I don't know what movie you saw over the weekend, but the place to be was in the cinema playing Diablo Cody's ode to horror movies, Jennifer's Body.
Sometimes, when the planets and stars align, the 24/7 news cycle spits out something so great that it rocks your world - in a good way.
I just got back from a 2,700 mille cross-country trek to Bristow, Virginia, to see my son, Jimmy Buffett and a lot of my friends from www.buffettnews.com.
I think I'm one of three adults in the world that actually admits to liking parts (only parts, okay!) of the High School Musical series. I think it's only because it is a musical. I've been a fan of the musical for a while, but musicals always tend to be either awash in an overdose of saccharine - like HSM - or play a giant (sometimes gothic) drama - like Phantom of the Opera and Rent.
Mac McAnally is probably one of the most respected musicians in Nashville. Six months out of the year, he serves as Jimmy Buffett's straight man and musical director.
"Any musical innovation is full of danger to the whole state, and ought to be prohibited . . . when modes of music change, the fundamental laws of the state always change with them"
About a week after they leaked a massive album cut from the upcoming record, The Resistance, do Muse unveil "Uprising," the album's first single.
The single is being taken as a large change in style for the group - a pill I haven't seen many fans take very well - but "Uprising" is a very obvious next step for the band. It is a synth laden, rebel-rousing rock track. Matthew Bellamy takes a different vocal approach yet again with half-spoken verses, but the chorus brings you the familiar soaring vocals for which the band is known. The driving beat and base provided by Christopher Wolstenholme and Dominic Howard are infectious, providing the adrenaline rush that great philosophers feared could change a state.
British rock band Muse delivers yet another incredible piece of operatic rock called "United States of Eurasia". This time it's from their upcoming fifth album, The Resistance. The song sounds like a mash-up of classic rockers, Led Zeppelin and Queen. The track includes a beautiful piano coda called "Collateral Damage" which is, essentially, Chopin's "Nocturne Op.9" with a Muse touch of strings, vocals and ambient noise. The entirety of the cut is decidedly different from what Muse has done before, but the change seems completely logical. I've always found Muse to be our generation's Queen - with it's giant pieces and unmistakable vocalist- and they live up to it here. That vocalist is Matthew Bellamy; who, though not as odd/eccentric as Freddie Mercury, still holds the same musical prowess. It is, after all, Bellamy who performs "Collateral Damage" on the piano.