination of disco and electronic music. Surprisingly, this experimentation in sound is a highly satisfying listen that will have you dancing around your bedroom.

The Noisettes then take a shot at the folk genre – and make it work. The lyrics on “Atticus” are compelling against a stripped down guitar backdrop. Haunting and melodic, the song will stay with you long after it is over.

Lead vocalist Shoniwa once again makes a potentially mundane song thought-provokingly spine chilling. “Every Now and Then” is subtle in its emotionality. The loneliness in this track makes it sad and listenable at the same time. However, even her voice could not save “24 Hours” and “Beat of My Heart” from being boring tracks. “Beat of My Heart” is a hyper-paced hodgepodge, while “24 Hours” is too slow to the point where it puts you to sleep. After the previous songs, you’ll begin to wonder if the Noisettes have run out of steam.

But then they come back strong with the folk/R&B “Sometimes.” This unusual combination of genres surprisingly complement each other. The harmonizing vocals of Dan Smith alongside Shoniwa’s velvet sound makes for a soothing listening treat. The guitar in the background only enhances this melodic tune. With the last song, “Cheap Kicks,” playing, you will constantly find yourself pressing play again to repeat the listening experience again. It’s a rock song encapsulated in R&B, making this song a joy to listen to.

Overall, this is a solid album with mostly well-done tracks that definitely has replay value. Once Sept. 22 hits, however you get your music, get this album – and fast.

Right after that, we have the pleasure of listening to “The Stand.” The opening of this track is similar to Queen’s “Who Wants to Live Forever,” then switches into an all out rock fest. Lyrics and the guitar playing of Ryan Muir and Aiello are the stars of this song. You’ll be adopting this track as your own personal anthem or, at the very least, the song that plays in your head when you’re feeling exceptionally cool.

“Hope” is another tour-de-force guitar-laden track. Bass, keyboards, trombone and lyrics come along for the ride, making the sound rich with meaning. Although this is a hopeful song, it’s not corny, and it makes being hopeful hip.

Similar to the previous tracks, “One in a Million” and “On the Wire” are yet another set of rock-out anthem tracks. However, songs like “Making Sounds,” “Convoy of Angels” and “All of You Tonight” don’t have much to offer to the rock genre – but even Monty Are I’s weakest efforts are better than another group’s A game.

Just when there is a lull on the album, “Sand Riders Doomsday” comes on and you’re rocking out once again. The multilayered arrangement and lyrics makes this a love song set to a fast, thriving beat. The drums and guitar are demanding “to keep this feeling alive.” You’ll want this tune to last much longer than three minutes.

“Kaleidoscope” also rocks and becomes increasingly interesting as it progresses with its unique musical arrangement. The opening throngs of “Desert” has a Middle-Eastern beat that is interwoven through the rhythmic arrangement. It’s a slightly different sound than the other tracks, which reflects Monty’s versatility as artists. “Mirage” furthers the desert imagery and acts as a companion piece to “Desert.” The slowing down of this track sets a morose tone – and Monty makes you like it. You feel the desperation of every step and the parched throat of someone wandering through the desert searching for an oasis.

All in all, “Break Through the Silence” is an electrifying album where you will find several favorites to do your best air guitar to. It’s definitely worth your time.

Although she has had some clunkers along the way (Glitter) and has appeared in feature films, her ability to manipulate her multi-octave voice is what makes her a force to be reckoned with. The release of her latest studio album, “Memoirs of an Imperfect Angel,” will hit stores September 29, but not everyone will be satisfied with the effort.

One thing about Carey is that she has a keen ability to write a well-conceived story with lyrics and set it to an appropriate beat. In “Betcha Gon’ Know” R&B nicely rules this track with the I-caught-you-in-my-bed-with-someone-else theme. And the ominous “to be continued” sung at the fade out will leave you anticipating the type of revenge that is in store for this cheater.

Then there’s the first single released off the album “Obsessed.” Although the production of Carey, The Dream and Christopher Stewart and the lyrics blend smoothly, this multiple chart topping-track is one of those songs that is easily forgotten after it’s over. The same goes for the four remixes of it at the end of the album.

“H.A.T.E.U.” is yet another forgetful track that seems longer than its recorded running time, which lasts over four minutes. “Candy Bling” attempts to masquerade as a mellow track about a past love affair that Carey wants to recapture. Unfortunately, it’s too subtle, effectively causing its sorry listener to be more sleepy than remorseful of losing an apparent paramour. If the melody and musical style of the last minute of the song was interwoven throughout, it would have been a better effort.

“Ribbon” sounds like a confusing mess. There is so much going on in this song that it’s difficult to figure out what you should be listening to. It’s a shame that it doesn’t come together until the fade out.

The album picks up with “Inseparable,” co-written with Robert Hyman and Cyndi Lauper with a sample from Lauper’s hit “Time After Time.” Everything in this track works. Lyrics are well-complemented by the hip-hop/R&B melody, making the harmonies rich and reminiscent of the best of Carey.

“Standing O” keeps the momentum going as the album takes an upswing with this song. It’s upbeat and you’ll be singing along with the cleverly arranged lyrics and multi-layered harmonies.

“It’s A Wrap” is another smooth track that harbors back to ‘60s R&B. Carey shines when she allows her musical influences to guide her arrangements. And the helpful production of James Wright and Heatmyzer only add to this well-done song.

The piano introduction to “Up out My Face” is the perfect complement to the rap-tinged melody. Carey’s fast lyrical effort works well here. And when she duets with herself, it’s magic. You’ll be waving your hands in the air while singing “Up out my face boy,” especially to the 51 second marching band epilogue to the track.

“More Than Just Friends” continues the party with additional writers Sean Combs, Rashad Smith, Mark Debarge, Etterlene Johnson and Chris Wallace. This is one track where too many cooks don’t spoil the pot. However, it does run 30 seconds too long.

“The Impossible” is a harbinger of the first set of tracks on the album. It’s one of the weakest songs and restates what Carey has already sung about on this same record. Adding insult to injury, it has an unnecessary over two minute reprise.

Although the prelude to “Angels Cry” is a complete waste of time, the song itself is well worth hearing. It’s straight up R&B that works. Then there’s the remake of “I Want to Know What Love Is.” The interlude, “Languishing,” would have been the best ending to this album. Instead, we have a song that was best sung by Journey.

And it should have stayed that way.

Overall, Carey’s album has some high points and is a welcome addition to her fans’ music collection. However, the unevenness of this record won’t be getting her any new ones.

Hell has come to earth. Their friend and mentor, Bobby, is recovering from a self-inflicted knife wound and what do Sam and Dean do – go on vacation – Winchester style. In the last episode of “Supernatural,” Castiel infuses the brothers with Enochian sigils to hide them from the angels. We learn that he’s cut off from his heavenly powers and in the interim, searches for God using Dean’s mystical GPS amulet.

After bringing on Armageddon and with Bobby temporarily out of commission, the boys go to a small town to help out one of Bobby’s demon hunting pals. It seems that the town believes its demon infested.

One problem: it’s not.

Humans are picking each other off to a fantastic soundtrack and the boys’ witty banter (supplied by Sera Gamble) is as apt as ever. As the songs and dialogue become companion commentators on the town’s condition, Sam and Dean have to deal with this messed up town.

In a place reminiscent of Raccoon City, the boys meet up with fellow demon hunter Ellen, who gives them the appropriate familial greeting. In the meantime, the Winchester family dynamic is at work. There are still brotherly trust issues between Sam and Dean. After all, through all of season four Sam was feeding off demon blood and chose his addiction over his resurrected brother.

This wouldn’t be “Supernatural” if there weren’t some serious action-packed fighting scenes – and blood – lots of blood. But it’s the fallout from the mistaken demon-possessed townspeople on a grandiose, oedipal scale that is the most heart-wrenching.

The scenes between Ellen and her daughter are traumatic and as the realization of what the people did to each other settles, as we see that one of the horsemen of the apocalypse has been manipulating these events all along.

Once again, it’s difficult to tell the good from the bad guys. And Sam yet again has a choice to make.

What makes this show work so well is the aftermath of the episode. In order for Dean and Sam to work like the well-oiled machine again, they have to reconcile the previous season while dealing with the hell they created.

Will Dean trust Sam again? Will Sam be able to trust himself? The way this plays out in the following weeks will be an intriguing adventure for both the characters and viewers – stay tuned.

Speaking of trainers Jillian and Bob, they now work in tandem to get these contestants in shape. There’s a lot of cursing going on, and it’s not from Jillian. We see Bob as the evil one, and you’ll love it.

A challenge for immunity is conducted within the first 10 minutes of the show and, as a result, a challenger is airlifted to a hospital. The workouts are intense: As a group this is the heaviest season, and as they sweat the weight off and throw up during workouts, they are being encouraged to carry on. Considering what they are all working for makes their stories compelling – it is the real reason why so many people watch “Biggest Loser.” Yes, some watch to see the pain being inflicted on the contestants, some might even laugh, but their stories are what have you rooting for these people. You want them to succeed, lose the weight and keep it off. Yes, money is involved, but what does money matter if you don’t have your health to enjoy it?

Of course, there is drama. The weigh in is intense, and one man is left to save his team. Once the weigh in is over, the competition begins and the maneuvering starts to see who can stay and who gets eliminated.

In this upcoming season there will be tears, surprises and lots of backstabbing. There will also be people who will build self-esteem and determination in the knowledge that they have overcome a major obstacle. If nothing else, season eight will be far from boring.

This episode should be entitled “when will people learn” because once again there is blood and mayhem in the middle of the night. It seems that someone’s using the woods as a food locker. Meanwhile, Stefan and Elena are looking forward to a new day. Their brand new start seems ominous with the talk of the comet and the celebration surrounding it. Bonnie is still harping on her witch heritage – that in the last episode showed signs of being true – and Jeremy seems to be attempting suicide-by-bully.

Between the weird, obvious goings-on, there’s the history teacher whose obnoxious behavior is prominently displayed in this episode. Is he a red herring or a real threat?

All these minor characters in a show with vampire in the title are usually canon-fodder with lines. However, with the twists in “Vampire Diaries,” anything is up for grabs.

As a harbinger of pandemonium, Damon causes more trouble for Stefan by introducing himself to Elena. There is definitely chemistry between these two. The relationship she has with both men evokes a complexity that audiences will be looking forward to in the weeks to come.

Just how is this threesome going to unfold? And how can an unmanageable Damon be handled? At some point, Stefan is going to have to feed on more than just small animals – his cool stare alone is not going to scare his brother off.

The dynamics of the families in this small town are more frightening than any bloodsucker and seeing their dramas unfold can become more tension-riddled than a body count. What exactly does Damon want from Stefan? How is Elena going to deal with her brother’s drug addiction? Furthermore, as her brother gets closer to the truth, will we see Vicki turn into an uber-vamp or dinner?

This episode interestingly jumps between minor and key players by effortlessly weaving the storylines that were introduced last week. The slow burn of how the following episodes are going to turn out will leave you panting for the next episode.

Dan Harmon does this by having an episode open with an inept speech to introduce the students and faculty of Greendale Community College. There’s the ex-jock who threw away his scholarship, the 20 something ready to turn her life around, the older mother who’s trying to put her life back together and the old man who is trying to keep his mental faculties from betraying him.

We then have Jeff Winger (Joel McHale), who is in a pretty unenviable position. In order for him not to be stripped of his law degree, he needs to get a degree from a legitimate college. It is Jeff who unwittingly holds this wayward group together: If this sounds like “The Breakfast Club,” it is and then some.

Jeff’s attempt to be alone with Britta (Gillian Jacobs) brings these people together to form a Spanish study group. Individually, the students of Greendale are funny; together, the chemistry between them is laugh-out-loud hysterical. McHale, known for his sarcastic humor on “The Soup,” barely tones it down, but the direction of Anthony Russo make his antics work – particularly in the scenes with Dr. Duncan (John Oliver), where he attempts to convince him to give him the answers for all the tests he’s taking.

McHale and Chevy Chase as the old man are the obvious standouts in this show. However, there are several other characters that bring a comedic, quirky flair to the table. After being on recurring status for several shows, Danny Pudi finally has a chance to flex his comedy muscles. His scenes with McHale alone make the show worth watching. The remainder of the cast also gels with their telepathic timing. Chemistry can either kill a series or help it thrive – this ensemble definitely shines brightest together.

Essentially, there is something and someone for the audience to relate to and laugh at. Fortunately, in the age of DVRs and Internet television, “Community” will definitely find and keep an audience.

With a sensational start, only the pinnacle of wit is expected from Dan Harmon’s new series, “Community.” Undeniably led by the rakish Jeff Winger (Joel McHale), the characters of NBC’s latest half-hour sitcom entertain and compel, drawing more than a series of boisterous chortles from their audience.

In an attempt to woo the standoffish Britta (Gillian Jacobs), Winger feigns a study group. Little does he know that the wily wench legitimizes it behind his back.

After initially using his expertise at manipulation, honed through years in the courtroom, to start an all-out verbal brawl between the respective members, the law-degree “revokee” immediately soothes it in an attempt to impress the unimpressed.

And impress-failure certainly ensues on Britta’s behalf.

Aside from a cornucopia of witty exchanges, “Community” marks Chevy Chase’s long-awaited return to the small screen as Pierce, a decidedly creepy old man without a proper understanding of “sexual harassment.”

Although McHale and Chase steal the show thus far, latent potential crackles from the base of the remaining cast. This contemporary, re-envisioned “Breakfast Club” hides under the veil of stereotypes, though their stories cast a shade of doubt at simplicity – particularly due to the killer wit.

Shirley (Yvette Nicole Brown) may bear the sorrowful cross of the back-to-school-mom, but her sweetness is offset by subtle explosions of anger. Annie (Allison Brie) is a driven young girl, though her underlying neurosis has already become partially apparent.

All right, so they are stereotypes – but they’re funny and as far as half-hour sitcoms are concerned, “Community” graduates with honors.

-Olga Privman

Just another reminder, all of these MP3s are available on Amazon.com.

“The Man I Keep Hid” – Joe Henry

This sensual, enigmatic track is a pleasure to listen to. It’s as if Henry has written the song especially for you. With the constant refrain of “Nobody knows the man that I keep hid” you will find yourself nodding in agreement and swaying to the jazz/blues rhythm. It’s also the type of track that will have you seeking out his other albums. Download it now.

“Heartbeat Radio” – Sondre Lerche

This song is odd-sounding in the beginning, but stick with it. Its quirky take on a love song driven by a kicking guitar and drum beat will force you to listen to the lyrics. It’s an insistent track that demands your attention. Well worth the effort of downloading.

“Ta Pa Dig Dansskorna” – Movits!

This Swedish group raps to a swing beat. It’s interesting to hear a different take on hip hop, and since it’s free you’ve got nothing to lose. Give it a listen.

“El Bosque Amado La Canoa” – Susana Baca

Baca’s voice coupled with the acoustic guitar and bass brings a sensuality to this Spanish sung tune that will leave you in a state of rapture. You won’t care what she’s singing just as long as she doesn’t stop.

“Blanchard” – Hope Sandaval & The Warm Inventions

The use of the cello, keyboards and mixing gives this song a moody, blues-like tenure. It’s understated, slightly depressing and well produced however; listen to it when you’re really happy.

“Brave the Storm” – Graham Coxon

From the concept album of a man’s life from birth to womb “Brave the Storm” is a listenable song that packs a lot in five minutes. Coxon expertly uses the British folk genre to express the emotions in this song. Be forewarned this is one of those thought-provoking songs that will stay with you long after it’s over – in a good way.

“Hanuman” – Rodrigo Y Gabriela

Imagine an intense and electrifying story told with no words, taking you through an emotional rollercoaster driven by rhythm guitar – now multiply it by ten. That’s what the magic in these men’s fingers will have you experience and have you craving more. Get this now.

When last we saw Sam (Jared Padelecki, ‘House of Wax’) and Dean (Jensen Ackles, ‘My Bloody Valentine’) Winchester, they had literally released hell on the world. As the fifth season opens, we see the repercussions of the Winchester boys’ actions as Lucifer is close to roaming the earth. It is hard to top the heart-pounding fourth season. After being brought back from hell by the angel Castiel (Misha Collins), Dean reunites with Sam to keep Lilith from unlocking the 66 seals that keep the devil from bringing on the apocalypse. Through the manipulations of both angels and demons, Sam unwittingly breaks the last seal – thus bringing us to the season premiere.

What do we do now that hell is on earth ?– track down Satan before he finds a “meat suit?” Although he is a fallen angel, he needs a human vessel to take corporeal form. That means that the Winchesters now must track him down. Having both demons and angels on their tales makes their task near impossible, but this is what they have been preparing for all their lives. As demon hunters, Sam and Dean have had to not only deal with otherworldly baddies, but with family issues – particularly how they relate to their father and each other. It has often impaired their judgment; which has brought them into this mess.

It also leads to scenes that will perpetually have you on the edge of your seat and have you screaming like a tween at a Miley Cyrus concert.

Don’t forget that we are dealing with the occult and one of things that Robert Singer and company does best is bring in the supernatural into an everyday context. Trying to figure out how to get the Archangel Michael’s sword to defeat Satan comes along with snappy, humorous dialogue. There is also nonstop action as demons catch up to Dean and a now powerless Sam.

Meanwhile, Lucifer closes in on his vessel, and his argument is tempting. Here we see why he was cast down into hell because his ability to tell the truth to get to his own ends is frightening in its practicality.

Although Satan is now flesh, surprises still abound in this episode. Angels become douche bags, demons are enjoying their own heaven on earth, Armageddon is at the door and through it all the Winchesters have no plan. And while all this is happening the brothers are attempting to deal with the family dynamic. In essence these boys have some serious trust issues to work out.

What will future episodes bring? Will Castiel help the brothers in the nick of time again?

Will the bad guys win and will we recognize who they are?

Luckily, we have the entire season to find out.

A couple is driving down a lonely highway late at night. Their casual banter is interrupted when they hit someone. The man goes out to see if the person is alright (big mistake). The next thing you know there are fangs, blood and a body count.

So begins Vampire Diaries – the television adaption from the successful series of books by LJ Smith of the same name. Adapting a television show from a series of novels can be a tricky thing. It can either be as successful as True Blood or a faded memory like The Dresden Files.

Luckily Vampire Diaries comes out with a bang – one that will leave you anticipating the next episode.

The cast has instant chemistry. Early on, we see Elena (Nina Dobrev) writing in her diary that today is going to be different – she has no idea. Throughout her day, popular, but orphaned high schooler Elena goes through the routine of everything being fine. During this time, we get back story on the other characters in Mystic Falls. Her best friend, Bonnie, is descended from Salem Witches and has psychic abilities. Her younger brother is the local drug dealer who has a thing for one of his druggies. The friend and family dynamic is explained with quick wit and snappy dialogue.

Meanwhile, Stefan (Paul Wesley) has arrived back in town with an explainable attraction to Elena. Stefan is the tortured, charismatic vampire, who is constantly fighting against his desire to feed on humans. His brother who oozes sensuality, on the other hand has no conscience and is perfectly fine being a killer.

Damon Salvotore (Ian Somerhalder) has come to town to raise some hell. His type of fun involves bleeding his victims dry and tormenting his little brother. His suggestion of a threesome with Elena sends Stefan over the edge – but since he doesn’t drink human blood the fight is over before it begins.

What drives this narrative forward are the diaries. Both Stefan and Elena write in journals about their hopes, fears and that sense of loneliness that they feel. This need to belong to either another person or to be normal is a theme that is intriguing and fun to watch. It will be interesting to see how Kevin Williamson continues to bring these ideas to life.

There are sub-stories that are just as engaging as the Stefan-Elena-Damon dynamic too. Jeremy’s difficulty dealing with his parents’ death has manifested into an unhealthy relationship with every type of drug that passes him by. That includes the attachment to the local party girl Vicki (Kayla Ewell). There are also an introduction to several minor characters that may play a major role in future episodes. Essentially the town of Mystic Falls is ripe for storytelling, since small towns are notorious for keeping secrets.

Will Vicki turn into a vampire? Will Damon have his way with every teenage girl in sight? Will Stefan feed on more than squirrels?

Stay tuned to find out.

“Fox on the Run” – Sweet

This track is a precursor to the sugar-pop metal that over-saturated the ‘80s. Originally released in 1975, it was a chart topper in both the U.K. and the U.S.. The song is filled with double-meanings of a sexual nature as most of their songs were. This particular version sung live isn’t different musically from the studio edition – but it is free. So if songs like Warrant’s “Cherry Pie” is your cup-of-tea, try the founders of this heavy metal/pop sound.

“Sioux Arrow” – Point Juncture Wa

If it were not for the driving drumbeat played throughout, this would be an exceptionally boring tune. The lyrics of this track sound as if they are hiding behind the instruments; which makes them lackluster and anemic. What could have been a strong message song turns out limp and uninteresting.

“Dig, Lazarus, Dig!!!” – Nick Cave & The Bad Seeds

This is an intelligent track that theorizes what would happen if Lazarus (“Larry”) was around today. The lyrical narrative follows a man who winds up having orgies, hearing chants of a shady nature and eventually dies worse off than before. This is the type of song that makes you want to listen to the entire album – if for nothing else than to hear what else Nick Cave comes up with to sing about.

“The Journey” – Dolores O’Riordan

The beat and musical arrangement are reminiscent of O’Riordan’s former band The Cranberries.  However, it is not as unforgettable as songs like “Zombie.” Instead it’s more of a middle-of-the-road type tune that doesn’t have any emotional resonance.

“True Stories” – Datarock

The mix of electronics and the speed at which the lyrics are sung make it difficult to comprehend how this can be considered a dance track. That being said “True Stories” is the perfect song to be played in the background – it’s not annoying or intrusive. Not bad for a free download.

“Hey Ya” – Booker T.

Instead of trying to reinvent an already well done song, Booker T. leaves the familiar arrangement alone. You’ll find yourself smiling and bopping your head to this refreshing, rocking/soulful track. It’s definitely worth your time.

Album Commentary: Flying Machines

Flying Machines is a New York City-based band with an alternative-rock sound. The album is an eclectic mix of influences that at times come out uneven at best. However, there are several gems that make their self-titled album something worth listening to.

“Talk About It”

The amazing guitar riff at the beginning of this song is the start to what you think is going to be a great listening experience – then lead singer William Ryan George chimes in, ruining the effect. If this track had no words or if the lyrics were executed by a better singer, this would be an amazing tune. Instead, the song is watered down.

“On a Whim”
The musicianship of this track is exceptional. The musical arrangement and lyrics are also solid and fit together nicely. However this song is marred again by George. At times he sounds as if he is singing underwater and is attempting to outrun the track at the same time. It makes for another unpleasant listening experience.

“I Can’t Stop”
Everything comes together on this track. The singer sings in time with the music and the multilayered arrangement of both lyrics and instruments blend well together. No one is fighting for supremacy here and there are amazing guitar solos that melt seamlessly into the harmonies of the chorus.

“I Don’t Remember Why”
What could have been a hopelessly corny song is saved by a melody where the guitar playing is prominent. Drums and the piano come into play to help energize the song and drive the narrative forward at the same time. Essentially, it is a well rounded tune that doesn’t become self-indulgent or overstated.

“Stay”
Another potentially disastrous syrupy song is saved by the musicianship of this band. The guitar and drum playing make this a rock song with slightly pitiful lyrics instead of whiny and annoying. The deep harmonies also work well with this track. However, it does drag on a minute too long.

“Gina, Don’t Call Me”
The guitar playing of John Wlaysewski is once again the star of this track. But the lyrics stand up to the musicianship this time. At times though the singer’s voice cracks which breaks the momentum of the song, but it is a minor inconvenience that can be overlooked. As a complete package, the song works well and tells a story that will have the listener interested in how Gina’s life turns out.

“Patterns”
This is a solid track where the lyrics, instruments and arrangement work together nicely. The guitar playing and piano are the stars of this track. The interplay between these instruments also makes this song one of the best off the album.

“Video Games”
The song sounds disjointed and that doesn’t bode well for a track that is over four minutes long. If this is an experiment in how to make an unlistenable song, then the Flying Machines have succeeded.

“Hopelessly Alone”
This track simply rocks. With its overlapping harmonies and well-executed playing, the Flying Machines have created something that sounds familiar and original at the same time. The musicianship draws you in and makes you listen to the unfolding narrative – you can’t wait to hear what happens next.

“Clearing the Boards”
This album ends on a high note. Although it is over five minutes long you won’t mind listening to this well done track. It’s a nice showcase of the band’s talents – all the instruments have solos and then come together until the fade out. The inventive way in which this band ended this album will resonate with the listener in a good way.

Ultimately, the end result is something worth waiting for.

“What We Talkin About” is a Kanye West/No ID produced tune that encapsulates everything Jay-Z has learned about being a vocal stylist. His rhymes are in no way pedestrian as he bolsters why he has survived the rap game and how he will continue to rule. The musicianship and background singers add to the swagger that is well deserved. Another Kanye/No ID production, “Thank You” shows that lesser rappers destroy themselves and can’t compare to the ingenuity that Jay-Z has. It’s one of those songs that is sure to become an anthem for celebrating individuality and uniqueness.

As the “Only rapper to rewrite history without a pen” with sampled music from “In the Space” the track “D.O.A. (Death of Auto-Tune)” Jay-Z calls out the over-saturation of the use of Auto-Tune in the music industry. It is another example of his ability to collaborate and comment on the issues going on in the music world – and make you like it at the same time.

“Run This Town” is an infectious tune that features Rihanna and Kanye West. Another showcase of how Jay-Z is fulfilling his master plan by having everyone rap his lyrics. Having Rianna bookend the raps of Jay-Z and West gives the ability of the chorus to be repeated several times without making the song sound monotonous – while at the same time having you remember the track long after it’s over.

Just when you think that that there is bound to be a dud on this album “Empire State of Mind,” featuring Alicia Keys comes up. Jay-Z has this unique way of choosing rarely heard samples that support his lyrics. In this case his collaboration with Keys’ and the arrangement used in the song “Love on a Two Way Street” garners a rare thing in rap and not the usual overused sampling of songs that sound like it should be on a car commercial.

With all these collaborations, you’d think that Jay-Z would be lost by the time you get to the track “Real as it Gets,” but that’s not the case. Even with Jeezy being prominently featured, you never forget that this is Jay-Z’s album. His presence is that overwhelming- in a good way. The track is your usual fare of well done rhymes, and although it’s not revolutionary, it’s not stale either. A solid song done by Jay-Z is better than some rappers’ A games.

“On to the Next One” will have you bopping your head and have you singing along. With the line of the titled track being constantly repeated you won’t be going “On to the Next One,” instead you’ll be rewinding to listen to it again. The same goes for “Off That.” The beat will have you grooving and if you’re in the car, turn that jam up so everyone can appreciate. “A Star is Born” is an unusual in the way in which Jay-Z reflects on the recent history of rap music and what it takes to survive as an artist in the music world.

Surprisingly, “Venus vs. Mars” produced by Timbaland, is one of the weakest songs on the album in that it sounds too similar to LL Cool J’s “Doin It.” However, the album gets back on track with “Already Home.”The sample of “Mad Mad Ivy” by Gladdy Allstars once again complements Jay-Z’s rhyming style well.
It’s as if the music was arranged solely for the lyrics.

Yes, rap music, especially when done by someone the likes of Jay-Z, can be original too.

Due to that originality, the crazy amount of talent on the album and the depth of these tunes, Jay-Z’s “Blueprint 3” offers a variety of enjoyable songs that you will be listening to for years to come.

You might think that with producer Clive Davis and artists such as Alicia Keys writing the tunes, this album couldn’t miss. It is a formula for success: Legendary producer + talented writers and musicians= hit album. However, the key to this formula, which is the singing talent, is missing. Houston’s voice is not what it once was.

The arrangements in songs such as “Worth It” attempt to hide her lackluster vocals, and when Houston’s voice begins to crack, the background vocalists and harmonies are there to mask it, making the song sound as if it should have been produced for a group rather than a solo artist. “Call You Tonight” is a decent track, but it goes on 30 seconds too long. The fadeout will have you looking at your I-Pod to try to figure out if you’re hearing the end of this song or the beginning of “I Look to You.” Incidentally, the demo of “I Look to You” sounded much better than the studio version. Whoever sang on that demo deserves a record deal.

The lyrics of the title track “I Look to You” and “A Song For You” come across as syrupy – in a bad way. Instead of a tribute to her fans, both songs handled by Houston lack the powerful punch that she gave mediocre tracks on previous albums.

“Salute” is yet another disappointing song that sounds like the watered-down version of “I Learned From The Best.” Added into that track are LL Cool J’s lyrics (“Don’t call it a comeback/I’ve been here for years”), which are supposed to turn it into an anthem of empowerment. Instead, it turns into an awkward moment for the listener – you begin to cringe to think if, to top off this lackluster album, she’s going to end it by rapping (thankfully, this isn’t the case).

Actually, all the songs sound like lesser versions of Houston’s previous hits. The duet with Akon is the best song on the record. Toward the end, Houston hits a high note reminiscent of “I Have Nothing” from the “Bodyguard” soundtrack. Unfortunately, it’s the only high note here.

Essentially, Houston’s voice is gone. She is no longer capable of successfully telling a story through song. The large talented cast that Davis assembled to help Houston with her comeback cannot cover the seemingly irreversible damage done to her voice. After her appearance on “Good Morning America,” it is not clear if Houston should tour to promote this album. After all, the three songs she tried to sing live revealed what the studio album unsuccessfully attempted to keep under wraps. Perhaps Houston should have taken more time to rehab her voice before trying for a comeback.

Everyone from Donna Karan to Versace are displayed, however, they are put into a sublime context when you start reading.

Oh yes, you will be reading. This isn’t the type of magazine that you flip through at your local bookstore. The essays on fashion range from “The Degeneration of Fashion” to the business end, never forgetting that clothing is the focal point. What makes this magazine original is that there is a theme that is brought across throughout both the writing and photographs. It is rare to see this in a fashion magazine. Usually, they show the latest trends and how you should wear them. What Depesha does is create a narrative that attempts to contextualize how we see clothes. The articles are not lighthearted. From the beginning, you are introduced into a world that does not demean itself with fluff pieces or inane photos. When the editor-in-chief is breaking down the use of the word “evil” and successfully relates it to fashion, then you know you’re in for a wild ride.

The photographs match the writing point-for-point. They startle and grasp your attention right away. Early on, there are depictions of women that allude to how fashion has dictated their lives. Has it corrupted them to the point that you are viewing them as their true selves, or have the evils of fashion taken over their souls? Further on there are full-page spreads that propel the narrative. They are striking in the use of colors, shade and lighting.

You can’t help but look at them. However, the magazine always remembers that it is about fashion. Several fashion layouts show wearable clothing that any woman can envision herself wearing. The models aren’t all rake thin, and the myriad of styles gives this magazine reread value. You will find yourself poring over the articles and pictures several times over – it’s that well done.

There is a sense of elitism in reading Depesha, and that’s a good thing – any publication that offers a satisfying read from beginning to end in one sitting deserves to have an air of superiority.

What does fashion mean? How does the way I wear clothes affect my life, and who dictates fashion sense? Has the business of fashion overtaken the artistry, and has it done so at the expense of the designer? Seldom have questions this thought-provoking come up when reading a magazine, much less one devoted to fashion. Currently Depesha is an Internet publication, which further shows that they are cutting-edge and are taking full advantage of the electronic age. So check out their virtual publication – it will be well worth the effort.

This tune has a light reggae beat that will make you smile. Rushton does try too hard to put more emotion than necessary in the simple lyrics, but that is easily forgivable. Yes the words are hokey, but it is still a welcome surprise from the Hannah Montana film soundtrack.

“Lower the Boom (featuring Pigeon, John & Akil from Jurassic 5)” – Sareem Poems

The beginning of this track sounds like a disorganized mess in the very beginning, but stick with it. It isn’t revolutionary rap; however the beat is well matched with the rhymes, which makes this song palatable.

“State Lines” – Matt Hires

Hires treads familiar ground of The Dave Mathews Band in a good way. The musicianship is tight and his vocal arrangements cause the listener to experience everything that is being sung. He has the capability of packing a subtle emotional punch with his lyrics. Metaphors abound in this track in a way that someone is desperately pleading with their lover to hang in there and stick with the relationship. You wind up rooting for the couple to make it. It is a rare talent to have someone get you emotionally invested in a song that is barely 3 minutes. Well worth a listen.

“BBQ Party” – Shonen Knife

For a group who has experienced various incarnations and has been around since the early ‘80s, Shonen Knife is showing no signs of slowing down with this song off their latest album Super Group. This track is exactly what the title describes – a backyard celebration that includes fried tofu. It’s their trademark sound – happy with a slow burn rhythm that flawlessly diverges into a driving fast beat. This tune will definitely leave you with a smile on your face.

“Robin” – Soy Un Caballo

This easy listening track is reminiscent of The Mama’s and Papa’s “Monday, Monday.” Its style consists of subtle musical arrangements punctuated with the lyrics sung in French. Not knowing the language doesn’t take away from the listener enjoying the track which lulls and relaxes you. In essence it’s a pleasant track that is worth your time.

“One at a Time” Cale Parks

“One at a Time” is a forgettable song with nothing new to offer. It suffers from wanting to be something relevant. Instead it has no presence and for something that has nothing to say it shouldn’t be over four minutes long.

“Exposition” – Eldar Djangirov

Whether or not you like jazz, you’ll love this track. The arrangement makes every instrument sound refreshingly new – as if you are hearing the piano and horns for the first time. It is a wild, enthusiastic ride filled with talented musicality. Quickly download this before the-powers-that-be know what they are giving away.

The fun begins when you insert the disc the first time – your Mii has to jump out of a plane to begin the game. Doing this makes you realize that this is no ordinary multi-sports game. As you find other Miis to holds hands and safely land on the island of Wuhu, you start to get a sense of everything there. The graphics are top notch, the color is rich and the motion control gives you a better range of motion, which is especially helpful with sports like table tennis and basketball.
Speaking of which, there are 12 activities that will give you hours of fun gameplay. Besides the aforementioned games, there’s swordplay, wakeboarding, Frisbee, archery, golf, bowling, power cruising, canoeing, cycling and air sports. Each game has a series of levels and challenges that will keep both the average and experienced gamer going at it for hours.

The swordplay game alone has three levels (beginner to intermediate). With each level, there are also new challenges to face. The levels of difficulties will have you feeling like swordsman or a Jedi Knight while playing. At one point in the beginner level (once “swordplay showdown” opens up as a fighting option), you have to fight a rush of oncoming swordsmen before your hearts run out. It’s fast and furious and takes some game planning, since the Miis you are face get tougher to beat at each level. Once you get over the miis running toward you en masse, though, you’re able to fully enjoy yourself.

Don’t get too cocky – there are 10 stages you must go through on the beginner level alone, so strategize wisely. If you happen to be defeated during one and you decide to play again, the time of day also changes, which adds another element to the game. It could be morning, dusk or night, and you still have to get through the level before another area opens up for you.

As instructions go, Wii Resort is top notch. You don’t need to crack open the instruction booklet to know how to assemble the motion control that comes with the game. There is a short tutorial that instructs you on how to calibrate and handle your motion remote. There are also instructions on how to connect the Wii Nunchuk.

In between gameplay, there will be popups before your sport starts, reminding you how to recalibrate and handle your remote. These tips are helpful reminders, particularly for sword fighting and golfing. There are also tutorials when you play each game for the first time, and whenever you want to remind yourself about the finer points of each activity, you can always press the minus sign (-) on your remote.

What makes this game eerily prolific is the popup that suggests you take a break. You should heed this advice, as you may soon suddenly find yourself completely missing the target in the third stage of the archery challenge – twice.

Although there might be one or two duds (air sports has a tricky learning curve that might leave you frustrated), take heart – they’re pretty minor and can be easily overlooked. All in all, “Wii Sports Resort” is a solid game that has activities that you can enjoy alone or with a group. So practice your three-point shot, work on your golf swing or perfect your power cruising skills with your friends in your living room – any activity you choose is bound to be fun.

Wii Sports Resort continues the ever-growing legacy of the Wii Sports franchise by offering more games than ever before, trumping all other mini-game offerings on the system in the process. New games like basketball and fencing are responsive and fun, in spite of not offering much as far as a deep gameplay experience. Nonetheless, they are great at parties and play even better with friends.

This essentially is what the original Wii Sports was all about and it’s great that Nintendo managed to stick to its roots here, while still going out on a ledge with some of the new sports.

Wakeboarding for example is an enjoyable little romp, especially when you get used to the controls. The same thing goes for some of the air sports, which require a bit more patience. Of all the new sports though, Archery is by far the best, as it uses both the nunchuck and Wii-mote in a way that mirrors the real thing. The difficulty level is tough, but the satisfaction gained from it is worth it.

By all estimations, this is what “Link’s Cross-Bow Training” could have been.

However, the best reason to play are the improvements made to the old games, particularly bowling and ping pong. Bowling was easily the best game on Wii Sports and thanks to Nintendo’s Wii-Motion Plus accessory, balls with hook with more realism and make for a much better overall game. Ping Pong, which was a disaster on Wii-Play, has also been fine-tuned and feels as close to the real thing as possible.

Because of this, the mini-game nature of “Wii Sports Resort” is a resounding success and makes it a must own title for the system.

-Patrick Hickey Jr.

The witty banter is there, too.  Dresden and the other characters are known for their snide remarks, intelligence and deep, thought-provoking ideas (sometimes all at once in the middle of battle).  However, it is the artwork of Ardian Syaf and his team that help realize what readers of the original series have been imagining all along.

As Lieutenant Murphy gets an assessment of the crime scene from Sergeant Carmichael, the pace is quicker than a regular book when we get to view the looks on their faces.  We see Murphy’s glacial stare and Carmichael’s mundane sarcasm just as the reader would picture it.  But the best of all is seeing Harry Dresden fully realized.

The comic-book format is perfect for a character like Dresden.  The novel comes further to life as the audience finally gets to see the long leather coat that he wears year-round.  There’s also his staff and other magical implements that are being constantly referred to in the books.  But what is most impressive is when we get to see Harry at work – he is a wizard, after all, and that means that he does a considerable amount of magic to solve his cases.

In the beginning of the novel, he’s finishing up an assignment.  Here he’s battling a particularly nasty, bestial-looking thing.  It’s huge and ugly, and fits in perfectly in Dresden’s world.  Here is where Butcher gives us the comedic, informative narrative while Syaf and company offer visuals that are familiar to avid readers of the novels.

It’s also the sort of artwork that is not your usual magic spell come to life.  In one, when Bob the Skull and Dresden are conferring about his current case, we see that the symbols actually mean something.  The same goes for the spells that get cast throughout the story.  Butcher and Syaf show their knowledge and how detail-oriented they are.  These scenes could have easily turned into something unbelievable; instead, what this collaborating team does so successfully is make the impossible real.

Butcher has a knack for blending the supernatural into the “real” world.  He makes Chicago a backdrop for a place that needs a wizard-detective.  Dresden chases (and is chased by) the supernatural, the Chicago police department hates working with him and even Murphy, who in the novels is more friend than foe, doesn’t want to call on him.  When you call on Dresden, it means that the Boogeyman has escaped your dreams and has manifested itself in the middle of your nice, quiet neighborhood.  He deals with the things that people can’t face.  And we see in flashbacks why he is equipped to handle them.

Butcher’s novels have more than enough material to draw from to keep a graphic-novel series running.  In this first installment, the reader is only introduced to a tiny speck of the Dresden universe.  There’s the vampire half brother, a mythical dog, not to mention the gangsters that run the town and the Council that is alluded to throughout the story.  For those who have read the books, do not fear – “Welcome to the Jungle” has an original plot, so those following the series can enjoy new stories about this enigmatic character.

The main storyline will keep you on the edge of your seat with its twists and surprises. Taking place right after Daredevil 119, Matt Murdock is in the middle of intersecting quandaries. It seems that he has teamed up with longtime nemesis Wilson Fisk (Kingpin) to defeat The Hand. Old ghosts are involved (No Elektra, but you won’t miss her); new enemies and allies are formed. Old friendships are set aside for the greater good and through it all, Murdock doesn’t disappoint.

His journey is a painful one, and this narrative forces the reader to be emotionally vested in what Daredevil has to face. And Ed Brubaker makes you like it.

The writing here is top notch. Opening scenes are set up as vignettes to help the reader put the pieces of the puzzle of the story together without giving away the major plot. Izo whose back story is told in the beginning is the sensei that Murdock needs to take on his next challenge. He acts as Murdock’s higher-self by constantly reminding him what he has to do – it’s done with a dry, quick wit that makes you hope Izo hangs around for awhile.

The artwork is also exceptional. Michael Lark and his team of inkers and letterers draw you into Daredevil’s world. You experience every rooftop jump and see every drop of blood spilled. This is what makes comics the perfect medium for storytelling. By having these two forms blend beautifully together we see a man struggle on a journey and no imaginary visualization by the reader can compare to what is drawn on these pages.
As amazing as this tale is, it is only the first of a four-part issue. This book is filled with a plethora of stories and artwork as enjoyable if not more so than the conclusion of “The Return of the King”.

Part 2 is a preview of the “Dark Reign” saga and it will have you salivating for the next issue. Part 3 has a poignantly well-written tale regarding one of his past battles. The pin-up gallery is some of the most amazing depictions of Daredevil. There is one picture in particular where he has no costume on and you see every bruise and scar – figuratively as well as literally. It shows just how much his battles have cost him.  The last story is a reprint of Daredevil 191.  Written by Frank Miller, it is the perfect bookend for the 500th issue. It’s one of those heart- wrenching tales that Miller is infamous for. The last part of the comic shows all the covers from Daredevil 1 to the “Return of the King” issues.

There are several variant wraparound covers that are well done. However, the one with Daredevil in his three incarnations with his villain gallery seemingly on the verge of engulfing him is the most vibrant and revealing.
Daredevil’s 500th issue is a revealing look at a character who is blind, not a mutant and whose martial arts skills and intellect have helped him fight crime. That’s a feat that can only be done by a man without fear. Here’s to at least 500 more well written and inked stories.

Cree Summer – Although Summer is best known for the character Freddie Brooks on “A Different World,” she is also a talented singer/songwriter. Released in 1999, her debut album Street Faerie (co-produced with Lenny Kravitz) was not as successful as it should have been. With a mixture of sociopolitical songs backed up to melodies reminiscent of Al Green, Summer’s album unfortunately did not get the airplay that it deserved. Since then she has not released another album and has done mostly voice over work for cartoons and video games. Perhaps if given another chance Summer will be able to release another album like Street Faerie.

Whitney Houston – 1999 was Houston’s year. She was on a world tour promoting her album “My Love is Your Love,” which gave birth to a string of hits. Four songs from the album were in the top ten on various musical charts ranging from R&B to billboard – and her single “It’s Not Right, But It’s Okay” won Houston a Grammy. Then her life took a downturn. Between the drug use and the marriage to Bobby Brown, Houston’s voice is not the power house it once was. However, the single from her new album sounds promising – and although she seems not to be able to hit the notes she did with songs like “I Have Nothing,” she is showing that she is still a force to be reckoned with.

Melissa Etheridge – Etheridge was riding high musically in the ’90s. In 1999, she released the album “Breakdown” which gave birth to two hits that took turns up and down a myriad of music charts.  Etheridge writes and sings from her experiences and that’s what makes this album so heart-wrenching to listen to. The title song is particularly hard to listen to, yet because of the amazing musicianship, you are compelled to listen to the song and the rest of the album. Her acoustic guitar brings to life every emotion and heartbreak in each track. Surprisingly, little of this album is known to all but the hardcore Etheridge fan.  Perhaps a rer-elease is in order.

TLC – T-Boz, Left Eye and Chilli had hip/hop R&B magic. With a string of hits and bankruptcy behind them, the album “Fan mail” helped establish them as a powerful girl group who had something to say.  The album spawned four hits and numerous awards. The biggest hit of their career (“No Scrubs”) was among them. This track was the summer anthem for every woman who knew some man that was constantly “Hanging out the passenger side/Of his best friend’s ride/Trying to holler at me.” Incidentally, it was co-written by Kandi Burress (member of the girl group XScape) who is working on a solo album and is currently on the “Housewives of Atlanta.” Unfortunately, Lisa Left Eye Lopes was killed in a car crash and the band has never been the same. It is a shame, but the group has left us with music written for their fans.

Deborah Cox – R&B exploded in 1999 and Cox’s album One Wish was no exception. The album was extremely successful because of the song “Nobody’s Supposed to be Here.” Cox showed a range that was only hinted at on her previous album.  From that successful album to the current one, Cox has been releasing albums and touring to promote them as well as working on her acting skills. In 2004, she portrayed the title role in Aida on Broadway. Ten years after the release of One Wish her newest release album The Promise is currently stalling on the charts. The single “Did You Ever Love Me” is standard R&B fare, but we will have to wait and see how these tracks will do on the charts.

Britney Spears – Splashed onto the music scene with “Baby One More Time”.  Her music video that companion-ed the song gave birth to a new generation of the teenage demographic.  Since Spears first song the phrase tweens has been synonymous with the bubble-gum pop that Spears began her recording career performing.  In 2009 after the shaved hair incident, baby-father drama, and her fortune being over-seen by her father, Spears is currently on tour promoting her latest album Circus. Apt title.

Christina Aguilera – What a voice. In 1999, Aguilera came out with the self-titled album that featured her first big hit “Genie in a Bottle”. Her hair and clothing styles have gone through various incarnations, but the powerful voice has remained.  Currently Aguilera is working on a yet to be titled album set for release in the fall. She is yet another songstress who will be celebrating a milestone.

Shakira – This crossover singer attempted to conquer the music scene in 1999. With the album Donde Estan Los Ladrones burning up the charts all over the world, Shakira released an MTV Unplugged album that showcased her voice and her versatility as an artist. Though some may disagree on her talent, they cannot argue about the impact she has had on the last decade. At this time, Shakira is promoting her newest album She Wolf and is working on an all Spanish album set for a 2010 release.

Faith Evans – Known more for her brief marriage to the Notorious BIG, Evans has a voice that is reminiscent of singers such as Aretha Franklin. Her song-styling played over a hip hop track or singing alongside Whitney Houston on the 1999 hit single “Heartbreak Hotel” shows that Evans is a vocalist to be reckoned with.  Although released in 1998, Evans’ album Keep the Faith garnished several hits in 1999.  For the past 4 years she has been collaborating and guest-voicing on songs by other artists. She has also penned a memoir, showing that she is more than the widow of Christopher Wallace. It is unknown if she is planning to go into the studio anytime soon.

Dido – Seems to be the soundtrack queen. Through a series of delays her album No Angel wasn’t released until 1998. However in 1999 with the release of the hit single “Thank You”, Dido became known to the American audience. Eminem did help expose her further to the U.S.  when he sampled snippets from “Thank You” on his crossover hit single “Stan”. Since then Dido’s songs have been featured on soundtracks for shows such as Buffy the Vampire Slayer. Her next album will be out in 2010.

These entertainers have given their listening audiences hours of musical entertainment. Some are still plugging away in the business and for those who no longer pursue the musical route, we wish you a speedy return. Either way your fans are eager to see what is in store for these amazing women.

The story opens directly after the secret war involving the Skrulls. It seems that whatever the Skrulls have done to Jessica Drew, she has now replaced Wolverine as “the most screwed over human in the history of the entire world.” She is then recruited by S.W.O.R.D. (Sentient World Observation and Response Department) operative Abigail Brand (Stephanie K. Thomas) who claims that aliens shouldn’t be allowed to be on Earth. Brand wants Spider-Woman to hunt down alien life – particularly Skrulls – and take care of them by any means necessary. From there, Drew is headed to Madripoor to fulfill her first mission.

The plot is well thought-out. Michael Bendis uses Drew’s history to flesh out the current storyline. From the references to Wolverine to her first assignment, we see that this isn’t a reinvention of Spider-Woman. No, what Bendis does is use Drew’s job as a private detective, her previous life in Madripoor and the trauma she suffered at the hands of the Skrulls to begin a new chapter in a continuing story – and a well done one, at that.

As motion comics go, this isn’t a rehash of a miniseries or a previous successful storyline set to music with questionable voice acting; instead, it is something completely new. The storyline is original and with the first issue being launched online, will be viewed by a much broader audience by catching the casual comic-book reader as well as Spider-Woman fans.

It is only 10 minutes long and you will find yourself viewing it repeatedly because there will be things that you will miss. Because of Alex Maleev’s artwork and motion done by Motherland, it will by no means bore you. What it will do is make you wonder how this team brought a concept originally meant for the page have so much life. Part of the credit for successfully pulling this idea off, needs to go to the voice actors Nicolette Reed (Spider-Woman), Thomas and Geoff Boothby, who make this motion comic so convincing.

Reed has the perfect English accent. Reading the comics, audiences tend to forget the origins of Spider-Woman. The voice in your head undoubtedly carries the enunciation of wherever you are from. But with Reed’s inflections and tones, it makes her delivery believe that we are dealing with one of the most tormented beings in Marvel. Thomas also has the perfect liaison type of annoyance in her voice that a reader finds on the page. For every piece of information Brand gives Drew, you know that she is holding something back.

Music and the background sounds in different scenes can also kill a great concept or help it soar. In this case, both are perfectly appropriate to each scene. In the opening, when Drew is having her quiet meltdown, the music aptly emphasizes her state of mind. Also once she is in Madripoor, both music and the noises of the country are in tune with each other – making the scenes real and vivid.

Perhaps audiences have been over-saturated with the likes of the “X-Men” and poor incarnations of other Marvel characters in film that have popular comic titles. In that case, this new genre of media will shine a light on Marvel characters that have not had a chance for their voices to be heard. It is a great idea to get these characters, which have been minor players or dei ex machina off the shelf and give them stories of their own. And with Spider-Woman, there can be many stories to tell.

A talented scratch master who worked with the likes of Madonna, Papa Roach, Crazy Town, and Will Smith, few knew of his traumatic childhood and his battle with drugs.

According to Glamour Magazine, in his early 20s, Goldstein attempted to kill himself, but was able to overcome that low point in his life with help from family, friends and rehab. In the early 2000s, DJ AM dealt with his weight issue by having gastric bypass surgery. During that time, he also dated and was briefly engaged to Nicole Ritchie.

In 2008, he and Travis Barker of Blink 182 survived a plane crash that killed four people. AM quickly got back to work and up until his death did promotion for an upcoming series he hosted – having teens deal with their drug addictions.

According to the Associated press, when found by police Goldstein was ironically surrounded by drug paraphernalia. There was no evidence of foul play.

Although he met an unfortunate end, DJ AM should be best remembered for his musical collaborations that brought his fans so much pleasure, rather than the uncertainty surrounding his death.

They have a plethora of well-known meals and their deluxe platters are filling and tasty.

In particular, their Wyoming deluxe burger platter is some of the best work food-wise that has ever been experienced by this writer. You can order it any way you like from rare to well done without a hassle. Once you receive your meal, placed before you is a mixture of textures that will be a comfort to your palate. The well-done burger comes to you on a toasted bun. In the case of the Wyoming burger, the BBQ sauce and bacon are placed on the side – enabling you to build your meal to your satisfaction.  However, what makes this deluxe platter special are the fries. They are cut in the perfect shape – being neither limp nor oily. They have the perfect crispness that can be eaten alone or with the ketchup provided.

Besides burgers, Purity Diner has an eclectic menu that also serves people who are watching their weight. Their vegetarian burger is particularly well made with real vegetables and not a meat substitute. It was refreshing to see real peas and carrots instead of a beige patty. This burger was also well seasoned and not the usual bland fare of “healthy food.”

The Diner also serves breakfast at any time of the day. Which is a welcoming revelation ,considering that most fast food places stop serving breakfast at a specific time. Prices on the different foods range from $5 to $20, depending on what you order.  Another plus is that you’re able to customize most meals to your taste, which gives you the flexibility to retry your favorites without getting bored.  Best of all is that the fountain drinks are not watered down.

The atmosphere is pleasant and the waiting staff is ready to cater to you in a non-intrusive way.  Though small, depending on your party size, there are a variety of seating arrangements that will favor one to eight customers at a table.  Be forewarned though, the booths are on the small side and do not provide enough leg room for two tall people to sit comfortably, even when they are opposite each other.

In spite of those minor comfort issues, the eating experience at the Purity Diner is well worth the effort.  Conveniently in the middle of a vibrant shopping area as well, this place is a nice way to top off a day trip in Brooklyn.

“Hoops and Leather Boots” – Brian Glaze

Remember those songs you made up when you were ten? You and your friends would try to come up with as many words as you could think of in a certain amount of time. There would be no rhyme or reason – just fit every unrelated word in. Well whoever loses should have to listen to this track. It is a misuse of the instruments involved and the lyrics “Do Me” are mind-numbingly repeated. In essence, it’s an awful mess that needs to be reworked. Skip it.

“Ancestors” – Throw Me The Statue

Strong musicianship highlights this heavily guitar-laden track. The words make sense and the instruments complement the storyline of the song. Everything gels which makes you wish this song was longer than four minutes. Definitely worth the free download.

“Find You Out” – RJD2

With the album title “Your Face or Your Kneecaps,” how could you not download this free track? This song is a refreshing taste from the hip-hop genre. The lyrics are tight and blend superbly with the instrumentals in the song. Depending on your mood you might dance to it or just sit back and listen – it’s just that versatile a track.

“Those Girls” – Kinky featuring Randy

With this track Kinky is straddling the fence between barely listenable and annoying. The electronics in this song cause it to sound like a backdrop for a commercial. Heard in a 30-second snippet might help this tune, however, as a free download it just isn’t worth it.

“I Gave It Up” – J. Moss

Moss’ background is steeped in the gospel tradition. A driving hip/hop beat coupled with inspirational lyrics enhances this grooving Christian track. Reminiscent of Kirk Franklin and Salt’s (Salt and Pepa’s) collaboration “Stomp”, this song will get you moving. Regardless of the in-your-face religious lyrics, this song is worth a listen.

“Goin Thru Changes” – Ledisi

From her fifth album (Turn Me Loose) “Goin Thru Changes” is not your usual free download. Its masterful R&B flow is reminiscent of Gladys Knight and Chaka Kahn. With all of Ledisi’s success as a vocal artist, she still seems to be under the radar. Hopefully this song will expose her lyrical skills to an audience who rarely listen to R&B.

“Chalk Lines” – Division Day

Division Day’s attempt at some-sort experimentation with sound comes across as a migraine-inducing noise fest. And it doesn’t help that the lead singer of this band sounds as if he is singing under water. To add insult to injury the song never gels, which makes the monotonous, constant pounding on instruments seem endless. This is a poor choice for a free download from a band that has an innovative listenable sound. Download “Littleblood” from their album Beartrap Island to get the pain out of your ears of this track.

I decided to check out the first episode. It is a slow build. The first 10 minutes introduce the key characters.  Dr. Tom Jackman (James Nesbitt) reveals the premise of the show by explaining to the psychiatric nurse he hired (Michelle Ryan) the reasons for the chair that looks like a torture device and the other accoutrements that are in the house he rented. Jackman then proceeds to his house where the changes are occurring more frequently. He rushes away from his wife and twins – that’s when the fun begins.

Not having a name at first, Hyde appears on the scene. He’s everything that Jackman’s not.  Hyde is taller, uninhibited and prone to violence. The change is subtle. Through a slight alteration in hairline and lifts in his shoes, Jackman is transformed into Hyde.

However, it is Nesbitt’s performance that makes you see two completely different people on the screen.  As Jackman, Nesbitt shows a repression that is so annoyingly dull, you wonder how he ever got a wife and children in the first place. When it comes to Hyde, Nesbitt lets loose and gives himself free reign to explore his sexual and violent nature.

The plot becomes even more interesting when the private detective hired by his wife helps him realize what is happening to him. Essentially, Jackman has no past, yet he is somehow related to Dr. Jekyll from Robert Louis Stevenson’s novella, “Dr. Jekyll and Mr. Hyde.”

It seems that Stevenson based his tale on an actual person who was about the same age as Jackman is now.  Then, there is that black van that continuously follows him and a secret organization that has plans for both Jackman and Hyde.  As the hour unfolds, Jackman becomes less uptight and Hyde’s bestial side is emphasized.  This is done more through the witty script by Steven Moffat than anything else.

What is also stressed is that both Jackman and Hyde are two distinct people. As the detective breaks it down for him – each man has his own needs and desires that are independent of each other. Although Hyde is less inhibited, he is not solely the id of Jackman, screaming to be free. This also reveals how truth is stranger and, in this case, more frightening than fiction.

It seems that Stevenson toned down both Jekyll and Hyde. There is no potion and the transformation is instantaneous.  One moment, you’re talking to Jackman. The next thing you know, this man with jagged teeth and a short tempter is standing front of you and leering at you as if you are his prey.

Nesbitt was nominated for a Golden Globe for this role. From seeing the pilot episode, one can see why. However, this isn’t a one man show. The psychiatric nurse, who seems to be falling for Jackman, Michelle Ryan, delivers her lines with dry wit. The detective, Meera Syal and her assistant/lover Fenella Woolgar have a rapport that gives their scenes both comedic levity and poignant moments to the pilot episode.

His wife, played by Gina Bellman (Leverage), gives us the only insight as to how Jackman was before the dominance of Hyde emerged. At the end of the episode, we have more questions than answers. There is a mystery that we want to see unfold, relationships to be explored and what purpose the minor characters will have in the coming episodes. The series ended after six shows, but fortunately all of them can be viewed on the Instant Queue.

Sometimes it’s worth checking something out that you would not have taken notice of before.  Thanks to the Queue, I’ve found a new series to satiate my hunger – at least for awhile.

In this trade paperback, the opening panels are drawn in subtle, ominous colors with very little dialogue.  Then all hell breaks loose.  We learn that a secret sect and Hitler’s agents are both after a suit that could bring to the one who possesses it world domination. Johnson intercedes and temporarily saves the man’s life who’s wearing the suit.  This story never loses its momentum, even with the interludes between the chapters that tell of The Lobster’s “true origins.” Mignola enjoys playing with urban myth, pulp fiction, and bad films of the ’40s and ‘50s during these breaks from the action.

Once the reader is back to the storyline, the thrill ride is non-stop. We are taken from Johnson’s underground hideout to New Jersey, where we see how he deals with mysticism, yetis, cannibals, German agents and a megalomaniac thrown in for good measure.

Each chapter reveals that luck plays an integral part in Johnson’s war against evil.  Mignola expertly does this by using the fight scenes against the nefarious characters that Johnson faces.  At one point, when Doctor Waxman comes out of nowhere (with steroid-looking goon in tow) to give Johnson a beat down, we see Johnson saved by the workings of the supernatural threat that towards the end of this adventure Johnson must face.  It’s a scene full of the action and witty-ironic banter reminiscent of the first Indiana Jones film.

Armstrong’s artwork along with Dave Stewart’s coloring visually places you in a setting in which Mignola’s writing and Clem Robins lettering helps you understand this world.  You breathe the air, your senses are completely in tune with your surroundings and every punch and kick that is given to our vigilante hero are felt.

Lobster Johnson is a throwback in the sense that he uses his fists and guns to handle his enemies.  It’s his way of doling out justice to the ones he deems deserves it.  And although he is a vigilante his decisions are never questionable.  No they are not always honorable, but he is not dealing with people who go by some honorary code.  His world is real and violent, which gives a sense of realism that Johnson just might not survive another encounter with one of his enemies.

At the end of the story, there are sketches of the characters and the hideout. They are interesting to note, but the collected series is the real reason to buy this trade.

This series could be in a movie trilogy in the same tone as Hellboy. Lobster Johnson deserves to have a film in his own right and not solely a side character who at times works for the B.P.R.D. (Bureau for Paranormal Research and Defense). In the animated film Johnson is alluded to and rumor has it that he might have a role in the third Hellboy film.

For now we have Lobster Johnson in print.  With his signature claw brand on his enemies’ forehead we can tell the good guys from the bad.  Here’s hoping that Johnson doesn’t have to come after you.

This amazing voice, which was silenced by cancer on Friday at the age of 75, will truly be missed.

As a founding member of The Flamingos and a member of The Dells (he replaced Johnny Funches in 1960 and remained an active member of the group) until his death, Carter was one of the foundingvoices of the rhythm and blues generation. The Dells have had a consistent string of hits that extended well into the 1980s (nearly 50 years with Carter) when they became creative consultants for the film “The Five Heartbeats.” The song they did for the soundtrack “A Heart is a House for Love” gave The Dells the rare distinction of having hit singles in nearly every decade since they originated.

If that isn’t a grand indication of Carter’s ability, consistency and stability as a performer, then perhaps his influence on the people that listened to his music is.
Without his and The Dells’ signature sound, it’s hard to imagine bands like the Stylistics, the Delfonics, Sha-Na-Na, and the Dramatics – and the phenomenal success of younger acts like New Edition, Boyz II Men, Backstreet Boys and N’Sync not only thriving, but existing in the first place.

Their signature song, “Oh What a Night,” in particular, shows Carter’s contribution to the Doo Wop sound.  Although not a belter, his quiet falsetto never had to compete with the other men in the group.

Instead, it created a perfect blending of emotions and at the same time, showed how his falsetto could be dominant, even in the fade out at the end of the song. His vocal talent was not surprising however, especially considering that he was inducted into the Rock and Roll Hall of Fame as a member of the two groups to which he had contributed so much.

Much to the satisfaction of his most hardcore fans, Flash is as brazen and rash as ever. Coupled with his speed and charming personality, he acts first and never bothers to ask questions. In this feature, it’s Green Lantern who asks the questions and with Solovar, they attempt to stop Gorilla Grodd from destroying Central City. It’s Grod’s first stop on the road to world domination.

The two-part episodes are more light-hearted than the usual fare. When Grod lays down why the human race needs to be dominated, Flash, with his usual sophisticated and diplomatic air, begins to insult him. As Green Lantern gently reminds Flash of their precarious situation (Grod has the entire Central City under mind control), he leans over and says “Don’t heckle the super villain.”

This is the type of banter that made the series run so enjoyable. Towards the end of the second episode, we are also reminded that before Wally West became the Flash, he was a scientist.

It is rare that a well-plotted storyline is in an animated series, but that is what made the “Justice League” series so unique. The Flash goes from being a wisecracking bit player to a likeable key player and saving the world.

The second two-part episode on the disc features all seven of the Justice League members. It involves Lex Luthor in another attempt to take over the world, by first bringing together his own villain gallery in “Injustice for All.” It seems that the kryptonite Luthor threatened Superman with has turned against him and has given him an incurable deadly disease – so begins this action packed episode.

Luthor’s team matches the Justice League strength for strength; and the witty banter that’s missing from cartoons today also shows that animation is just another visual form of telling a well done story.

It also reveals the dynamics of the Justice League. West is the butt of everyone’s jokes as usual, Superman is his usual “super” self and the remaining team act accordingly. There is also an homage to the precursor to this series, “Super Friends,” that as a viewer of that series one finds hysterical.

However, being the only human with no “super powers” on the team leaves Batman vulnerable.  In this case, his pride gets in the way and causes him to be captured in the first episode.  There is a message here – the ultimate loner needs a team.  Once the Joker gets involved, Batman is captured and is stripped of his utility belt.  His intellect buys him time, but this show is called “Justice League,” not “Batman.” Of course, in the end, we see how every member of the team has an integral part to play.  As a team, the league predictably foils Luthor’s plan and gets to scheme another day.

The extras on this DVD also make purchasing it worthwhile. The behind the scenes of the “The Brave and the Bold” reveals the buddy movie motif and how effective a straight man Green Lantern is to the Flash. There is also a behind the scenes look at the storyboard and how the show is created.  A plethora of trailers for other WB shows, such as “The Batman,” “Codename Kids Next Door” and volume one of “Teen Titans” also appear.

It is also a nice look into the inside jokes of the production team, which gives insight that the viewer is not privy to when watching the reruns on Boomerang.  Perhaps the-powers-that-be will bring yet another reincarnation of these characters to the small screen.  With the sales of “Justice League: The Brave and the Bold” still going strong five years later, we see that there is a void that needs this type of cartoon again.

There are three judges who the audience is not familiar with who play an instrumental part in the show. Mayte Garcia (best known for belly dancing in Prince music videos) has been below the radar for several years. You wonder what Lisa Ann Walter is doing there until you find out that she is a professional dancer as well as an actress. And then there is dancer-choreographer Danny Teeson. With his brutal honesty, he takes no prisoners from day one. With unknown judges and a combined ripped-off premise from two successful shows, is there a place for “Dance Your A** Off?”

The beginning episodes are painful to watch. Here we have 12 people who need to lose a significant amount of weight. The weigh-ins are awkward and the dance rehearsals make the contestants look clumsy. Even Ruben with his dance experience was held back by his weight. However, there were heart-wrenching moments, as well.

The back stories of the contestants are weaved through each episode. We learn of Ruben’s lover’s battle to get well again, Pinky’s inability to join her brothers’ dance troupe because of her weight and others who were once thin and have used food as a way not to deal with the world.

There are also contestants who have never been thin and for the first time are realizing they can achieve anything they want – once they set a goal and relearn how to live their lives. It’s no wonder that the first episode gave Oxygen its largest rating to date.

To see large people who weigh 100 to 200 pounds more than they should dance to a song that lasts approximately two minutes was a hook that the audience could not ignore. What would they look like? Would they make total fools of themselves? How could we not tune in? Isn’t that America’s favorite pastime – to tear someone down or laugh at them, while eating ice cream on your couch? After all, you only have that baby weight to lose.

And while you and your 13-year-old “baby” watch people changing their lives, something happens. You realize that perhaps these 12 people are brave because they are willing to transform themselves in front of thousands of strangers.

While the back story of each contestant is pivotal to each episode, this show is at its best when the contestants are on the dance floor.

They learn and achieve things that they did not think was possible for their bodies to perform. Each episode has a theme, which is tackled by a contestant in a consistently entertaining fashion.

We see through rehearsals the professional dancers’ frustration working with people who use their weight as a crutch. Some are afraid to try new things or don’t feel sexy and are eliminated. The episode where they had to use a stripper pole forced contestants to show their sexy side. Some overcame their fears, some did not and one was eliminated because of that. Moments like this make the show a success and one worth watching.

“Dance Your A** Off” is currently in full swing and the semi-finals are next week. If you’re looking for something to entertain you on Mondays at 10 pm, then try it. Oxygen even shows marathon episodes on the weekend to catch you up. This may be the best way to watch the series. Although the ratings are good, its future is uncertain.

Whether or not you have weight to lose, it’s fun to see real people doing something with their lives besides living in a house with strangers for money.

“Idiot Heart” – Sunset Rubdown

From the album “Dragonslayer,” this track features your average fair of experimentation with sound.  There is a buildup that leads to the song bursting open at the end with its driving beat and overlapping harmonies.  However, what makes this song compelling are the lyrics.  With lines like “Until the Icarus in your blood, in your blood drowns,” you want to play it over and over again to understand just what Spencer Krug is singing about.  Well worth your time.

“Change is Gonna Come” – Bettye Lavette

From the album of the same title Lavette expresses the pain, sorrow, burden and trauma of the civil rights movement through song.  Her voice is rich and vibrant with experience.  To hear the root of rhythm and blues, you need to listen to this song.  Now this is music.

“A Whole Lot Better” – Brendan Benson

Do you want to rock?  Then the opening chords of this song is for you.  However, once the mediocre lyrics chime in, it slows the full rock-out intensity to a slow crawl.  This track would have been amazing were it not for the simple, sing-song words.  Don’t bother.

“Ambulance Dancehall” – Minus 5

Remember Dexys Midnight Runner’s “Come On Eileen”?  Well this song seems to be its watered down little brother.  With its limp lyrics and sorry harmonies “Ambulance Dancehall” is not worth the two minutes it takes to download it, much less listen to.  Skip it.

“On My Way” – Cocoon

The beginning of this track has promise, but then the lyrics come in.  The words (“If my bed songs upset you/And if my arms can’t warm you/You just have to try”) sound insipid alongside the sing-song melody – making this two minute and 53 second long song longer than it should be.  Pass; better still let us not speak of this song.  Ever.

“Fuego” – Bomba Estereo

It’s difficult to think of Spanish rap without that phone commercial playing in your head, and unfortunately “Fuego” lyrically reminds you of it.  The constant repetition of fuego (meaning fire) can be annoying.  If the beat of the music was turned up and the words sung as background, then this would have been a palatable song.  Instead you get that irritating commercial jingle constantly playing in your head.  Let’s hope that the remix version won’t have any lyrics at all.

“Sunday Boys” – The Blacks

The description of how this group came to be made can make one apprehensive in regards to listening to this song.  You’d expect a mish-mosh of influences leading to a migraine that only Midol would cure.  Instead, you will be pleasantly surprised.  This punk-infused track will cause you to look for this band’s other albums.  If you like Blondie when they were Blondie, then you’re going to love The Blacks.  Download this as quickly as you can while it’s still free.

The most interesting parts had to do with his epiphanies or small moments in which a decision he made impacted his life. The time when his parents encouraged his reading habit by sending in 10 cents with a coupon to get books for him – a considerable amount of money, considering his parents were constantly on the move and were a part of the working poor in New York City- was that moment.

His eyes light up at the memory of finding a “Tarzan” paperback with pages missing. (It reminded me of the first book that sent me on my voracious journey as a reader – I look back now on the raggedy copy of “Aladdin and 40 Thieves” and still get that thrill of how powerful those words and pictures are as if it were the first time I read them.) The same dancing light comes up when he discusses how he met his wife. However, this is no ordinary biographic documentary. It seems as if Zinn, in his everyman way, has experienced or has been involved in various points of American history.

It started when he was a pilot in World War II. Bombing a small village in France with Napalm at the end of the war caused Zinn to go from fighting for his country to questioning his nation. It’s discussed in a small, quiet way, but becomes the catalyst for the remainder of the film. Narrated by Matt Damon, with excerpts from his books used to introduce the explanation of his ideas, Zinn’s philosophy on government and what they owe to its citizens reflects insights that I never deeply thought of before.

We always think of the civil rights movement as a “black thing” – never considering how the rights of all are influenced by the rights taken away from the few. As a professor at the black college Spelman, Zinn was an influence on Alice Walker, Marian Wright Edelman and countless others by protesting and introducing ideas. In essence, Zinn brought about change and for the status quo, change isn’t good. There is some speculation on Zinn’s part that the FBI had something to do with his firing, and that idea folds into his protest against the war in Vietnam and the continuing battle for equal rights to forming unions in the university he worked in.

Throughout the film, Zinn is this quiet force. This lanky, gray-haired man unassumingly battles for what he believes is right. What fascinates me is that it’s done by action and by the written word. The interspersing of his books being narrated alongside Zinn’s explanations for his behavior shows a man ever changing and trying to understand where he fits in the world in relation to the history of all people.

Searching through Netflix, I just wanted to be entertained, but thanks to the Queue I was also informed. Zinn might be too busy living his life – as for me, I was glad the heat slowed me down long enough to peak into this man’s life.

Claudio Osorio, Marc Iacovelli, the voice talent and the rest of the team that brought this story to the screen do a good job of bringing this heartbreaking tale to life.  Also, the score gives just the right sense of foreboding.  We know that a story about one of the most popular characters in the Marvel universe can only end in tears.

However, is this digitalized retelling of his origin necessary?

The characters’ depth and emotions seem no more intense than when they were first produced on the written page and the artwork, though well inked, does not become three-dimensional.  It lays there as flat as if it were still on the page.  When Wolverine pops his claws for the first time, one should at least feel some of the emotion normally seen in animation. Sadly, this is not the case.

As a digitalized comic, while it is not a failure, it does not revolutionize the idea of this type of genre either.  It is a middle-of-the-road retelling of an amazingly written and inked miniseries.  That said, the DVD is worth buying.

This disc is also packed full of extras that are well worth the price of admission.  There are trailers for other digital comics that you will want to take a look at as well.  However, what makes the “Wolverine” digital comic redundant is that the audience knows his story so well that there are no surprises, or keen insights that we might gleam from seeing his history unfold in this type of manner.  However, as encapsulated storylines go, such as the origin of “The Ultimates,” those who are not comic book readers will find these re-imagined characters interesting.

The documentary is also interesting as writers, colorists and others discuss how a comic book comes together.  As a reader, you get a deeper appreciation of how this process works.  One wonders how a monthly series can get out knowing how perfectly orchestrated things have to be in order to get a book out on time.  Notes detailing how the written series came to be are also included.

Tom DeSanto writes about how he wanted to protect the mystique of Wolverine and did not like the idea of Marvel ruining what makes Logan so compelling.  It is interesting to read how DeSanto was happy about how the comic turned out. One wonders what his opinion would be in regards to the digitalized version.

Highly entertaining is the bonus digitalized “Original The Incredible Hulk Issue #181.” Reminiscent of the cartoons of the late ‘60s (Captain America, Thor, and the Fantastic Four for example), done by Grantray-Lawrence Animation, this digital comic successfully brings to life a one-shot that features Wolverine in what is described as a “gaudily” dressed little man fighting alongside and against the Hulk.  The narration is what gives this story its funny and often poignant moments, which show just how successful this genre of comic animation can be.

All this considered, the “Wolverine Origins” DVD is worth purchasing despite several apparent flaws.  The motion comic genre is quickly finding a place in the media world and the additional disc information is sure to entertain everyone- from the sometimes-comic-book-reader to the most rabid fan.

Don’t be a knucklehead- pick this one up.

Very well said Donna-Lyn. While the digital comic version of “Wolverine: Origins” isn’t as sharp as it could be, it puts a great story on another format, which makes it more accessible to non-fans. Simply put, if a non-fan watched this, they’d still fall in love with the character and would not care about the lack of 3D animation and killer sound effects. Because of that, this release is a success. Nevertheless, it fails to truly hit the mark because it doesn’t cater more to the people that are truly connected to the medium. Despite that though, it’s far from a waste of time.

-Patrick Hickey Jr.

“Be Alright (Featuring George Lynch)”  – Kristine W.

The sweet guitar riff from George Lynch in the beginning of this track gets you on your feet and moving.  Then the vocals and mediocre lyrics get in the way of an otherwise amazing dance track.  While W.’s voice is solid it intrudes on this rock out melody.  What could have been a great crossover track, has instead become something that you can barely listen to.

“Weightless” – All Time Low

“Weightless” from the album Nothing Personal sounds ordinary, but then the explosion of a guitar lick bursts this track wide open.  You become so involved with the lyrics and musicianship that you don’t realize the song is over.  No wonder this album made it to number 4 on the Billboard 200 chart (week of 7/26).  Download this track while it’s still free.

“Undone” – Medeski, Martin & Wood

There is some interesting experimentation with sound that this band has going on.  The jazz-rock-new age fusion sounds as if it is attempting to redefine how genres in music are perceived – one where influences overlap and each type of sound is distinguishable, yet effortlessly blends together.  Well worth a listen.

“Cloud Nine” – Ben Howard

Ben Howard has a Howard Jones/Simply Red style of singing.  His acoustic guitar and stripped down musical sound enhances the straight forward lyrics.  This is definitely a thinking man’s song that will impact your senses and emotions.  With its challenging theme you will feel compelled to put this track on a continuous loop.

“Smashing the Opponent (Album Version)”  – Infected Mushroom

Listening to this track leads one to question: who can dance to this?  Infected Mushroom is known for their danceable, computer-synthesized infused songs.  However, they have missed the mark with a mind-numbing melody and overly simplistic lyrics.  Skip it.

“Soap on a Rope” –  Chickenfoot

There are some songs that are only downloaded when they are free.  This is not one of them.  The guitar licks from Joe Satriani and Michael Anthony alongside the syncopated drumming of Chad Smith combined with the in-your-face lyrics sung by Sammy Hagar, makes this track a fun, all out rock song.  You’ll stop what you’re doing to do your best air guitar.

“Rosa (Live)” – Tosca

The psychedelic sound on this track is interesting on first listen.  However, its melody is repeated as if on a loop, making the song uneventful and monotonous.  After a while you forget that you’re listening to actual music and begin to wonder: “What’s that noise”?

Harkness, who The Doctor describes as a “fixed point in time and space,” has been working for Torchwood for well over 100 years.  In the third season, something that he was a part of for 44 years earlier comes back to haunt him.  After the bloodbath of the season two finale, season three starts off with a pared down cast.  Harkness, alongside Gwen Cooper (Eve Myles) and Ianto Jones (Gareth David-Lloyd), attempts to prevent the recurrence of this alien threat from destroying the world.

Without high-falutin special effects, season three is able to drive terror and keep the suspense high all the way to episode five.  The aspects of what makes this show highly entertaining are all there in season three.  With its darker plotlines, “Torchwood” is able to go further than “Doctor Who.”

In this case, it involves children.  At certain points of the day, children just stop whatever they are doing and begin to chant “we are coming; we are coming.”  An adult man (Clement McDonald, played by Paul Copley), who was given to the 456 in exchange for a virus antidote (but escaped) also seems to have a connection with the aliens.  As the 456 speak through the children and Clement, several underlying plotlines are also being played out.

The relationship between Ianto and Jack and Gwen’s marriage to Rhys give comedy relief and poignant moments between the intense points of the major plotline involving the alien menace.

However, the driving force of this story is the middle manager Frosbisher – who acts as a go between for the aliens and the Prime Minister, which makes him the fall guy when this situation falls to pieces.  His realization that he is nothing more than a civil servant who must fall on his sword for an ambitious prime minister gives this season its most tumultuous, heart-wrenching moments.  We see through Frosbisher how humanity acts at its worst when we compromise our principles.  Frosbisher is not the best of men and through a series of desperate acts destroys “Torchwood.”

Clement also brings back the sins of Harkness’ past.  When he asks why he was taken, Harkness responds that he was of no consequence.  Essentially, no one would miss him.  This time, the 456 want 10 percent of the children from earth and not the 12 from Great Britain as they requested over 40 years earlier.  The reason for their need of the children is revolting and the audience is gripped by the sacrifice that Harkness’ grandson must make in order to save the world.

The darkness, sex and violence in the three seasons of “Torchwood” have caused the unpredictability and excitement of this series.  One of the thrills that bring intensity to this truncated third season is caused by the killing off of major characters.  But any science fiction audience member will tell you that things do not always appear as they seem.

Episode five of “Children of Earth” ends with a decimated “Torchwood.”  Rumors have it that it  has been renewed for a fourth season.  Will Captain Jack Harkness come back from intergalactic travel?  Will Eve and Rhys have a healthy child?  How will Great Britain survive without Torchwood?

Stay tuned.

In the DVD “First Flight,” Jordan (voiced by Christopher Meloni) is re-imagined as a hot-shot fly-boy who speaks his mind: acts first and questions later.  Although he is rash, Jordan is still a thinking-man who figures out the deception of a well trusted Lantern.  However, it is not Jordan’s temperament or detective skills which make this movie an amazing origin story.

What is at the core of this tale is the creativity it takes to wield the power of the ring.  The power ring enables its wielder to create anything from his imagination.  Throughout this narrative, Jordan effortlessly creates several constructs from his mind.  When the Weaponers give the traitor the device to control the yellow element (the only color in the rainbow spectrum to counter the power of the Green Lanterns’ rings), they give him a warning in which its one limitation is its controller.

Essentially, the Weaponers tell the traitor that you need to have the imagination and creativity to control something with such power.  This is what essentially defeats the betrayer to the Corps.  In an ultimate battle between him and Hal Jordan, there is a clear understanding of what this film is about.  Yes, it is an origin story of a character who has been through many trials, but it is also about the misuse of power and the stagnation of ideas.

The guardians who gave the traitor the opportunity to nearly destroy the Green Lantern Corps through their complacency did so because they remained tied to the old traditions of “protecting the universe.”  Jordan brings a fresh perspective to the Corps and through his brash behavior is able to literally reignite the Green Element’s power (the energy source that charges the power rings).

In this well conceived plot, we also see old favorites of the Corps revitalized alongside Jordan.  Kilowog (voiced by Michael Madsen) is given more of a premiere role than in the recent comic series and Boodikka (voiced by Tricia Helfer) is given a new direction, which gives this animated version a mature edge.  There is violence.  Beings die and are abused and there is strong language.  This gives this new imagining of Green Lantern a different vibe from the usual DC animated fair.

Within this double-DVD set is a load of extras which you will find highly entertaining.  The first disc holds a look at the new “Superman/Batman Public Enemies” DVD along with trailers for other DC animations past and present.  There are also behind the scenes looks at the makings of this film and the “Blackest Night” series from the comics.  Disc two contains back stories of Sinestro and the Guardians.  There is also a Green Lantern themed “Duck Dodgers” episode and two episodes from “Justice League Unlimited,” which feature a cameo of Hal Jordan.

The movie is worth the price of admission, but the features make the “First Flight” DVD collection a must have for any Green Lantern fan.

Timm and his pals have once again created a fun animated feature based on one of DC’s most beloved characters. Nonetheless, they don’t push the envelope as much as they should. However, it doesn’t stand in the way of the DVD being watchable and even enjoyable.

While everyone who knows their comics knows about the heated relationship between Sinestro and Hal Jordan, it’s a great first look into the character for new fans and one that experienced “lanterneers” will be comfortable with.

However, the best part of the feature is the animation. At times, the DVD feels like a combination of the old Rankin and Bass Lord of the Rings movies of the 70s [especially during the scene where the ultimate weapon is shown for the first time] and some sort of futuristic manga, showing the diversity of the animation team and how far they’ve come over the years.

Because of that, it’s a worthwhile romp through the universe.

-Patrick Hickey Jr.

“Words” has a chant-like quality to it and it is difficult to make out what is being said on first listen. However, it’s worth a second hearing. The driving harmonic beat of drums and guitar coupled with the plea to not have “My words my words don’t fail me now” overlapping at the end, forces a sense of urgency that makes you go back to the track to try to hear what you missed.

“Leaves” has a haunting quality built on by the tenuous relationship that the lead singer has with language itself. “Here – a hold on words/As frail as words themselves” – it’s as if the lyrics of this song is a lover who is trying to escape and the singer is desperately trying to keep her from getting away.

The haunting echo of the lyrics in “Gold” is emphasized by the insistent drumming and piano playing. Ketch Harbour loves to play with the words in their songs and this track is no exception. Lyrics such as “The heart of the burning sea/The mouth of the burning sea” propels you to think about how these lines are supposed to resonate in you.

“So Long to the Ground” is another track that is difficult to comprehend its meaning on first listen. Its gloomy melody feels monotonous at times and easily slips into white noise. However, it is not the type of white noise that you would turn off. Still, it’s not be a song that you would readily go back to either.

“Midnight Dark Water” is the most accessible song off the album. Its lyrics and melody are reminiscent of the effects the moon has on ocean waves. You get the sense that you are on a precipice watching the unpredictable and tumultuous water crashing against rocks in the dead of night. Essentially this track creates a mood that will leave you deep in thought over its meaning.

There are deep-provoking ideas and imagery in “Animals.”To pull out one or two lyrics to emphasize this point would not do justice to this track. The ominous melody in collusion with the words forces you to pay attention to the fact that people can come to the point of mass hysteria where we become nothing more than the worst of our bestial brethren.

The light tambourine alongside the guitar playing in “Letters” will remind you of a Bob Dylan track. However, this is not a protest song condemning war – rather it is a track that protests the misuse of the language of love. “If my words have failed me now/Let them burn into dust and ashes/‘cause I’m breathing out but you’re not breathing in/So please send me only letters of love.” These lyrics on this poignant track will stay with you long after the song is over.

When all is said and done, Ketch Harbour Wolves is a group whose influences and Canadian/Nova Scotia background has enabled them to create an album that will stay with you long after the last song has been sung.

“

This song is a solid introduction to the album Some Assembly Required (released July 2009).  “Arc of the Sun” could have easily fallen into the trap of having the instruments and lyrics fight for dominance; instead, what you hear are words that punctuate the appropriate heavy-handedness of the instruments.  With lyrics as strong as “Black and white images encircling you//Raising you like the Arc of the Sun”, you need that driving beat.  Otherwise the song would seem hollow and fake. If the other tunes are remotely as good as this track, then you should definitely pick it up.

“Ichthus Hop” – Talbot Tagora

At first listen, you ask yourself, “Is this a joke?”  No, instead it’s noise – two minutes and three seconds of continuous, monotonous, mind-altering noise.  From the album “Lessons in the Woods or a City,” there might be words, but they are chanted in the same way your annoying little brother would get on your nerves on a long road trip. Don’t bother with this one.

“Fireflies” – Owl City

The lead vocalist makes this track irresistible in a good way. The mixture of instruments and multi-layered vocals gives this song a futuristic tone. It’s also happy sounding without being obnoxious.  Get this song while it’s still free.

“So So Happy Making” – Hatcham Social

With a melody dangerously similar to “The Mary Tyler Moore” theme song, it’s difficult to take this track seriously.  It also doesn’t help that on first listen the only lyrics that can be heard are from the title.  It takes two to three listens to get the sense of what this song is about –  which is too much trouble to go through.

“Describing The Sky” – Big D and The Kid’s Table

This track starts off with great promise.  It has a big band feel with drums and horns’ heralding in what is sure to be amazing vocals.  No such luck. In the beginning of the song, the singer sounds as if he doesn’t know how to use his diaphragm and someone is playing keep away with his inhaler. By the time the song gets to a place where you can listen to it, it’s nearly over.

“Naturally” – Lisa Donnelly

This is an infectious tune that you will be happy to hear continuously in your head.  The opening throngs of this track with its segmented instruments that then come together when Donnelly starts to sing, draws you in and keeps you there.  It shows a unique style of arranging that can be heard in songs from Sheryl Crow – except you don’t have to be deliriously happy or well adjusted to hear “Naturally.”

“The Bachelor” – Patrick Wolf

Wolf’s use of violin and electronic-instrument experimentation helps give the lyrics to this track a lament-type tone.  He claims that “No one will wear my silver ring” and therefore, grieves for the love and security that marriage gives.  It is a thought provoking song filled with symbols of things and people that are only happy and complete in pairs.  You will bemoan his bachelorhood as if it was your own.

The Planetary Group is a promotional company that features musical talent of varying styles on their website. Through video and audio tracks, they give listeners a chance to sample these artists’ work. The following are several audio tracks that showcase the multifaceted musicians that The Planetary Group is attempting to give a voice to.

“J.A.C.K.” – Dracula

The beginning of this song shows promise, but as it progresses you find yourself straining to hear the lyrics – which happen to be amazing. If this band toned down on the screeching, then it would be a sure bet for a soundtrack for shows such as “Supernatural.”

“Found” – Honor by August

With lyrics like “I’m raising my head, I’m taking a new look around/What now seems lost and fading/Surely can be found” you would think that this song is sending you on a trip to mediocrity – but no. Instead the driving drums and guitar playing makes these words insistent with a focused energy. It also makes the words succinct with the pulsing beat.

“Teeth” – Future Future

The syncopated synthesized beat combined with the high lilt in the lead vocalist’s voice disorients you at first. As you listen further the manic drum beating intensifies this track’s need to break out, which then slows back to the beginning. Then the song just stops which makes you want to immediately return to the track.

“Escaping Arkham” – Common Market

It’s too bad that the title is more interesting than the song that sounds like a weak demo by a fledging rap-soul group.

“Ninja High Schooooool” – Peelander Z

The beginning of this song shows promise with music reminiscent of the B-52’s “Rock Lobster.” However, heavy drumming and inane sounding lyrics makes this an unlistenable track.

“Don’t Wait Up” – Antennas Up

This sounds like the watered-down version to the Black Eyed Peas “Let’s Get it Started”. Buy that instead.

“Waiting” – On Ensemble

Soul II Soul in the late 80’s and early 90’s were a soulful group that expertly blended funk and smooth jazz sounds while incorporating an Afro-centric spin. Unfortunately this song only makes you remember Soul II Soul with fondness instead of purchasing anything from this group.

“Dry Drive” – Cinema, Cinema

This track needs work. With its over-handed drumming and out of place guitar playing, this song is trying to be too many things at once. The frustrating part is that you are too busy trying to figure out what the lyrics are supposed to be referring to; rather than enjoying them or appreciating the words for their social commentary. It’s also way too long.

“Spirit” – The Hundred Days

This song will remind you of the eighties in a good way. Similar to groups like Tears for Fears (“Mad World) and Duran Duran (“Reflex”), The Hundred Days takes the tradition of stylized music combined with catchy, yet deceptive lyrics (which seem to mock the melody) to make an unforgettable tune. If you want a twist with your nostalgia, then try this song.

“You’re Not Shaken” – Phil Stacey

The Christian genre is a label that may limit the audience for this song. That said, “You’re Not Shaken” is a well-crafted rock song about self-doubt and the belief that given time, all your dreams will come true. Though not subtle, it is also not heavy-handed. A middle of the road melody with a strong message makes for a listenable song, unfortunately for this “American Idol” alumnus a forgettable one as well.

Drift – Ken Block

Why is this album free? With innovative lyrics like “trying to teach blue to a blind man” (Blue to a Blind Man), “While I’m swallowed in this suit of my self pity“ (I Don’t Mind), and “Watch the movie that’s playin on their faces” (It’s Alright), companioned with multi-layered melodies and solid guitar playing, there is no reason why you shouldn’t pay full price for this download. The more talented of the group Sister Hazel, Block helped get the band together before he hit his teens. As co-writer on some of their more successful tunes, it’s no wonder that they were chart toppers. If you want a comparison, think REM, only less suicidal. Get it before the-powers-that-be realize what they’re giving away.

“People Say” – Portugal the Man

Reminiscent of a raw John Lennon track, “People Say” from the newly released album The Satanic Satanist is a deceptive tune. Its upbeat melody contrasts with the haunting, social-activist lyrics; which include “I’m a president’s son I don’t need no soul//”What a lovely day, yeah, we won the war. May have lost a million men, but we’ve got a million more.’” – makes this a band you should not ignore. Well worth a listen.

“On Vacation (Album)” – Aimee Allen

This song sounds like a Randy Newman (“You’ve Got A Friend in Me”) rip-off with a little early Sheryl Crow thrown in for a badly copied storyline. There’s even a happy-sounding chorus as a refrain. It’s sad because she has a life that she could draw from that is far more interesting than what is in this song. This is not the tune to showcase an album that you don’t want in the second hand bin. You would be better off buying Randy Newman and Sheryl Crow instead.

“Follow Me” – Brooke White

Reminiscent of Beth Nielson Chapman (Sand and Water), White’s voice has a rich, soulful sound that’s tinged with sadness. This makes the straight-forward, no nonsense lyrics hold more meaning through vocal interpretation. You’ll be playing this short and beautiful tune over and over again. Definitely look for the album (Songs From the Attic).

“Heavens to Purgatory” – The Most Serene Republic

This band has a great sound most of the time. It is Adrian Jewett on vocals with his discordant and flat tones that bring the song down. This doesn’t bode well, since it’s his voice we here in the opening lines. Jewett should leave the singing to fellow lead vocalist Emma Ditchburn. Once her voice comes in it’s as if you are listening to a different tune – a good one.

“Animal” – Mike Snow

Snow attempts to do too much early on in this track. The first set of lyrics which are repeated combined with the stripped down instrumental sound, make the words jarring and disjointed to the listener. However, once that part is over you have a listenable tune. Although, I would wait for a special price before I purchased the album.

Does it strike you as strange to see granny spray painting “F.U.” on a wall? What about a nun jumping off the roof of a building? Welcome to the fictional place of Unionville, Colorado, where people regardless of social norms are living out their dreams. This is the set-up for episode three of “Warehouse 13” where the premise outshines the lead actors.

“All things have a magnetic context” – prophetic words from Artie Nielson (Saul Rubinek, “Blind Justice”). As the episode unfolds, we see how the cast does their best to make the opposite true. Warehouse 13 is the place where otherworldly artifacts are kept. Two government agents, Pete Lattimer (Eddie McClintock, “Bones”) and Myka Bering (Joanne Kelly, “Vanished”) are the ones who collect these items. Artie is the one who sends them out on assignment. Think Charlie of “Charlie’s Angels” without the charisma and playful voice – and screen time, dull, languishing screen time.

It isn’t entirely Rubinek’s fault though. He is miscast here as the man who literally holds the keys to the most infamous artifacts in history, that at times have been used for nefarious purposes. The locked up items manifest energy when negative emotions are near them. When Pete and Myka are bickering like two infants over who should be in charge when they are out on assignments, the objects begin to glow and shake violently. You think to yourself, “now something interesting is going to happen “– but no. Instead ,they are doused with reject “Ghostbusters ooze,” which causes them to laugh uncontrollably. This is an opportunity wasted.

If the dialogue were written properly, there might have been a hint of sexual tension between the two. Perhaps the need to be in charge would be equated with who should be on top. But that would mean that Pete and Myka would have a modicum of chemistry between them. Both McClintock and Kelly are also poorly cast. They both look more suited for a laundry commercial than a series with so much rich storyline potential.
Individually, Pete and Myka are just as bland. When on their own and speaking to the citizens of Unionville, it’s the actions of those characters that make the show interesting. Unfortunately, Pete and Myka move on to their next assignment and leave the real actors behind.

For a network that has aired such ground breaking series as “Doctor Who” and “Battlestar Galactica,” the newly renamed SyFy channel has committed the biggest sin – showing a series that is boring. The powers that be at SyFy should have known from the pilot that this could not work. The only scenes that are interesting in that episode are the ones with CCH Pounder (Mrs. Frederic), who is ominous and older than she appears. Her character is similar to the one she voiced in the animated series “Justice League” (Amanda Waller). This only made the hour and 27 minutes unbearable to watch.

The 46 minutes in the third episode named “Magnetism” is not as nearly as painful since the annoyance of the characters is minimized by the interaction with the guest stars, who wisely have dominant speaking parts. However, the regular cast cannot hide behind guest stars every week.

When in the pilot episode Myka wishes for a transfer and instead gets a ferret because she cannot have the impossible, we, as the audience, are relieved that we can — by changing the channel.

Party girl Thea (Lindsay Lohan, “Mean Girls”) in a desperate attempt to keep her job lies to her boss and tells him she’s pregnant. The remaining two hours should be a hair-raising romp on how she stays one step ahead of the deception.

In the beginning, it proves that being a liar has its perks. Thea is able to keep her job and her landlord eases off the rent. It’s a faulty plot device from co-writer and director Lara Shapiro (Tipped). After all, Thea constantly has to be reminded that she’s pregnant and when she is taken off the softball team after sliding into home plate, she doesn’t seem to grasp the weight of her circumstance.

She is then asked to be an associate editor of a manuscript about pregnancy by Nick, (Luke Kirby, “The Stone Angel”) who is temporarily put in charge of the publishing firm that she works for.

What is completely annoying is that Thea’s change in behavior comes across as fake. Though in the beginning she still smokes in the bathroom and drinks and completely ignores her teenage sister, as the film develops, Thea does see the errors of her ways. And the moments in which she is honest, such as when she tells Nick about her parents fatal car accident, are supposed to elicit some sympathy for Thea’s predicament.

However, it still comes across as false and unconvincing.

Even if we can turn a jaded eye away from this contrived ploy, we cannot ignore Lohan’s one note performance. As she begins to change the lives of the people around her, there should be some anticipated tension. The “oh-no” moment is supposed to make us care that Thea’s house of cards is about to fall down. When her sister tears apart her baby bump, Thea, in front of her surprise baby shower-party guests, grabs a balloon, stuffs it under her dress and stomps out. Later when the balloon pops and the jig is up, it’s an anti-climatic moment that makes the audience feel nothing.

The biggest sin in this movie is the wasted use of its actors. Her confidante, Cheryl Hines (Curb Your Enthusiasm), has excellent timing and delivers her lines with flair. It makes you think that the only reason she took this film was that the mortgage was due. Willie Garson (Sex and the City), Tracee Ellis Ross (Girlfriends) and Jay Thomas (Cheers) seem as if they are slumming it in their small roles.

The funniest part of the movie is the beginning – as they all deal with McArthur the dog, who was truly missed when he was written off to get his owner Jerry (Chris Parnell) off the canvas in order to bring Nick in.

Worst of all, there is no chemistry between Nick and Thea. Most of the movie centers on their budding romance, which makes this another reason why this movie falls flat.

In the end, the little sister is able to live out her dream and go to culinary school, the book that brought Nick and Thea together becomes a success and Nick forgives Thea for her deceitful lies. Everyone lives happily ever after.

Unfortunately, through the direction and writing, this is an unsatisfying waste of two hours.

“At First Sight” – Jay Brannan

Released in 2008 from the album “Goddamned,” this song causes you to slow down and listen to what Brannan is saying. A favorite lyric “you’d teach me not to be psycho” fits nicely into this stripped down folksy music that has a slight edge to it. Well worth the listen.

“Beach” – West Indian Girl

The album is entitled “We Believe,” and it is categorized as Dance & DJ. It sounds as if the musicians are attempting to catch the beat and are completely unsuccessful. If you want to clear a dance floor – in a bad way, then play this irritating, monotonous, upbeat tune.

“Endless Love” – The Fresh and Onlys

Off this self-titled album, this song is a nice rock ditty that is short and to the point. The lyrics might fade from your memory, but what will remain in a good way will be the catchy melody.

“Love Came Tumblin’ Down” – Monks

This mostly instrumental tune from the album “The Early Years 1964-1965” is not bad, but it’s not anything to jump for joy at either. None of the shocking or revelatory lyrics that this band is known for are here, which makes the electronic music sound flat and unemotional. At least it’s relatively short (3:03); but being glad that a song is finally over is not a good thing.

“Robots” – Exercise

This song from the album “Grandma’s House” gives the genre alternative a horrible name. It’s the type of noise that you would deem a heinous act against humanity for playing. Banging your head against the wall or babysitting 10 screaming bratty 2-year olds who need to be changed would be a better use of your time.

“Dreams Come True Girl (Featuring Karen Black)” – Cass McCombs

Released in July 09 from the album “Catacombs,” this song sounds like a raw Beach Boys track without the harmonies. The melody will also remind you of the music for the television series Twin Peaks – you envision a little person dancing awkwardly and talking backwards. The problem is that this song is reminiscent of songs that are better than this. It would be better to scope out the original tunes of the Beach Boys and the Twin Peaks soundtrack than to listen to this.

“Walk Like a Gentleman” – Eye Alaska

This is a gem of a free download. Well orchestrated and produced, Eye Alaska has done a successful job by using this song to promote their sophomore album “Genesis Underground” (released 2009). With lyrics like “Like yesterday, you were always to me/A memory fond I could never repeat,” and an infusion of different genres – this tune will definitely be one of the favorites in the soundtrack of your life.

Not a fan of free MP3 downloads? Not worth your time? Think again. Here are some recent free downloads that may be worth your time, courtesy of Amazon.com, who just so happen to give away an MP3 a day and sometimes more, every day.

“Brooklyn Cumbia” – Uproot Andy

This electronic-Latin infused song burgeons on the edge of noise. There’s no contemplating the meaning of life with this driving beat. On the plus side it doesn’t have annoying lyrics. Essentially, it’s background music – something to listen to while working at your computer or for those of us who need white noise played in the background while doing any other activity.

“No Regrets” – Drew Copeland

Originally released in 2004, No Regrets is a solo album by this songwriter/guitarist from the group Sister Hazel. The album has a soft-rock and country sound to it. Copeland’s musicianship as a writer and arranger shine, particularly in “Right One for Me” and “Over You.” However, songs like “Savannah” and “A Little Like Heaven” are hardly groundbreaking. For free, the album is worth a listen, but you might think twice about paying for the entire thing.

“Mentiras” – Los Amigos Invisibles

Off the Commercial album which was released earlier this year, this infectious, danceable, jazz-influenced tune is sung completely in Spanish. Does it matter if you understand what they’re singing – no. You’ll be dancing around and attempting to sing along whether or not you know the words. You’ll also be searching for the albums of this band that has been around since the mid-1990s.

“Fireflies” – Chris Garneau

Alternative has become a genre where you put in any type of music that is outside the norm. In this case Fireflies from the album ‘El Radio’ (released July 09) is an odd mix of folk and electronic sound with a little Emo mixed in. It sounds as if it should be on a soundtrack for a Stanley Kubrick film – particularly the scene in “Full Metal Jacket” where Vincent D’Onofrio shoots his superior officer/tormentor, then himself. Not sure who that audience is, but this song is definitely an acquired taste.

“Braided Cellophane” – Tobacco

Sometimes you get what you pay for.

This song from the album, The Allegheny White Fish Tapes (also released in July 09), is another piece of music in the alternative/rock/techno/electronic genre. The tune isn’t memorable and there are too many influences that make this mish-mosh of influences annoying white noise that you will quickly delete from your mp3 player.

“4 Leaf Clover” – Billy Boy on Poison

What is it about the alternative label? This song from the Drama Junkie Queen album (release date – July 09) is a straight up rock song. The recognizable instruments back-up a straight-forward story executed well through its lyrics and chorus. The haunting melody that runs throughout the song does add a gothic-rock element and it forces, you in a good way, to pay attention to the words. It also succeeds where free mp3 downloads usually don’t – it makes you want to check out the band’s other recordings and buy the entire album.

“Arts and Crafts” – Matt Wilson

Remember on “The Cosby Show” when Cliff Huxtable put on a jazz album that beckoned Claire to come back downstairs? Well, the opening of this song is reminiscent of that. It’s a slow, sensuous build that hits a crescendo, then slowly lulls you back into a sensuous bebop tempo. It then takes you on an improvisational journey that leaves you wanting to purchase the remaining songs on the album That’s Gonna Leave a Mark.

Who would be arrogant or brave enough to cover a Michael Jackson song? Even before his death many of his songs, particularly the ones early on in his career have become standards. Jackson’s voice was distinct and it is difficult to remember a rendition sung from another artist. There are those who have tried and have found levels of success and failure with each version. Here are a few hits and misses from several courageous or foolish men and women.

If Michael Jackson was the King of Pop, then Miles Davis was the King of Cool. Like Jackson, there will never be another of his kind. Davis’ jazz rendition almost makes you forget its originator- a mighty feat considering that this song reached number seven on the billboard charts in the early ’80s.

Human Nature – Boyz II Men

There is no doubt that these gentlemen can harmonize. When in tune and singing songs appropriate to their voices, they bring R&B to dazzling heights. But this cover of Human Nature by them is undeserving of their talent. They need several more years of seasoning before they should tackle this song again.

I’ll Be There – Mariah Carey

Released as a single after she sang it on MTV, Carey did a solid job covering this song. It became a number one hit for her, but it will never erase the original sung by Jackson with his brother Jermaine singing the bridge.

Bad – Sammy Davis Jr.

Yes, unfortunately Davis Jr. embarrassed himself with his rendition of this song. He got nearly every lyric wrong except the word bad. Whether he did it for laughs or took himself too seriously is hard to tell.

Thriller – Henry Mancini

It is difficult to imagine this song without Vincent Price’s eerie-like rap, but on the album ‘Mancini Rocks the Pops’ this instrumental actually works. It moves from a pop hit and is given the treatment of a movie score. It sounds grand and opulent with a hint of the scary factor that was full blown in the original.

Thriller – Toxic Audio

Apparently, Thriller has been covered by artists from different facets of the music industry. Toxic Audio is not only a band, they are a performance troupe. With an intriguing mix of musical instruments and be-bopping, this group does an interesting take on the classic.

Who’s Loving You – Shaheen Jafargholi

This newcomer from Britain’s Got Talent was going to be featured on Jackson’s upcoming tour. With this song Shaheen made it to the semi-finals of the show. “Who’s Loving You” is difficult to cover since there is no way to hide hitting a bad note. Artists who choose to sing it acappella deserve much respect.

Who’s Loving You (Hold On) – En Vogue

Originally sung by Smokey Robinson, but made famous by Jackson, these ladies gave this song a new twist. On their first single, Tracey Ellis sings this acappella as an intro. It’s a highly-emotional charged rendition that always gives the listener goose bumps.

Beat It – Gloria Gaynor, Thelma Houston, Kelly Marie, Tina Charles

Remember ‘I Will Survive’ – the tune that made Gaynor a superstar, or Thelma Houston of ‘Don’t Leave Me this Way’ fame? These were iconic songs of the 70s and there is no doubt that these ladies can sing. However, why would they cover a song that is ill-suited to their singing styles? On top of that they sing it as a quartet. Big mistake – just because you can sing doesn’t mean you can sing anything. Please ladies know your limits.

PYT (Pretty Young Thing) – The Urban Jazz Project

This jazz rendition of PYT reminds the listener of Jackson’s collaboration with Quincy Jones. Together they made magic with ‘Thriller.’ What The Urban Jazz Project does is give us a glimpse of what the unfinished version of this song would be without Jackson’s smooth vocals. The result is worth a listen, even if the original outshines it.

2.      “Get On the Floor” – Off the Wall
This 1979 disco song, co-written by Jackson does not sound dated.  It’s a great dance record and anyone who lacks rhythm will have no problem bopping their head to this infectious tune.

3.      “The Lady in My Life” – Thriller
If the gasp at the end of “She’s out of My Life” is just too fake-sounding to you, then this tune is the other side of that coin.  Low-key and smooth, “Lady in My Life” is the definition of an R&B standard.  Once again co-produced by Jones, with lyrics like “Lay down in my tenderness,” you forget about the M.J. with the chimp and only think about turning the lights down and the heat up.

4.      “Baby Be Mine” – Thriller
This is a mature Jackson coming into his own as an artist.  The song is straightforward without being vulgar.  There are also no signs of the guttural grunts that invade Jackson’s later songs.

5.      “Keep the Faith” – Dangerous
“The King of Pop” puts his stamp on gospel with this underrated song.  What could have easily fallen into a disorganized array of trite-sounding chaos instead becomes a harmonious call to do as the title says.

6.      “Dangerous” – Dangerous
This song was made for dancers.  So as not to intrude on the rhythmic music, the syncopated beats are brought to the forefront while Jackson’s voice is low and in the background.  He veers from an odd rap-like style into straight singing, nearly effortlessly enabling creativity between the dancer and the dance.

7.      “Stranger in Moscow” – History
When first released this song barely broke into Billboard’s top 100.  However, it’s worth a listen.  The haunting opening sets the scene of a man being chased and driven to do desperate acts.  There is also a sense of musical history in the call and response arrangement of the song.  Immediately after Jackson sings a lyric, a chorus of voices sings the next line – then there is a bridge that joins the lyrics with the chorus that makes it seem as if the song is simultaneously taunting Jackson as he is singing.

8.      “Is it Scary” – Blood on the Dance Floor
Consider this song to be a continuation to 1987’s “Leave Me Alone,” only with a relentless synthesized drum-beating rhythm.  If you don’t stop “dogging me around,” you just might end up under the basement.

9.      “This Time Around” – Blood on the Dance Floor
This song has Jackson literally “taking no sh—“from anyone.  It’s a public declaration, driven by a hyper-synthesized beat –definitely the song to play when you’re getting ready for a job interview or asking your boss for a raise.

10.  “2 Bad (Refugee Camp Mix)” – Blood on the Dance Floor
This is a fun joint.  “2 Bad” is assisted by Wyclef Jean, Pras and Te-Bass and is reminiscent of an all night jam session.  Essentially, the song is about M.J. being challenged by someone who thinks he can best him.  Think of it as a follow-up to the video for “Smooth Criminal.”

Quincy Jones has been in the record business for over 50 years. In that time through his musicianship (trumpet player, big band arranger), he has produced some of the greatest albums of all time. His jazz roots have influenced the likes of Michael Jackson (Off the Wall, Thriller), Patti Austin (Baby Come to Me) and James Ingram (How Do You Keep the Music Playing). His record company, Qwest Records, has also propelled several artists to well-known success (George Benson ‘Give Me the Night’); and has given them the ability to write and produce their own music (England’s New Wave Band ‘New Order’). With the release of his latest “Jazz Manifesto” in July, it’s a good idea to take a listen to the lesser known gems out there that reveal why the word “genius” should not be bantered around.

1.      Jack Wagner – Lighting Up the Night

Best known for the role of Frisco Jones (singer turned superspy) on the daytime serial “General Hospital,” Wagner had a decent voice. His break out hits “All I Need” and “Lady of My Heart” (also produced by Quincy Jones) propelled him to the top of the music charts, but it is this lesser known album that showcases Q’s ability to take an alright-sounding voice into a listenable CD – 24 years later. Jones effectively infused the impromptu styling of jazz with synthesizers and intricate background harmonies. Wagner is not a belter and when heard live, he would strain to hit a high note. By bringing the background singers to the forefront of the choruses and bridges of nearly every song on the studio album, Jones shows his ability to reign in Wagner without intruding on his talent. Singles like “With Your Eyes” might seem dated with their overuse of electronic guitars; however only the musicianship of Quincy Jones has been able to reveal Wagner’s acting charisma through all the songs on this LP – in particular the duets “Love Can Take Us All the Way” and “I’ll Be There.”

2.      Lesley Gore – It’s My Party: The Best of Lesley Gore

Remember “It’s my party and I’ll cry if I want to?” You might not remember the singer, but you’ve either hummed along or sang it at the top of your lungs at some point. Jones discovered Gore in 1963 and produced several hits for her beginning with the titled track of her greatest hits album. What’s amazing about it is that it’s not only up-tempo, but it’s a two minute and 22 second song with a well plotted-out story line. The man definitely has some skills.

3.      Tevin Campbell – The Best of Tevin Campbell

Early in his career, Campbell had cameos in Prince’s film and corresponding soundtrack “Graffiti Bridge” with the song “Round and Round,” but it was with Jones’ record label where he found his lyrical home. A solid voice with well-written arrangements made songs such as “Can We Talk” (written and produced by Babyface) and ‘Tell Me What You Want Me to Do’ (written by Michael Narada Walden and Tevin Campbell and produced by Walden) modern R&B standards.  Whenever you hear these tunes they sound as current and fresh as they did in 1993 and 1991.

4.      Quincy Jones – You’ve Got It Bad Girl

This 1973 gem is an experiment that successfully blends jazz and R&B.  The title track is smooth and melodic, while the most recognized song, Sanford and Son’s “The Streetbeater,” is an up-tempo harmonica laden brand of fun.  Listen for a different rendition of Stevie Wonder’s “Superstition” – a brave attempt on a classic.

5.      Quincy Jones – In the Heat of the Night

Jones has produced a movie soundtrack in nearly each decade since the ‘60s.  “In the Heat of the Night” is the definition of what a soundtrack does, which is bring back a flood of emotions that compels you to remember the scene in which the song was played.  What’s amazing is that the longest song; with the exception of “Mama Caleba’s Blues,” is barely three minutes long.

6.      Saafir – Boxcar Sessions

Jones believes that rap has the ability to take jazz to the next level as this 1994 rap-jazz infused album successfully attests to. The beats are hypnotic and compliment Saafir’s fast, yet clear style of rhyming.

7.      Quincy Jones – Q’s Jook Joint

Although not his best work, Jones’ Jook Joint does have some bright spots.  Tamia’s voice on “You Put a Move on My Heart” is reminiscent of Billie Holiday’s smooth, medium-pitched sultry sound.  Also the re-imagining of “Moody’s Mood for Love” is a courageous attempt of reinterpreting a jazz standard.

8.      Various Artists – The Wiz

With Jones at the helm, this soundtrack to the film far surpassed the sales of the Broadway musical’s album.  With additions like Michael Jackson’s up-beat, yet self-depreciating “You Can’t Win” and the collaborative efforts with giants Ashford & Simpson and Luther Vandross, you have an amazing musical achievement in comparison to the mediocre movie.

9.      Donna Summer – Donna Summer

Yes, Jones even had his hands in disco. You would not know that he played a part in the production of this album.  Yet songs like “Finger on the Trigger” give Summers’ voice a sophisticated playfulness that only Jones can bring out.

10.  Miles & Quincy – Live at Montreux

No music collection would be complete without this album. Produced and conducted by Jones, Montreux is not an album; it’s an experience. It is one of those rare records that you can listen to all the way through in one sitting. Though if you don’t have the time to sit and allow the music to envelop you, then the tracks “Summertime” and “The Duke” will leave you feeling temporarily satisfied.

Jones has managed to consistently keep on top of the music world, but he also managed to make his mark in the B-movie world as well, by providing the score for the 1971 film “Honky.” He even scored a Golden Globe nomination for his work in the film- the only nomination the picture received.

The main focus of the flick is the love story of a rich African-American girl that falls in love with a poor white boy. That causes hatred between their families and friends. It is a dated movie without much to recommend- except the exceptional score by Jones.

-Anthony Benedetto

On his day off as a neurosurgeon, he runs errands, plays racquet ball and visits his mother suffering with Dementia.

This schedule gives some semblance of order to Perowne’s life in Ian McEwan’s Saturday.

The novel begins just before the dawn of Perowne’s routine. It’s a scene where the protagonist looks out his window, philosophizes about his life and does a mental check of all the things that need to be conquered on this day. His introspection is interrupted by a plane crash landing in the distance.

If this were a different sort of novel, then Perowne would be fighting some force or running towards the crash to investigate. Essentially some type of action would occur, but no.

McEwan’s plane crash is just that – another thing that happens on Perowne’s “Saturday.”

The novel does have moments of suspense however. While driving through a rally, Perowne meets up with Baxter – a man he expertly diagnoses with a rare brain disorder while simultaneously keeping him from stealing his car.

As a reader, you think to yourself “now we’re going to see some action.”

Not really.

While the incident with Baxter rattles Perowne, he still forces himself to continue his routine and get through his day. This incessant need to have his “Saturday” like any other is frustrating to the extent that when a racquet game becomes a long war campaign, instead of maintaining the routine of his day, you just stop caring.

At this point you begin to grasp at straws.

Maybe McEwan is using Perowne as a metaphor for someone, who like the rest of us, grapples with issues not of our creation and out of our control. He keeps dominion over what he can to have a semblance of normalcy.

McEwan is frustrating as an author, because there are pockets of moments in “Saturday” that keep your eyes riveted to the page. For instance, the language McEwan uses to narrate how Perowne operates makes you want the novel to be solely about brain tumors and rare neurological disorders. However, these moments are few and far between. Perowne is so isolated from experiences outside his family and profession that the reader is left with the inability to connect to any of the characters when intense, emotional scenes occur.

Reading Saturday makes one wonder if McEwan is afraid of seeing the lack of depth that is Henry Perowne reflected back at him.  Or perhaps this is the type of novel where the writer is working out his own stuff, while leaving the audience in the dark.

If that’s the case, then McEwan should keep his diary to himself.

“Is action merely the incidental product of thought, or is thought the consequential product of action,” the prolific novel asks.

Is this the post 9/11 form of inner-reflection? Do we question why we do things or do we repeat monotonous behaviors to give ourselves comfort? Spurring even more intense self-questioning is the knowledge that Murakami’s latest novel, IQ84, is under the type of intense surveillance that National Security Advisors are drooling over.

It is a conspiracy of silence – already released in Japan, the over 1,000 page book will not be in the U.S. until next year. There is a sketchy plotline and discussion groups abound. All the commentary and speculation is unsatisfying and ambiguous. Until then, however, this novel has ample ability to render one hooked on Japanese culture, just as the film, “The Eye,” can introduce one to the enticingly disturbing realm of East Asian horror cinema.

Throughout Murakami’s tale of dual realities existing in real time there is a sense of something creepy about to happen. However, the only outwardly violent episode in the book is the prostitute’s beating by the nondescript businessman, Shirakawa. Somehow, this perverse act holds its grotesqueness without invading what the true horror was of Eri (The sister who is perpetually in slumber – much like Sleeping Beauty – only without being raped by a “prince” and giving birth to twin sons. Disney would never make that version) being trapped within the television and being watched by a faceless entity.

Nevertheless, it is the character of Takahashi, who, aside from Mari (The sister who is always awake, wears a Boston Red Sox cap and an oversized jacket that is never explained.) is introspective about his behavior. His history unfolds in an effectively logical manner. We learn that Takahashi was orphaned for a period of time when he was seven. We also learn that he reverts back to that time period of having had to take care of himself whenever he needs to make a major decision about his life, such as when he decides to take law school seriously.

Takahashi ties in his introspection of the idea of humanity along with his childhood and the outcome is a seamless revelation of action and thought intricately woven into one cohesive concept.

In essence Takahashi has the ability to empathize and sympathize with different aspects of humanity; particularly with people who are caught up in impossible circumstances. Yet, Takahashi picks up a cell phone with no owner? He seems to completely disassociate his action in the seven-eleven and forgo his profound reasoning on the human condition that he makes throughout the novel.

After all “…it has nothing to do with [him]…All [he] did was pick up a cell phone ringing on a convenience-store shelf out of kindness…”

This was the most disturbing aspect of the novel. Let’s forget the girl crawling out of the television, the inexplicable use of cats and the Businessman’s lunch-break activities. The way Takahashi disconnects his life experience with his actions at the convenience store seems to show a sense of disregard for the observations he makes throughout the book.

This action is what twenty-first century thinking has become.

Action and thought don’t seem to weave together, instead they collide.

In a post-September 11th reality, the idea of the world being cannibalistic and predatory with nothing but fungi, disemboweled infants and a hapless dog is a plausible future. There seems to be nowhere to go. Everywhere is described as dark and cold. It is always raining and the only respite from this harsh reality (a bomb shelter that ironically remained untouched during the cataclysmic event) is too exposed to be enjoyed. Danger is everywhere and there is never enough food.

McCarthy makes you feel every wracking bloody cough the father makes. The boy is so thin and frail that you feel as if you can see right through him. “The boy’s candlecolored [sic] skin was all but translucent,” it says.

Yet McCarthy makes this boy the one who could keep humanity going.

Their journey to the coast, a possible place where life could be better has the foreseeable end of the father dying and the boy being left behind to keep the fire going. He is picked up by a small family.

McCarthy seems to leave a modicum of hope that ironically comes from the father’s past. “You could see them [the trout] standing in the amber current where the white edges of their fins wimpled softly in the flow…On their backs were vermiculate patterns that were maps of the world in its becoming,” it reads.

The father’s world was vivid and full of color, purposeful life and language. The stories that the boy did not want to hear from his father because they did not belong to their present reality won’t be retold. Instead, they might actually be lived through the boy. Perhaps that is the fire that the father refers to.

Or not.

It will be interesting to see what threads the film will pick from the novel. Will Australian director John Hilcoat (known for the horror film “Ghost of the Civil Dead” – based on real life events in which inmates in a prison turn viciously violent after constant persecution) turn the Christ-like imagery of the boy in a dank alternative timeline on its head? The macabre undertones are certainly there for Hilcoat to draw from. After all it is a place where women are used as sources for food.

The casting also seems appropriate. Viggo Mortenson’s chameleon-like acting ability is a no-brainer as the father. The son seems simultaneously apathetic and fretful. However, it’s curious Charlize Theron that playing the mother. There is no question that the woman who played a characterized “Monster” has the acting chops, but the novel gives her such a minuscule role in this manly world. Perhaps it is because the mother represents more than common sense in the novel.

Yes, it is better to take your own life before the cannibals get you.

In reality, there is no hope. The boy will be lucky to make to adulthood. The family he meets at the end has nowhere to go and the dregs of a former humanity are everywhere.

However, it is possible that Hilcoat is expanding on a theme that McCarthy touched on, which is the importance of carrying on – no, not a torch, but just to keep moving.

Things tend to die in McCarthy’s world when they stand still, whether by design or unintentionally. That seems to be what this post-apocalyptic novel and film is about.

Is The Road worth your time? Yes. The straight-forward prose makes room for the reader to explore the idea of how to survive and cope. Perhaps not in a post-apocalyptic sphere, but in a place where we as individuals experience our own cataclysmic traumas that make it seem like the end of the world.