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<p>&nbsp;Donna Summer</p>

 Donna Summer

Credit: AP Photo

An Appreciation of Donna Summer: Queen of pop, not just disco

Her glorious musical explosions fueled the clubs and the charts

“Last Dance” was a tough song to dance to. The Donna Summer smash started slow, so if a boy asked you do dance to it, the request felt way more significant than if he asked you to dance to a fast song. But then it transitioned into a fast song, so you and your partner had to know how to navigate the switch from slow to fast.  And if you weren’t fond enough of each other to actually slow dance together through the opening you just had to awkwardly sway separately through that part until the fast part came in.

I was never very good at that.

Dancing to that song with a boy whose name I’ve long since forgotten was one of my first memories this morning when I heard of Summer’s passing from cancer. She was 63.  My second was that her music had informed much of my teen years.

The five-time Grammy winner got labeled Queen of Disco during the late ‘70s, but a more appropriate title would have been Queen of Pop. Between May 1978 and January 1980, she scored eight Top 5 hits on the Billboard Hot 100, including four No. 1s —the first female to do so in that short time span.  The musical style may have been disco (now, of course, rebranded dance) and born out of the clubs, but the truth is no one had to step into a disco to hear a Summer song during her heyday. Her music played in the supermarket just as much as in the clubs...and she dominated radio.

During that time, I was solely into Top 40. While I was keyed into music like nothing else in my life from the time I was four or so, in my mid-teens, my tastes were dictated by Top 40 radio. My parents are probably the last generation to not be influenced musically by the birth of rock in the ‘50s, and my older sister, while also a music fan, didn’t start straying outside of the pop lines until she went to college, like me.

So while the cool kids —of which I never have been one— were already getting into the Clash, the Ramones, and other punk acts (all of whom I came to love later), I was totally in my Top 40 bubble and Donna Summer was a big part of that bubble.

Summer’s hits were glorious explosions that often started slow and then burst into beat-driven fireworks propelled by her stellar, powerhouse voice (underrated by critics at the time, who were too busy hating on disco to truly acknowledge her talent). Listen to the notes she sustains on “Dim All The Lights” or how she goes toe to toe with Barbra Streisand on “No More Tears (Enough Is Enough)” and holds her own with one of the greatest voices of all time. That’s a great voice, born from her gospel background, no matter what genre you want to pigeonhole her into (watch for the encomiums coming the next few days stressing just that from writers who denounced her the first time around).

If there was ever an artist who seemed to wrestle with her fame, her talent and her audience, it was Summer. As a born-again Christian, she later denounced her first hit, 1975’s orgasmic “Love To Love You Baby.” She told Vanity Fair that she looked at the song as a “joke”: “I originally recorded ‘Love to Love You Baby’ on a dare from [producer] Giorgio [Moroder]  that I couldn’t be sexy. It was a joke that worked. All that orgasmic stuff … I thought they were kidding—I desperately tried to get them to get someone else to sing the song. Then I made them turn the lights off, get some candles, have some atmosphere. I was going closer and closer to the floor and finally I was lying on the floor.”

History has looked back on Summer as a pioneer, as someone who helped usher in a new musical format that, although hated by critics, delighted millions of fans and also was the first genre to be embraced by the gay community and claimed as their own —though they were always delighted to share with the world at large. (Summer was later accused of voicing anti-gay comments, which she denied making).

She has been up for induction into the Rock and Roll Hall of Fame, but did not receive enough votes to make it into the Hall— yet. That’s likely to change in coming years. Listen to “I Feel Love,” which is basically Kraftwerk crossed with disco, and tell me why she doesn’t deserve inclusion. Plus, the songs have worn far better than they should have. There will never be a time now or 20 years from now or beyond when “Bad Girls” or “Hot Stuff” doesn’t pack a dance floor. If you're still not convinced she was beyond disco, that's a pretty crunchy guitar solo in "Hot Stuff" for a disco song, isn't it?

I still find myself listening to Summer as a great pick-me up on occasion and her songs never fail to bring a smile to my face. “Heaven Knows” will always remind me of riding around with my boyfriend in high school in his black Cutlass Supreme (with red interior). When one of my best friends was going through a divorce a few years ago, we packed up her apartment to Summer’s greatest hits, dancing around, filling boxes, and waiting for the movers, often as tears streamed down her face.

If you’re too young to remember her in real time, check her out with an open mind and open ears. And don’t forget your disco whistle.

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<p>Matthew McConaughey in&nbsp;Jeff Nichols' &quot;Mud&quot;</p>

Matthew McConaughey in Jeff Nichols' "Mud"

Credit: Everest/FilmNation

Could 2012 be a watershed moment in Matthew McConaughey's career?

The actor finds himself working with a bevy of filmmaking talent this year

Are you ready for the year of Matthew McConaughey? And did you ever think you'd read that sentence?

Yes, the heartthrob best known over the last decade for turns in dubious actioners, countless rom-coms and a naked bongo drumming episode is set to have a pretty sensational 2012. And not to diminish the actor. Even in all that sludge there have been sparks of that natural flair. But few would argue that McConaughey hasn't been off on an irrelevant tangent since "Reign of Fire," at the very least.

But this year -- with two films set to bow next week at the Cannes Film Festival in Lee Daniels' "The Paperboy" and Jeff Nichols' "Mud," another in theaters already and two more on the way -- the actor has saddled up to quality filmmakers for the first time in a while. Seemingly, he's ready for a new, more meaningful phase of his career.

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<p>Sparta</p>

Sparta

Song Of The Day: Sparta's 'Chemical Feel,' first new music in six years

At the Drive-In keeping half the band busy, but not that busy

Sparta are working on a follow-up to 2006's "Threes," and new track "Chemical Feel" is the first evidence of production.

The sonic space-bound track is tough, and impeccably recorded, with crisp guitar lines funneled through pirstine pedals. Jim Ward sounds uuungggh, in the good way.

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<p>AnnaSophia Robb of &quot;The Carrie Diaries&quot;</p>

AnnaSophia Robb of "The Carrie Diaries"

Credit: The CW

Analysis: The CW's 2012-13 schedule is simultaneously intuitive and counter-intuitive

'Arrow,' 'Beauty and the Beast' and a 'Supernatural' move shake things up
Through upfronts week, Sepinwall has been doing daily analysis on each network's schedule, but I'm handling The CW because, as he puts it, "I don't understand the CW."
 
The funny thing is that the schedule that The CW announced on Thursday (May 17) morning is probably the most instantly digestible lineup of the week and not just because The CW only programs 10 hours of primetime. It's almost as if The CW decided that this was the year to encourage Sepinwall and other people outside of the Females 18-34 demo to understand The CW, if not watch it.
 
The CW's 2012-13 schedule is simultaneously marvelously intuitive and amusingly counter-intutive.
 
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<p>Dalls (Cheryl Hines)&nbsp;goes for a &quot;Suburgatory&quot;&nbsp;run.</p>

Dalls (Cheryl Hines) goes for a "Suburgatory" run.

Credit: ABC

Season finale review - 'Suburgatory': 'The Motherload'

Mother's Day in Chatswin raises complicated emotions for Tessa and Lisa

A review of the "Suburgatory" season finale coming up just as soon as I club a stuffed seal...

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<p>Matthias Schoenaerts and Marion Cotillard struggle towards uneasy peace in 'Rust and Bone,' Jacques Audiard's competition selection at this year's Cannes Film&nbsp;Festival</p>

Matthias Schoenaerts and Marion Cotillard struggle towards uneasy peace in 'Rust and Bone,' Jacques Audiard's competition selection at this year's Cannes Film Festival

Credit: Sony Pictures Classics

Review: Marion Cottilard and Matthias Schoenaerts devastate in Audiard's 'Rust and Bone'

A beautiful piece about the scars that define us lands early knockout blow at Cannes

CANNES - We all pick up scars as we move through life, some visible, others not, and it is how we deal with these physical and emotional traumas that defines who we are.

Jacques Audiard has been steadily putting out small films of enormous power for the past decade or so, and I first tuned into his work with "Read My Lips" in 2001.  "The Beat That My Heart Skipped" came next, and for many people, "A Prophet" was the moment they realized just how strong a clear a voice he has as a filmmaker.  Because of that film's international success, there was much expectation focused on the 8:30 AM screening of his new film today at Cannes, and based on the trailer I'd seen for it, I walked in expecting one film.  Instead, I got something much richer, more prickly, and more deeply felt than I expected, and I am once again convinced that Audiard is a major voice, an artist of note, and a gifted humanist filmmaker.

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<p>Menna Chalaby and Bassem Samra star in 'After The Battle,' one of the films in competition at this year's Cannes Film&nbsp;Festival</p>

Menna Chalaby and Bassem Samra star in 'After The Battle,' one of the films in competition at this year's Cannes Film Festival

Credit: Cannes

Review: Awkward and angry 'After The Battle' fails to fully capture Arab Spring

Sincere in its intentions, the film never manages more than polemic

CANNES -Well-intentioned, unfortunately, is not enough for a film to work.  If it were, then most films would be great and that's simply not the case. 

Yousry Nasrallah's new film, "After The Battle," has huge ambition, and on that level, I can certainly empathize with the film's goals.  Set during the Arab Spring of last year, the film tells the story of Reem (Menna Chalaby), an Egyptian woman who works in television commercials, who is incredibly passionate about the possibility of a new democracy in Egypt.  She's tired of dealing with the way women are treated in Egyptian society, and she believes that the revolution has a chance to change things.  Her beliefs are challenged when she meets Mahmoud (Bassem Samra), a horseman who was part of the "Battle of the Camels," where armed camel and horse riders swept into Tahrir square to attack anyone who was staging anti-Mubarak demonstrations.  Very quickly, the protestors turned the horsemen away, attacking and injuring many of them, including Mahmoud, whose image ends up on YouTube, a symbol of the way the country is rejecting old values.

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<p>Kim gets one of her many Immunity necklaces from Jeff Probst</p>

Kim gets one of her many Immunity necklaces from Jeff Probst

Credit: CBS

Interview: Kim Spradlin talks 'Survivor: One World'

New 'Survivor' winner talks about her dominant season
It says a lot about Kim Spradlin that although few fans are describing "Survivor: One World" as one of the CBS' franchise's better installments, it's easy to find viewers eager to call Kim's season one of the game's finest performances.
 
For 39 days, Kim crushed the competition, dominating "Survivor: One World" socially, strategically and physically. 
 
She built an all-female alliance on Day One and stuck with it to the end. 
 
When the Merge arrived with equal gender numbers, she manipulated and maneuvered to turn the men on themselves and soon orchestrated the systematic elimination of the opposite gender. 
 
And as Individual Immunity became more and more important, Kim emerged as a challenge juggernaut.
 
Despite pulling the strings on every level -- Troy departed telling everybody they needed to get her out -- Kim was never in serious jeopardy and the game ended with her holding a Hidden Immunity Idol she never needed to use.
 
In previous exit interviews, her Final Three rivals Sabrina and Chelsea have both agreed Kim deserved to win.
 
In her exit interview, Kim discusses her strategy for the season and why she thought the Jury results would be even closer than 7-2. She also explains her shock at capping off the memorable season by winning America's Player as well.
 
Click through for the full Q&A.
 
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Gotye's 'Somebody' and Train's 'Drive By' score on Billboard Hot 100
Credit: Eleven

Gotye's 'Somebody' and Train's 'Drive By' score on Billboard Hot 100

Will Maroon 5 spoil Gotye's party next week?

Gotye’s “Somebody That I Used To Know” featuring Kimbra continues its residence atop the Billboard Hot 100, logging its fifth week at the top.

Its run gives the song the longest reign by a solo male since Eminem’s “Love The Way You Lie” featuring Rihanna spent seven weeks at No. 1 in 2010, according to BIllboard.

Maroon 5’s “Payphone” featuring Wiz Khalifa flips spaces with fun’s “We Are Young” featuring Janelle Monae, with the Adam Levine-led group rising one spot to No. 2.

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<p>Nicki Minaj in &quot;Right By Your Side&quot;</p>

Nicki Minaj in "Right By Your Side"

Credit: VEVO

Watch: Nicki Minaj, Nas and Chris Brown combine for 'Right By My Side'

Oh, hello Nas

"Let me see your phone..." Gotta love Nicki Minaj's gall to have a verse about checking her boyfriend's cell phone in a song that features Chris Brown.

The Young Money would-be pop-star and rapper combined with Brown for "Right By My Side," another cut from "Pink Friday: Roman Reloaded." In addition to the socially repugnant pop star, Minaj also tapped another super-talent for the track, or at least the video: Nas.

The music video seemingly set up shop in the 1990s era of R&B, with Minaj's slo-mo'ed long blonde locks and wack lounge wear, and the ever-lovely Nas sporting eyeglasses like he's Nate from Boyz II Men (of course he was the cute one). Oh, a new car! Oh, a make-out session on a park bench! Kelis is somewhere, weeping and sharpening a blade.

This clip is thankfully much more cohesive than Nicki's last, neon eyesore "Starships." Where I take issue here, though, is that she spends about 75% of the time doing capital-S Serious acting for the VH1 crowd, and the rest of it goofing off. It's one kind of comedy to watch Brown try to lip-sync to his auto-tuned solo, it's another to perpetually act like its the end of a long day. The tail-end of the vid hints at a "Thriller"-like sequel, but I don't feel like dancing.

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<p>Kara Hayward in &quot;Moonrise Kingdom.&quot;</p>

Kara Hayward in "Moonrise Kingdom."

Credit: Focus Features

Review: Young love is a wispy business in 'Moonrise Kingdom'

Cannes opens with Wes Anderson on typically whimsical form

CANNES - It's not often that a filmmaker's cheerleaders and detractors alike can agree upon a single convenient adjective. But for better and for worse, "precious" has been a defining term for Wes Anderson's unapologetically affected filmography ever since "Rushmore" dressed up the grainy funk of "Bottle Rocket" into something a little more preppily composed.

From any perspective, "precious" covers the thematic and aesthetic delicacy of his films, their exactingly designed construction and perennially nostalgic gaze. Whether that degree of refinement is something cherishable or enervating, however, is in the eye of the beholder. To say, then, that "Moonrise Kingdom" -- a neurotically designed and almost exhaustingly cute return to the pre-adult concerns of 1998's "Rushmore" -- is Anderson's most precious film to date scarcely qualifies as a value judgment. But it is, and you can attach to it what value you will.

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<p>The &quot;American Idol&quot; Top 3</p>

The "American Idol" Top 3

Credit: FOX

Recap: 'American Idol' Top 3 Performances - Jessica, Joshua and Phillip sing

Will three performances from the Top 3 yield a new favorite?

Now things are about to get interesting.

Last week, we dispatched Hollie Cavanagh, which was sad for Joshua Ledet, but pretty straight-forward for America. Leaving aside the only briefly relevant question of whether or not Colton Dixon would be able to ride in-song prayer to an "Idol" crown, we've worked our way down to what probably should have been the Top 3 from the very beginning of the season. Joshua, Jessica Sanchez and Phillip Phillips belong here. 

But who deserves to be singing next Tuesday and Wednesday? That's more of a mystery. For me at least, Joshua is a no-brainer as a deserving finalist. But if you want to have a specific preference between Jessica's preternaturally assured pipes and Phil-Phil's [relative] originality and artistry? I'm understanding of both points of view.

So as we settle in for a three-performance night by each singer -- One they chose themselves, one the judges chose for them and one chosen by Jimmy Iovine -- I'm feeling a bit like Mr. Randy Jackson: Tonight, I would like to see who's in it to win it. Dawg.

Click through for the recap...

Singer: Joshua Ledet
Song: "I'd Rather Go Blind"
My Take: In a long show like this, you don't want to be leading things off. With three performances apiece, the pimp slot probably isn't necessary, but with this much talent, it can't hurt to be the last thing viewers remember. The first round is the Judges' Choice, not that Randy knew the name of the Etta James track he allegedly picked. Looking dapper with a red shirt and a matching rose in his lapel and crooning into a retro mic, Josh is right in his wheelhouse. It's yet another glorious showcase for Joshua's straight-into-the-studio voice, with jazzy grace notes and church-y touches aplenty. You could plunk him a booth right now and record this and it would be a huge hit. If this were 1966. And even today? I'm just happy listening. For me, Joshua is like a perfect blend of Melinda Doolittle and his idol Fantasia Barrino. He's a technician. He's an artist. And he sounds like nobody else. [Please recall how much I disliked Joshua's Josh Groban cover last week before you complain I'm in the tank for the guy. I don't think he can do no wrong, but when he does right, I'm a big fan.]
Steven, J-Lo and Randy Say: The judges start the night on their feet. "This is another Joshua moment," Steven Tyler raves, saying he sang like the American Idol. "You are such a throwback and I love that about you," Jennifer Lopez cheers. "You're such a classic stylist. This fits you so like a glove," Randy says, hoping Joshua can bring his touch to modern times.

Singer: Jessica Sanchez
Song: "My All"
My Take: The judges want Jessica to sing Mariah Carey. Because heaven knows we haven't heard her do The Great Divas this season. There's a weird conflict in stage presentation. The guitarist sitting on the edge of the stage suggests an intimacy and warmth. Jessica's rigid presence atop a platform surrounded by fog in her prom dress suggests the exact opposite. Her stage presence is aloof. The song is, interestingly, too range-y for her, particularly on her less impressive lower register. When she's high, it's beautiful. When she's low, it's mumbly and breathless. She barely stays on any note for a second. It's all trills and vibrato and runs. If you love that sort of thing, you'll like the performance. But if you honestly compare it to Jessica's best performances? That wasn't anywhere near.
Steven, J-Lo and Randy Say: "That was absolutely beautiful," Randy says, name-dropping Randy. He goes so far as to call it one of the best times a Mariah song has been performed on TV. J-Lo says the song is hard. Steven calls it over-the-top as a compliment and I think he called her the winner or something.

Singer: Phillip Phillips
Song: "Beggin'"
My Take: Steven Tyler wanted Phil-Phil to show off a bit more of his melodic side, so naturally he's detoured this sound around its familiar melody. Naturally. This is a better piece of singing than we've seen Phil-Phil do for a while. On songs like this, he tends to get stuck in his nasally head-voice, but this has song dynamic range and he's definitely having some fun, controlling the stage musically and maintaining audience energy in a way he sometimes forgets to do. Round One goes to Joshua, with Phil-Phil right behind.
Steven, J-Lo and Randy Say: "You catch a groove in a song that's all yours and you just ride it all the way home," J-Lo says. "It's so beautiful to watch you unfold here," Tyler says. "When you're facing the sun, the shadows fall behind you," Tyler says before comparing Phil-Phil to THE BOSS?!?!? "You are so in the zone and you've been in the zone since Day One," Randy says. "You are who you are and we love it," Randy cheers. The judges only gave one standing ovation in the first round, Randy hesitates before kinda giving Joshua the edge. J-Lo clearly leans towards Phil-Phil. And Tyler waffles.

Singer: Joshua Ledet
Song: "Imagine"
My Take: Sorry. I'm not recapping the visits home. Joshua got a church-heavy edit. He also kissed babies and got the obligatory high school assembly and fireworks. For his own song choice, Joshua decided to go with the John Lennon favorite that very nearly lifted Little David Archuleta to the "Idol" crown. I like Josh when he doesn't need to over-emphasize how earnest and heartfelt everything is. That's why I didn't like his Groban and that's why this is way too predictable and easy for me. It's mostly stripped down and, relatively speaking, not weighted down with Joshua affectations. I'm not questioning that he's doing this well, but I don't get the same joy from it as I do when Joshua dips into the Motown songbook. He's talented, though. We know this. The boy can sing and this is note-perfect, without surprising.
Steven, J-Lo and Randy Say: Steven thinks he's sat there and watched Joshua learn to sing. I suspect this is not true. "It was a pulled back and controlled performance for you," J-Lo says. It sounds like she's moving into an insult, but really she's just saying that Joshua has courage to dig deep into the material. Randy wants everything Josh sings to touch him and calls this particular performance "stellar."

Singer: Jessica Sanchez
Song: "I Don't Want To Miss a Thing"
My Take: Jessica flew to San Diego in a helicopter? That's kinda crazy. She landed in the middle of the outfield at Petco Park. That's bananas. She performed for sailors on the USS Midway. Yeah, Jessica got perks Joshua didn't come close to getting, sentiment-wise. Song-wise, Jessica has chosen to Mariah-ize an Aerosmith song for Steven Tyler, who leers approvingly throughout. Going more contemporary was a good choice for Jessica, whose best chance to beat Joshua is by proving that she's more "2012" and more marketable, which is probably true. This song has been performed to death on "Idol" and this definitely one of the better versions we've heard, even with a last note that wavers and trembles in really un-Jessica fashion. I almost like that imperfection. When Jessica messes up, she seems more human than when she's doing a perfectly mimicked Xerox.
Steven, J-Lo and Randy Say:Tyler gives Jessica a standing ovation and tells her she made a great song better. J-Lo claims Tyler's hesitant to rave about people singing his songs and she loved Jessica's last note. Randy thought it started a little slow, but he felt she delivered on the big moment at the end.

Singer: Phillip Phillips
Song: "Disease"
My Take: People back in Georgia like Phil-Phil. The clip package is full of nice humanizing moment like Phillip talking to a stuffed turkey and Phil-Phil's father's heartfelt tribute. And one key thing: Teenage girls love them some Phil-Phil in ways they didn't appear to love Jessica or Joshua. That's not insignificant. Do I know this Matchbox 20 song Phil-Phil has chosen for himself? Kinda, because it sounds like nearly every Matchbox 20 song. Phil-Phil loves finding ways to get the jazz sax player on stage with him. Do we think something's going on there? You can't undersell how much Phil-Phil's musicality improves his every performance. With his guitar, he unifies all of the disparate elements on-stage with him, compared to Jessica's awkward alienation and Josh's hit-and-miss connection. Put Phil-Phil on stage with a bongo player and the jazz sax and it comes together as a full musical number. Like Jessica, Phil-Phil is emphasizing his currency. You could write for this guy and market him. In 2012. Another solid performance, though probably less interesting than Phil-Phil's first solo. I'm not sure I want to give Round 2 to anybody. They were all OK-ish.
Steven, J-Lo and Randy Say: J-Lo thought it wasn't a "Wow" performance, but it was "good." Damning. Tyler didn't think it was over-the-top. Randy didn't like it and make a big deal of patting himself on the back for not loving everything.

Singer: Joshua Ledet
Song: "No More Drama"
My Take: Jimmy Iovine picked a Mary J. Blige song for Joshua because he wanted Joshua to go over the top. And who is Joshua to say "No"? It's not a good piece of stagecraft. Joshua's jacket with the rhinestone shoulders is silly, as are the zombie backup singers. This song is simultaneously perfect and probably proves exactly the thing Jimmy didn't want it to: If this is what songwriters are going to think matches Joshua, he can't possibly sell into today's marketplace and who would think to match this song, at least on the page, with a male artist in the first place? He's going to require too much nurturing and care to get right. In that respect, Joshua is basically the Adam Lambert of this season. After starting subdued, Joshua works himself up into a marvelously frantic state, selling the performance as best he can. It still feels just a bit off, even if he couldn't have done it better. The jacket-toss and the earpiece-cast-aside are vintage Joshua.
Steven, J-Lo and Randy Say: Randy though the performance was the performance of a great artist. In the audience, Hollie Cavanagh agrees. "You have this perfect marriage of knowing exactly what you're doing and letting completely go at the same time," J-Lo says. Tyler says he watched Joshua and felt the last 40 years of the music business.

Singer: Jessica Sanchez
Song: "It'll Be There"
My Take: Yawn. So Jimmy gave Jessica a Jackson Five song that's basically her second Mariah Carey song of the night. We get the point. The girl can sing Mariah Carey. Surely there was a different Jackson Five song that Jimmy could have picked for her if what he wanted to showcase was her youth, rather than her Mariah-esque tendencies. The slightly odd thing is that she's singing the Jackson arrangement like Mariah, so it isn't as -- to use the Steven Tyler parlance -- over-the-top as it could be. Maybe Jessica could have used a little genuine over-the-top as a final performance for the night? All three of Jessica's performances tonight have been interchangeable, though I like that this one at least included a smile. Mostly, she did what we knew she could do.
Steven, J-Lo and Randy Say: "Perfect song, perfect voice, you nailed it," Steve says. J-Lo thought it was a good choice and that she killed it in the end. "I liked it OK. I didn't love it," Randy says. "There was never a Moment moment," Randy says. He's correct in this case.

Singer: Phillip Phillips
Song: "We've Got Tonight"
My Take: The AT&T branding on these song selections is hilarious. Jimmy's choice? A little Bob Seger. It's a song that strips Phil-Phil of his guitar. It's just Phil-Phil on a stool singing. Even he looks perplexed. He keeps rubbing his thigh with his left hand, not knowing what to do with it at all. Maybe this was the wrong week to drop him into this deep end. The audience apparently hates Phil-Phil, because they begin clapping along to the song both inappropriately and off-rhythm. [Note: The audience doesn't really hate Phil-Phil. They love him. They're just idiots who hate music and like to destroy it.] But accompanied by a string ensemble, Phil-Phil delivers exactly what Jimmy wanted. If you ever said to yourself, "But can Phil-Phil actually sell a song on his voice alone?" The answer, it turns out, is a resounding yes. It's sentimental, passionate and... it's singing, without embellishment.
Steven, J-Lo and Randy Say: "The perfect song at the perfect time and your best performance on the show ever," Randy says, calling this a Moment. "This boy here is in it to win it," Randy says. FIRST!!!! First "In it to win it" of the season. J-Lo says that women around the country will love the performance. "You just showed you've got all that passion wrapped up inside you," Tyler says, calling a performance "beautiful" and "over the top" for fifth or sixth time tonight.

 

OVERALL: Jessica showed only one color tonight. She did it well, but she did it thrice. Both Phil-Phil and Joshua showed they have a variety of tools in their kit. My instinct is that that musical diversity, plus the "Idol" audience's preference for male contestants will lead to Jessica's elimination, but I could be totally off-base.

 

What do you think?

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