Shit like this is why my people can't get approved for mortgage loans. It makes no sense at all that this jacket would EVER cost anything close to $1000.00. And on sale for $539? No sir.
I could buy this same jacket...minus the actual leather...for $20 at Forever 21 (and don't act like you haven't tipped through their men's section looking for something similar to something else you couldn't afford at Express).
Oh, and be reminded that you're paying for Sean John tags, not Purple Labels. That's like taking the money that your mommy gave you for a Benz and buying a Pinto...cause the price was high, and you thought you were really doing something.
If you buy this jacket, you don't love yourself, and you don't love your country. Recession people!
I own each of Kelly Clarkson's four albums, and that's not a problem for me to admit since she's easily one of the best pop artists to emerge this decade. That's an especially impressive accomplishment given the circumstances of her initial mainstream exposure. In the seven years following her American Idol win, Kelly has managed to sculpt an image for herself that overshadows the fact that she more or less micro-managed her way toward a record deal, and that speaks volumes about her immense talent.
Still, even with my love for Clarkson, I didn't love 2007's My December. That's a bit hard for me to admit, since popular opinion reflects the same attitude toward her brooding third album; and I'd much prefer to be in the minority. But My December was almost too self-pitying. Clarkson has a history of approaching love and loss with a mostly sardonic attitude that makes songs like "Behind These Hazel Eyes" and "Since U Been Gone" as empowering as they are mournful, and more explicitly sad songs like "Because of You" that much more appealing because of their vulnerability. On My December, Kelly traded in the wit for an outright bitterness that grows increasingly less interesting from track to track.
On her latest effort, All I Ever Wanted, Kelly manages to blend the charming approachability of her earlier work, with the lyrical substance of My December, to create an album that has just as much depth as it does commercial potential.
First single, "My Life Would Suck Without You," isn't about marketing the rest of the album, it's about convincing her fans to give her a second chance, and it works perfectly in that regard. The phenomenal success of Kelly's Breakaway was a reflection of its ability to remain relatable across a broad age-range--from middle school through college, everyone was quoting some Clarkson lyric on their away message, and "My Life Would Suck" functions in the same way. "I really shouldn't miss you, but I can't let you go" is so shamelessly Facebook status ready that it's no wonder the song shot straight to number one in the first week of its release. In that regard, it's certainly a return to form for Clarkson, but ironically one of the few low points on All I Ever Wanted.
The Katy Perry penned "I Do Not Hook Up" is a much better reflection of the rest of the album, as the song is as refreshing as it is familiar. And while the title is more or less self-explanatory, Clarkson carries it from being just a simple declaration of sexual self-agency, to becoming an anthem for those demanding some sort of substance before heading to the bedroom. But it's songs like "Impossible" and "Already Gone" that prove that Clarkson and One Republic's Ryan Tedder have a chemistry that may even surpass the brilliance of her work with Evanesence's Ben Moody ("Hazel Eyes" and "Because of You"). Both songs manage to be radio-friendly and intensely personal at the same time, which is a hard balance to find, especially in today's superficial pop consciousness. Finally, if you weren't sure that Clarkson could hold her own against that other popular idol--Carrie Underwood--check the ballad "Cry," which not only moves into Underwood's country-pop lane, but totally upstages her in the process.
Outside of "My Life Would Suck," other throw-away material includes the overly-sentimental "If No One Will Listen" ("maybe no one told you there was strength in your tears" LAME) and "Whyyawannabringmedown," which is such an Avril song that not even Clarkson can save it from drowning in embarrassing teenage angst.
But, what is most important is that through it all Clarkson's voice remains as flawless as ever, so that even the most tedious of material is worth listening to, if for her unexpectedly soulful approach alone. Kells can sing...no, really.
Here's "I Do Not Hook Up," which is basically ringtone material in my life.
Oh, and via Google it's really hard to find a decent picture of Clarkson...her publicist should probably work on that.
I really don't recognize any real entertainment value to the reality of domestic abuse in our country, and really across the world. That's why I haven't commented on the Chris Brown/Rihanna situation. There are things in this world that surpass celebrity and fame, and when the seriousness of an ass whoppin becomes as casual as a Facebook status update, I find myself a bit worried about the consciousness of our generation.
I won't talk about what really matters in this situation, but I'd encourage you all to think about it.
That being said, Rihanna better hop her ass on Oprah and capitalize on this shit; cause that haircut is about to expire.
The video for the third single from Kanye West's 808s and Heartbreaks, "Welcome to Heartbreak," premiered this week; continuing a trend of generally wack videos from West's most inspired body of work.
Visually speaking, "Welcome to Heartbreak" is probably the most creative video you'll see on your television until Kanye's fourth single gets the small screen treatment; but that's the only interesting thing about it. Music television is full of clips that look good for the sake of looking good, and while Kanye often leads the pack in that department, it would be refreshing to see him present a visual presentation that really engages the subject matter of the song.
Watching West's latest video reminds of the first time I saw the video for "Love Lockdown." On Ellen, West mentioned how the film American Psycho served as inspiration for the video's aesthetic. I certainly noticed that while watching the clip; and I loved it. Stylistically, "Love Lockdown" was refreshing in its modesty, and basically just a pretty ass video. However, that doesn't change the fact that it had nothing at all to do with the song.
Listening to the song's lyrics shows that West isn't on "Love Lockdown," he's keeping someone else in restraint, so any argument citing his own sanity during the course of the clip in relation to the American Psycho theme just doesn't work. Outside of that, there's no reason to think that the video for Love Lockdown was inspired by the actual song, other than the random ( and lazy) placement of a charging tribe to match the drum interjections. The fact that the tribal stampede doesn't complement any other part of the video, but completely caters to the nature of the song more or less illustrates the immense disconnect between the two.
Likewise, "Welcome to Heartbreak" is fun to watch; but you could pair it with just about any other song, and it would work just as well.
I don't know that creating pretty videos could really be considered a talent at this point. It's like, "Ohh, fun colors and fly clothes." We get it.
I won't argue that every video needs a distinct storyline, but finding a way to marry the song with a visual presentation that gives equal representation toward both visions shouldn't be asking too much either.
Checkout Christina Milian's "Us Against the World" clip for a video that perfectly captures the sentiment of the song, while still managing to remain visually refreshing. Really, there's no plot to Milian's video, but even with the volume turned completely down you get a feel for the song that matches its atmosphere.
Here's the video for Kanye's "Welcome to Heartbreak," followed by Milian's "Us Against the World."
