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It's musical reinvention week, courtesy of the Big Music Machine. Miley Cyrus can't be tamed — nor can she be original. Eminem leaves the pills and booze at home. Unfortunately, he leaves all of his good rhymes there, too. Ozzy keeps drinking True Blood to remain the reigning Prince of Darkness, and the Roots may finally get over, thanks to another brilliant album. And if your mind still needs some altering, the Chemical Brothers will sprinkle it with electronic pixie dust. Play on, people. Play on.

POLL: Is Miley Cyrus believable as an edgy, Lady Gaga-lite vixen?

SKIP: Miley Cyrus, “Can't Be Tamed”

This hapless piece of pop pap has done the seemingly impossible: made me miss Hannah Montana. Does anyone believe Miley Cyrus' makeover as an edgy, Lady Gaga-lite vixen? OK, Miley can't be tamed. But she can be stopped. Please? Anyone? Perez?

WATCH the music video for Miley Cyrus' single “Can't Be Tamed.”

SKIP: Eminem, “Recovery”

Good news: Eminem is clean, sober, and wants gays to marry so that they can “have the chance to be equally as miserable.” Bad news? All of this newfound maturity and tolerance doesn't necessarily make for a strong album. “Recovery” is full of bravado, profanity, and braggadocio — all of the things on every other Eminem album. Only this time, it seems like the rapper is force-feeding us. Does he need to prove that sobriety and responsibility haven't made him soft? Maybe… but something's off. The rhymes falter, and the beats are erratic (due in part, no doubt, to 11 producers contributing, with Dr. Dre on only one track). No one wishes Em to fall off the wagon, but he may need to find another muse if he wishes avoid falling into irrelevance.

WATCH the music video for Eminem's single “Not Afraid.”

PLAY: Ozzy Osbourne, “Scream”

Who isn't rooting for Ozzy? He's the lovable, mumbling Grandpa Munster of metal. After ten solo albums and countless amounts of booze and drugs, Ozzy is a freak of nature and a national treasure (last week, reports surfaced that scientists are mapping Ozzy's genome to see why he's still alive). On “Scream,” the Ozz-man is paired again with producer and co-writer Kevin Churko, who got Ozzy a Grammy nomination with 2008's “I Don't Wanna Stop.” There's one Vocoder too many, but “Scream” is good metal fun that keeps the Ozzy crazy train rolling along.

WATCH Ozzy Osbourne discuss the making of “Scream.”

PLAY: Chemical Brothers, “Further”

The big beat electronica kings are back with more mind-expanding sounds. Full disclosure: I'm a total newbie when it comes to electronic music. I have always preferred verse-chorus-verse, with a smart bridge and some first-person lyrics to reel me in. Yet one of the joys of writing about music is being required to listen to new sounds, and “Further” is a helluva listen. In fact, its eight songs are more of an exercise in time-space travel than an album. If Jackson Pollack used sound instead of brushes, these would be his paintings. The Chemical Brothers are audio abstract expressionists. You'll move your feet and feed your mind. Dunno what took me so long to get the groove.

WATCH the music video for the Chemical Brothers' single “Swoon.”

PLAY: The Roots, “How I Got Over”

The Roots are back with their first album since becoming the house band for “Late Night With Jimmy Fallon.” If there is any justice, the nightly TV exposure will deliver them a #1 hit album. Make no mistake, people: The Roots can single-handedly save music — and us — from ourselves. Philadelphia's most soulful sons know their history, remember their roots, practice their politics, and preach some hard truths. “How I Got Over” remixes Monsters of Folk's “Dear God,” brings John Legend up front for a couple of typically groovy vocals, and covers the elusive cult figure Cody ChesnuTT (remember “The Seed”?). And through it all, the groove is as relentless as the lyrical toughness. This is music to make you dance and make you remember that we are far from getting over. Testify!

WATCH the music video for the Roots' single “How I Got Over.”

The Wall Street Journal reported some new details about the long-rumored Google music service, this time with a tasty Android twist.

Google’sGoogle plan, it seems, is to launch a download service first — one that is tied to the company’s search engine — and then to progress to an online subscription service by 2011. The ultimate goal is to have a cloud-based subscription service that could stream directly to AndroidAndroid-based devices.

While rumors and reports about Google formally entering the music sales or subscriptions space have been ongoing for years, this time the talk might be for real. In October, Google launched its music discovery search features. At the time, we discussed its implications on the music business as a whole.

Additionally, VEVO (a partnership service between YouTubeYouTube and Universal Records) has at least theoretically created better relationships between the major labels and the search giant. However, when trying to assess Google’s overall music strategy, Android appears poised to be the biggest catalyst.

At Google I/O, Google showed off technology that would allow Android users to stream music off of their desktop computers right on to their phones. That’s very cool and offers a glimpse of what a cloud-based subscription service may offer. While Android can support direct over-the-air purchasing from the Amazon MP3 store, the overall music player and music experience still doesn’t quite have the finesse of iTunes and its integrated multi-device solution.

While The Wall Street Journal article mentions Android in relation to phone handsets and a streaming subscription, I actually think the implications for such a service are even greater on other Android devices.

Think about it: If your Android-based Google TV can also stream any music you want to your home stereo, that becomes an Apple TV without limiting users to their own libraries. And what about automobiles with Android-embedded systems? Those products aren’t on the market but manufacturers are interested. Having the ability to access that streaming subscription from your car, your home and your phone could make a Google-branded music subscription service succeed where so many others have failed.

What do you think about the potential for an Android-enhanced Google music service?

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Your blatant hatred of successful, straight, & non-gay icon women is completely and totally obvious. You rarely have anything positive to say about straight women who achieve goals in their lives.

Evangeline Lilly has had enormous success because of LOST. And she has chosen to make that the highlight of her career and decided to pursue other interests. Just because she was successful as an actress doesn't mean she should or want to continue that road in her life. Admit it – if Lady CACA did this, you'd be spewing every 2 seconds how AMAZEBALLS this is, and how SHE LOVE HER LITTLE MONSTERS SO MUCH THAT SHE'S WRITING A BOOK FOR THEM.

You rag on Kristen Stewart, Vanessa Hudgens, Miley Stewart, Jennifer Aniston, and any other straight woman who's possibly boning the guy YOU want to bone. You worship home wreckers like Angelina Jolie, and you cream over people like Jane Lynch, Madonna, & Lady Caca only because they are gay rights activists or “icons”. You don't realize that your whole attitude turns off the gay community, and your biased attitude and constant discriminatory remarks and “outing” of possibly gay people only HURTS your so-called agenda. You don't give LGBT people any respect, and you blatantly use hurtful words and scathing remarks towards people YOU WANT TO BE. Disgusting!!

The Magic of Childhood and the Agony of Growing Up

The Children's Book by A.S. Byatt /
K

Book Reviews |
June 4, 2010 | Comments (13)

There’s something fascinating as well as unsettling about Britain in Edwardian times. It was a short era of radical change in almost every aspect of life, culminating in the unimagined and unimaginable trauma of the First World War. It seems to provide endless possibilities for writers, and Byatt’s latest work tries — and manages — to explore most of them.

Taking as a narrative frame the intertwined lives of four families in Southern England, Byatt lets her protagonists follow different paths, all grounded in the problems and interests of the time. The seven children of the Wellwoods, a free-thinking Fabian couple, are all heavily influenced by their well-know children’s writer mother and her stories. The children’s fairytale childhood and their reactions to it, their different characters as well as their life choices are described in detail, with the help of narrative comments about the diverse cultural and social setting. In addition to the Wellwoods, Byatt also introduces working-class characters, pottery artists and military men, bankers and German puppeteers. The scope of her work is amazing, and with the exception of the younger children, no character feels underdeveloped or one-dimensional. This leads to a sometimes patchy narrative and a wealth of information supplied in just a short paragraph. It took me a while to get into the story, precisely for this reason, but the writing is superb, and the world Byatt is piecing together is irresistible in its diversity.

While the boys and young men struggle with their parents’ carreer choices for them, with ambition and passion, it’s really a story about girls’ and women’s lives around 1900, without moving into a feminist literature corner. Faced with traditional values as well as exciting new developments they are exposed to through their liberal parents’ circles, the Wellwood girls and their friends experience turbulent times. One of them faces years of hard work and the prospect of a lonely private life by choosing to become a doctor, while another one almost loses all hope of a dignified life by falling pregnant after giving in to a writer advocating free love. They all experience the tensions between the social classes, one as an anarchist, another one as an ambitious but poor working-class girl without much choice about her future.

It’s also a novel about the arts. The Edwardian’s near-obsession with childhood and a golden past is reflected in Olive Wellwood’s success as a children’s writer, in the stories she writes for her children, the puppeteer’s success in Germany and Britain alike, and the academic interest shown in folktales at the time. Art is at the heart of the power struggles in the new V&A museum in London, and art fills every minute of the two potter’s lives. Finally and poignantly, art — poetry — is the only way the war is shown to be dealt with by the surviving soldiers.

The book ends in the fragmented way life after 1918 must have felt for everyone. It’s depressing how you always know before opening a book about the time that most characters will have died by the end. The Children’s Book is no exception. The fact that so much story, so many words, were spent on the childhood of the men who are to die, somehow makes it an even sadder, and more real, experience. It’s a novel about the magic of childhood and the agonies of growing up; about betrayal of parents and betrayal by parents; about a time that promised a new beginning and ended with a lost generation. It’s brilliantly written, and it makes a lasting impression. And if you still don’t get my drift: GO READ IT NOW!

This review is part of the Cannonball Read series. For more of K’s reviews, check out … and then I read some more.

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