When he did, all numbers were up-tempo and, later on, he joined Bon Jovi for a rousing rendition of “Old Time Rock ‘N Roll.”

There was an intermission after Kid Rock’s hour long set and then, at approximately 9:30, Bon Jovi took the stage and held court for 2 and 1/2 hours. They played all the songs they’ve made famous over the years, and some I didn’t know. Bon Jovi looked great in a black jacket and pants that were also black, but sparkled. Other band members mostly went with the black leather pants.
Richie Sambora, in particular, had lost weight. He wore a silver lame jacket to open the show, then switched to a sleeveless leather vest, and finished up with a hat and vest combo. The fans were appreciative at all points, and 60,000 of them turned out. Considering that the band has played in 50 countries and released 11 studio albums, 2 compilations (1 Great Hits in 1994), 1 live album and sold 130 million copies, worldwide, we got what we expected: a World Class show. While the bands were performing a variety of film clips were projected on the 3 large screens behind them.

Bon Jovi, as a group, has been rocking and rolling since 1983. Jon Bongiovani, whose surname provided the group with its name “Bon Jovi” has been married to his high school sweetheart Dorothea for 21 years and has 4 children aged 17, 15,  8 and 6. It’s no wonder that Jon told “E! Online” prior to the Chicago show, “My life’s pretty good.” If you saw the “Sixty Minutes” special filmed at the palatial French chateau that is home in New Jersey, you will agree. The 48-year-old rocker pulled a calf muscle early in this tour, but, unlike Kings of Leon who canceled their entire St. Louis concert because a couple of pigeons shat upon 2 of their band members while they were playing, this band takes a licking, but keeps on ticking.

Jon Bon Jovi revealed that 2  countries they have yet to play, but would like to are Israel and Greece. Considering that they’ve played 2,600 dates in 50 countries, I’d say it’s a good bet they’ll eventually add both of those countries to their tour list. This tour, The Circle Tour, comes on the heels of the November, 2009 release of their latest album, “The Circle” and will wind down the North American leg after Saturday, July 31′s show. Then, one month off (August) and back to tour Latin America, Australia and Japan beginning in September.

A great show with plenty for everyone.

I bought my ticket online and  failed to run any documentation of my $338 ticket (face value: $125). I thought the ticket was being sent to my house in Illinois. It did not come. The very day I was to fly out, I was on the phone to the theater, trying to find out if there  was a ticket for me at Will Call.(A: Not at that time).

I  vacillated about leaving the floor of the Jacob Javits Center on Wednesday (May 26) and traveling to the Theater on 48^th Street, but, ultimately decided that I should go and check it out. After all,  I could always eat somewhere in the neighborhood, which turned out to be quite close to Rockefeller Center and Simon & Schuster’s offices.

The Pulitzer-prize winning play, written by August Wilson, is one of the ten plays in Wilson’s Pittsburgh Cycle, which focus on the twentieth century African-American experience. It is set between 1957 and 1965,  in Pittsburgh, and follows Troy Maxson, a former baseball player in the Negro Leagues, now reduced to collecting other people’s rubbish for a living.

Troy is dealing with his football payer son Cory(Chris Chalk), who is coming of age at a time when sports could be his ticket out of the ghetto, except that Troy does not see it that way where his son’s opportunities in the sports world are concerned. Troy’s mind-set, colored by the years of his own youth and sports prowess, are that the black man will not get a fair deal, and he cannot accept or trust Cory’s increased opportunities.

The play won the 1985 Pulitzer for drama. It is directed here by Kenny Leon, who won the Drama League award as Best Director. In addition, the play, which has a limited run only through July 11^th, has garnered 10 Tony nominations, more than any other play on Broadway. Said the New York Times, “You just do not see performances like this on Broadway.”

The cast is outstanding. The New Yorker called the production “Gorgeous, Thrilling. Unmissable.” Not only is two-time Academy Award-winner Denzel Washington (“Training Day” and “Glory”; 3 additional nominations) in the lead as Troy Maxson, Viola Davis plays his wife Rose. Ms. Davis has won multiple awards (Tony, Drama Desk, Outer Critics Circle Award), and was also  nominated for an Academy Award for her turn in the film “Doubt,” where she played the African-American mother of the young boy who may (or may not) have been abused by Philip Seymour Hoffman’s priest. Additionally, she was nominated for a Golden Globe, the SAG and Critics Choice Award and the National Board of Review Award for Best Breakthrough Performance. (“Doubt’)

Also great in his role is Stephen McKinley Henderson as Jim Bono, Troy’s best friend. Henderson is the former Chair of the Department of Theater and Dance at SUNY. Troy’s brother Gabe, who suffered a head wound in WWII and is reduced to a role as the village idiot as a result, is portrayed by Mykelti Williamson, who is best known as the black friend of Tom Hanks in “Forrest Gump.”(Also, recently, appeared on television’s “24”). Chris Chalk plays Cory, the youngest son, and Russell Hornsby plays Lyons.

Each act opens with the sweet sound of a solo saxophone that soon turns into original jazz, composed by Branford Marsalis. The set, too, is wonderful, with what looks like a giant oak tree on the left of the stage and the exterior of the house on the right, with the interior of the kitchen with its cabinets visible through the lighted windows.

When Denzel appeared onstage, clad in green coveralls, the crowd went wild.  He quickly threw around the “n” word, talking with his friend Jim Bono (Henderson) about a friend caught carrying a huge watermelon.  The two are talking about their jobs hauling trash, with comments about how all the drivers are white and all the trash handlers are black. Troy (Washington) is trying to get the union to open the drivers’ positions up to blacks and says, “All I want them to do is change the job description.”

There’s some concern that Troy’s making waves in this way might get him fired, but he dismisses these concerns as bogus and also dismisses his friend Jim Bono’s comments concerning how he (Troy) has been eyeing a pretty new woman in the neighborhood, Alberta, who has recently moved to Pittsburgh from Tallahassee.

In response to Bono’s (Henderson’s) joking around that he has been “eyeing” Alberta, Troy says, “I eye all the women.  I don’t miss nothin’.”  He goes on to talk in earthy fashion about his sincere love for his long-time (18 years) wife Rose (Viola Davis) and says of her womanly form, “Legs don’t mean nothin’…you just push them outta’ the way. And those hips, wider than the Mississippi. It’s like ridin’ on Good Year.”

A brief recap of Troy’s courtship of wife Rose is given, where Troy admits that he told her, “I don’t wanna’ marry. I just want to be your man.” Her response?  “If you’re not the marrying kind, move out of the way so the marrying kind can find me.”

Troy has been much celebrated as a home run hitter and baseball player extraordinaire, whose dreams of a career in baseball were dashed because he came along too early. Troy responds, “There ought never a been a time too early.” (The crowd applauded).  The fact that the times are changing for black athletes sets up  a conflict between Troy and his younger son, Cory, who is being recruited to play college football. Troy disapproves, because he feels that the boy is just being used, and that it will not lead to any kind of job in his future.  “Learn to take care of yourself,” he tells his older son Lyons, a musician.  “You still tryin’ to get somethin’ for nothin’.”  (His son replies, “You can’t change me, Pop. I’m 34 years old.”)

Gabe, his now half-witted brother (Mykelti Williamson) makes appearances chasing  “hell hounds” and spouting gibberish. There is some question as to whether Troy has “used” Gabe. A $3,000 settlement was paid to Gabe after his head injury in the war, and Troy used it to purchase the house they all live in, but Gabe has recently decided to move out and live at Miss Pearle’s, where he must pay rent.

Did Troy abuse his brother’s trust? Troy says, matter-of-factly, that he is 53 years old and, “I ain’t got a pot to piss in nor a window to throw it out.” Without the government’s payment to his brother for his war wounds, neither Troy nor Rose nor Gabe would ever have been able to save enough money to purchase the house. Troy notes repeatedly that he has taken care of his brother and watched over him and given him a place to stay, and Gabe’s decision to move to Miss Pearle’s seems to represent more a striving for independence on his part than a falling-out between the brothers.

In the course of the play, Troy reveals that, although he now preaches the value of hard work, he once was “a robber” and spent 15 years in prison, where he met his great and good friend Jim Bono and straightened himself out. His boyhood was tough, too, with an abusive father and a mother who ran off and left him when he was 8 years old. Of his father, he says, “The man would sit down, eat 2 chickens, and give you the wings.” One of 11 children of this farmer, Troy left home at 14. When asked about his father’s whereabouts now, Troy says, “I don’t know, but I hope he’s dead.” Troy says he walked 200 miles to Mobile in 1918 and has been working hard ever since, but notes of his father, “All his women run off and left him.”

The conflict between Troy and Cory, his youngest son with Rose, may or may not be what Cory thinks it is:  “You’re scared I’m gonna’ be better than you are.  That’s all.” Is this the truth, or is it that Troy is a product of his times, and, in his times, the black man could not catch a break and certainly could not play in the major leagues of any sport, pre Jackie Robinson’s day?

An ongoing motif is the building of a fence in the back yard, which his son, Cory, and his best friend Bono are assisting Troy to build.   Says the script, symbolically, “Some people build fences to keep people out, and some people build fences to keep people in.”

Troy’s friend, Bono, is concerned that Troy may be cheating on Rose with the new woman, Alberta. He inquires in a roundabout way, reminding Troy that Rose is a good woman. When the questioning becomes too strident, Troy tells Bono, “If you was messin’ around on Lucille (his wife), I’d be tellin’ you the same thing.”

The lure of the pretty young woman from Tallahassee is too strong. “I love Rose,” says Troy, but she (Alberta) gave me a different understanding about myself.  I can’t give that up.” He confesses his unfaithfulness to Rose in a climactic scene where he uses baseball metaphors to try to explain himself, saying, “I done tried all my life to live a clean, hard, useful life.  I wasn’t gonna’ get that last shot.  Maybe I could steal second?” Earlier in the play, Troy has said that he is just trying to keep his son, Cory, from getting hurt, that “nobody’s gonna’ hold his hand when he get out in the world.” He adds, of his life philosophy, I just come home, go upstairs, fall down on Rose and try to blast a hole into forever.” All the blasting a hole into forever (sex) comes to an end in his marriage to Rose with his confession of infidelity.

Rose does not react well upon hearing the news from Troy. Viola Davis’ virtuoso turn as the wronged wife hearing the news that her husband has been having an affair and his mistress is now pregnant drew sobs from the woman seated to my left.  Rose said, “You’re not the only one who has wants and needs.  It didn’t take me no 18 years to realize that, after 18 years, it wasn’t never gonna’ bloom.”

As this journey through the years (8, total) continues, Alberta dies in childbirth, and Troy appears with his infant daughter, Raynell, in his arms, asking his wife, Rose, to be a mother to his mistress’ child. Despite Troy’s defense of his actions that “It felt right in my heart. A man’s gotta’ do what’s right for him,” Rose is unforgiving regarding Troy’s straying, but agrees to mother Raynell, saying, “This child’s got a mother, but you a womanless man.”

The theme that Troy has blown it in his personal life is echoed by his subsequent loss of the companionship of his former best friend, Bono.  Cory drives home the changes that Troy’s reckless behavior has caused when he attempts to enter the house while his father is seated on the front porch stoop and says, “You in my way. I gotta’ get by.” Troy takes offense that his son has not been polite in saying, “Excuse me” and Cory responds, “You don’t count around here no more.”

There is much talk of doing battle with Death and many tall tales told. After losing both his wife’s love and his best friend to his own bad behavior, Troy pronounces himself ready to die (“I be ready for you (Death), but I ain’t gonna’ be easy.”). He says, “I can’t taste nothin’,” a crying out that his days of enjoying a good life with his wife and family have passed; he is now merely tolerated in his own home.
Eventually, he and son Cory face off and Troy kicks Cory out of the house for good when Cory is only 17 years old. Troy joins the Marines, and, in the last act, we see him in full military regalia, coming home to attend his father’s funeral, but telling his mother that he isn’t going to go to the funeral.

Cooler heads prevail, and Cory does attend, to honor his father, who once said, “I’m going to give her the best of what is in me.” Cory and his half-sister, Raynell, who is now a young girl, remember Troy’s singing about a dog named Blue and his oft-quoted saying, “You’ve gotta’ take the crookeds with the straights.”

Although the comments on race relations in a changing world and the inequities that existed throughout this period of time in our nation’s history are relevant to the older playgoers, the core emotions of the play deal with love for one’s family, doing your best, being straight and honest in the world, and paying the consequences if you’re not.

 Follow that link and read about the book I’m taking to the BEA, “Hellfire and Damnation.” I’ll be signing on May 27th at 2 p.m.

Opening acts were “Gloriana” and Kellie Pickler from “American Idol.” (On her album notes, Taylor calls the slightly beefed-up version of Pickler “you’re the sister I never had” (Ms. Swift has a brother, Austin, who is going off to Notre Dame in the fall.)

Ms. Pickler was dressed down in a pair of tight black spandex pants that displayed her Jennifer Lopez-like derriere assets and a blue top, which she had worn in her concerts in Minneapolis and Des Moines. Those concerts preceded the one in Moline, which sold out in 8 minutes.

The buses left flooded Nashville (Swift donated half a million dollars to flood relief there, just as she donated $100,000 to Cedar Rapids, Iowa, after their 2008 record-breaking flood) and drove 12 hours to Des Moines to perform on May 6^th. The 126 roadies and musicians finished reloading the impressive act, left Des Moines at 3 a.m., arrived in Minneapolis at 7 a.m., and began setting up all over again. After Minneapolis, Moline was the final stop on Swift’s “Fearless 2010” tour before a return to Nashville.

Taylor emerged dressed as a majorette to sing “You Belong With Me,” her face projected on a giant screen behind her.  She followed up with “Our Song” and “Tell Me Why,” with the word “Why” projected on the screen behind her multiple times. “Teardrops on My Guitar” and “Fearless” were next with “Forever and Always” following.

Then came “Hey, Stephen,” which had, as its setting a giant schoolroom set, where Taylor complained about how Stephen didn’t know she was alive in high school, but would talk to her—about his girlfriend.  “Fifteen” followed and “Tim McGraw,” an early Swift hit, came next.

“White Horse” with its lyrics (“I’m not a princess; this ain’t a fairy tale”) allowed the dancers and Taylor to dress in period costumes with a castle-like background.  “Love Story (Romeo and Juliet) was, again, grist for the castle backdrop, but, at a certain point, the elaborate period costume Swift wore was removed, onstage, to reveal a simple white gown beneath.

“The Way I Loved You” brought yet more costume changes: glittery silver dresses, glittery purple dresses, glittery red dresses, guitarists with hair like Adam Lambert’s.  “You’re Not Sorry/What Goes Around” followed “The Way I Loved You” and then “Picture to Burn.”

A humorous video was shown on a flat screen TV off to the side during one costume change, and it featured 3 male actors trying to impress upon the audience that they weren’t really Steven and/or Drew. Tim McGraw even appeared in the funny video, saying that Taylor’s early song about him had “plucked him from obscurity.” That got a big laugh. Screams were ongoing throughout the concert from the young set present. Taylor also sang “The Best Day” from a stage at the opposite end of the arena, reworking the song so that it honored her mother, Andrea, on Mother’s Day. (Mom did not know that the lyric “I have an excellent father” would be changed to honor Mom this night).

After “Picture to Burn” (see burning stage special effects) the encore set featured “Today Was A Fairytale” and “Should’ve Said No,” which featured Taylor walking through an artificial waterfall (water is caught in an absorbent mat) that has actual words appearing within the water.

Taylor ends up drenched and, usually, greets her fans backstage wet, with special heating devices employed to keep her from chilling, but, this night, she was flying back to Nashville on her private jet, so no backstage passes for the youngsters in the crowd. But plenty of guitar picks featuring Taylor’s lovely face, thrown to the crowd by the guitarists.
A 2-hour show from great seats (courtesy of the daughter on the tour bus).

Another amusing piece of film showed Connick chatting with young Aaron Kelly and asking him how he liked singing with a three-piece combo, including a clarinet, backing him. Aaron, of course, liked it and Connick said, “Well, don’t get used to it. I can afford it. Why? Because I’m extremely famous.”

Lady Gaga did one of her characteristic outrageous performances, with many half-dressed writhing male dancers in a sort of “Eve in the Garden of Eden” motif and then the top and bottom groups were announced, with Aaron Kelly and Mike Lynche the lowest vote-getters.

In light of the horrific performance turned in by Casey James on Tuesday night, it was surprising to see 17-year-old Aaron Kelly—a very likeable young performer who had done well on Tuesday night—be the one sent home this night. It was also surprising that Big Mike Lynche, who, arguably, performed better than anyone on Tuesday night (The judges were more sold on Lee DeWyze, but I would say it was very close.) was in the bottom two.

Having said that, I’ve been predicting that the good-looking Casey “had it all” as the package that “American Idol” likes to promote. Big Mike is…well…too big. Aaron was too young. Lee and Crystal remain the front-runners, and, apparently, my earlier predictions that Casey had the best chance of finishing in the Top Three was not that far off the mark.
But, for the record, based on his performance on Tuesday night, I still think that Mighty Casey struck out.

The show began with one of the front-running favorites, Lee DeWyze, singing “Fireflies” while clad in a blue/black/green Woodsmen-fell-that-tree plaid shirt.  The remarks were not Lee’s usual high ones, with Simon saying, “There was nothing to rave about. You are better than the version of the song you just did.” Randy didn’t much care for it, either, saying, “For me, it was a strange choice. But you made it work. You worked it out.” Randy also criticized some pitch problems and Ellen concurred but added, “I know a lot of people like you.” Kara was the most complimentary, saying, “You look confident. I think the song was a better song with your interpretation. A solid job.” So, is Lee in trouble? In one word, No.

Next up was Alex Lambert, who sang “Trouble.” If Alex weren’t such a cutie-pie, I’d say he was IN trouble. He has a nasal quality to his singing and Ellen, who has previously compared him to an unripe banana that needs to ripen, said, “Don’t become a cocky banana, because nobody likes that.’ The “vulnerability to be you…to let go” was discussed and Kara said, “That’s what we need from you,” while Simon added, “Relax and have a good time.” I think Alex is too cute to get sent home.

After Alex came Tim Urban, who is usually crucified by the judges. Tim sang the Jeff Buckley version of “Hallelujah” and Ellen went so far as to get out from behind the judges’ table, walk up, and give him a hug, while saying, “That was fantastic.” Randy said, “You walked in some pretty big shoes, and I think you did a pretty good job.” Kara commented, “I actually think you’re kind of in it now.” Simon then took responsibility for Tim’s sudden improvement saying,”I kind of feel responsible for you doing well, because I gave you confidence. It’s not the best version I’ve ever heard, but, for you, it was terrific.” In other words, it was a compliment along the lines of, “For a fat girl, you don’t sweat much,” hug or no hug.

Andrew Garcia was up next and, for the umpteenth time, he sang a female star’s song, this time Christina Aguilara’s “Genie in a Bottle.” Nobody really liked it. Simon said, “It was a little bit desperate. You’ve overthought it. You’re kind of still going backwards at the moment.” The backwards remark was from Andrew’s earlier version of Paula Abdul’s “Straight Up” during Hollywood week, which is the only thing anyone wants to talk about with Andrew. I thought he was bad last week and his suit was worse. Ellen said, “The genie came out of the bottle too late.” Kara remarked, “You peaked so early. I couldn’t hear the melody.  It just wasn’t great, and I wanted it to be.” Randy commented on the fact that it was “pitchy” and “It made us feel like the whole song was only 3 notes.” Wave good-bye to Andy.

Casey James, another favorite of the judges…(or, at least, of Kara’s)…sang a Keith Urban song “You’ll Think of Me” and was criticized by Randy for having chosen a song that was “a little bit of a safe choice. I feel like you’ve got more of that edgy Stevie Ray Vaughn in you.” Ellen, however, said: “I thought it was great. I really liked it.” Kara commented, “This was better than last week. It was honest, definitely.”  Simon thought it was Casey’s second best performance, so far and said, “It made you sincere. You sounded great.” No way is Casey getting kicked off with his sex appeal, but his hair looked really scraggly/awful this night.

Aaron Kelly, who is only 16, came out and sang “I’m Already There,” a song about a father calling home and talking to his son, which Kara felt was pushing it, (for a sixteen-year-old.) Simon disagreed with Kara’s comment, calling it “complete rubbish,” and Randy advised, “The thing you should work on is your lower register.” In my opinion, Aaron should also work on his upper register, which was annoying in the extreme. When he sang the word “hotel,” he was flat and his attempts to sell the song by bobbing back and forth reminded me of the one-year-old, Elise, who does the same thing which her parents (my son and wife) have dubbed “The Dora Dance,” because she does it while watching “Dora the Explorer” on television. The video is posted on YouTube (Elise does the Dora Dance.) Ellen’s comments to Aaron were; “I love you. You’re 16. You have the confidence of someone 30 years old. I just didn’t think that was terrific.” Ellen was right, and I think Aaron’s song title (“I’m Already There”) sums up where he will be after tomorrow night: already back home.

Last, but certainly not least were Todrick Hall, singing “Somebody to Love” by Queen, which was refreshing after so many male singers sitting on stools singing quiet, desperate songs. Todrick did have on one of his odd outfits, which resembled nothing so much as a riding outfit with jodhpurs and a slash-zippered jacket and single glove. Simon even commented, of Todrick, “So you’re a Broadway singer” remarking, especially on the one glove. He said, “There were so many boring performances with people sitting on a stool playing a guitar. That performance may have saved you.” I certainly hope so. Randy commented, “Todrick is back. That was one of the best vocals.” Ellen liked the way Todrick made the song sound “like a Gospel song. Man, you’re great, and I commend you for doing that song.” Kara also commented “the singing was good.” Todrick should be able to hang on, unless America thinks Aaron is too cute to send home, but there is no comparison between the talent level of the inexperienced Aaron and the Broadway veteran Todrick, so do the right thing, America, and send Aaron home to grow up a bit and try out again another year.

All the judges were “wowed” by the final performer of the night, Michael “Big Daddy” Lynche, who sang “This Woman’s Work.” He was wearing a suit jacket with sneakers and blue jeans and began with a high falsetto. Randy: “Really? That was crazy.  Yo, Mike, that was hot!” Ellen: “You are the one to beat now.” Kara; “It’s amazing. It brought me to tears.” Simon: “This was so needed tonight. It was all so boring. You 100% nailed it. Best of the night and of all these lives shows so far.”

So, who’s going home? Should be Andrew and Aaron…. alphabetically, at least…with an outside chance that Todrick isn’t the favorite of the teeny-boppers of America who actually pick up the phone and vote.

General observations: I was glad to see Tyler Grady go, but, in a way, he was right when he said that the “advice” to quit being a Jim Morrison poseur came “too late” to help him. Kara absolutely crowed about how “cool” he was during the early stages of the competition, and I think Tyler had enough of a big head before that. The film of him practicing in cowboy boots, white socks and a bathrobe pretty much says it all. I was not sorry to see him go. The “cuteness” and “humbleness” factor saved the other lowest vote getter, Alex Lambert. It is poor Alex who had only performed about 3 times in local coffee shops, before his Idol audition. Obviously, Tyler has been posturing as the Lizard King and others for a while. Simon said he acted as though he had gone to “Rock Star School” on the boys’ night. So, good-bye, Tyler, and don’t let the door hit you in the fake leather pants on the way out.

The other boy eliminated was Joe Munoz. He seemed like a genuinely nice guy, but that didn’t work for him. He needed some of the animal magnetism of Casey James or the cute fresh-faced attractiveness that kept Tim Urban in the competition, when he was definitely one of the weakest, vocally.

Now, as to the girls’ elimination. Big mistake there. Eliminating Ashley Rodriguez, one of the prettiest of the girls who had the “total package” and who can be found singing as Ashley Benami online, seemed unfair. I have to admit, after saying that, that her farewell song did not really move me.  None of the girls really stood out much (although I liked Crystal Bowersox), except that Katy was way off key during her entire performance and seemed to be channeling her elderly grandmum. I do not understand how she was able to stay, while Ashley was voted off.

Last girl to go was the blonde rumored to be Tim Teabow’s (Florida quarterback) girlfriend, Janell Wheeler. There was a quick shot of Janell making a funny face, which just made her appear unattractive. Then a quick shot to Mom. Janell was never going to win this thing, so I can live with her sudden death in the competition, but she seemed better, to me, than some others.

As I was driving all the way across the state of Illinois (width, not length), I was listening to Adam Lambert’s album and to Melinda DoLittle’s album. I was immediately nostalgic for last year’s great talent, especially after both Allison Irahito and Chris Allen performed. This year’s crop looks very pale and dull, by comparison. I looked forward every week to seeing what outrageous thing Adam would do THIS week. And Allison, the gutsy Hispanic rocker chick, was equally intriguing. I even pine for the days of the Dueling Davids: David Cook and David Archuleta.

Even the “hits” on AC are down this year, which may be due to the Olympics in Vancouver, or it may just be that this year’s crop isn’t cutting it

There is no one in the entire crowd, with the possible exception of Crystal Bowersox (for the girls) and Lee DeWyze (of the boys) who I really even care to hear sing again. I’m not that “ga ga’ over Casey Jones. Big Daddy Mike Lynche isn’t doing anything much for me. I did enjoy watching Todrick Hall own the stage, but I had no idea what he was singing (and, as the judges said, neither did they).

I was happy to see 2 things I had said echoed by Simon Cowell: 1) Angela Martin should never have been cut and (2) this year, the girls are stronger, which he was quoted as having said in the New York Post.  After mentioning that, however, I am very disappointed in almost all of the girls, so far. I do think that Katelyn Epperly will step up, as Crystal Bowersox already has, but I really pine for the Dueling Davids and/or Adam Lambert/Allison Irahito days. And when Simon leaves? What then?

In predicting, in fact, I even found it difficult to come up with the names of 12 strong male singers and was laboring under a couple of misperceptions:

1) Stories abound on the Internet that “Big Mike” Lynche was disqualified because his father let it slip that he had made the top 24. It’s a rule that is controversial and selectively enforced, like kicking Kevin Smith off an airplane for being too fat. So far, Mike Lynche is still “in,” as far as I know, but the stories persist that his mother works for a newspaper in Orlando and his father confirmed his presence among the top 12 male singers. (His brother made it pretty far in a previous Idol competition.) Supposedly, Dad’s phone number is now disconnected. I’m wondering what gives?

2)  Another misconception I had was that Tim Urban was gone after group week. Tim Urban made the final cut, and that was good news, to me.

Others among the men who made the Final 24 contestants were:

Tyler Grady – a Jim Morrison wannabe who said, “This is huge.”

Alex Lambert

Joe Munoz

Jermaine Sellers

John Park

Tim Urban

Alex Lambert

Andrew Young

Honestly, this year’s crop of men is far less memorable than the women. I do remember John Park, Jermaine Sellers and Andrew Young. It was hard not to remember Thaddeus Johnson. He spent most of this night sobbing on his mother’s shoulder. The judges generally lauded his onstage performances, but he was not the most physically appealing of the group. Tyler’s comments in leaving: “I killed it. I just thought it was my time.” When asked if his being cut was a big shock, he said, “Yes, it’s a big shock, because they acted like they loved me, but it was kind of fake.’ (Ouch!)

I found myself focusing more on this year’s female contestants, so much so that I only gave readers a “reminder” of which females were “best,” so far. My list was not too far off the mark (8 of 12). The ones I missed, were, quite frankly, almost unheard-of and not given any airtime as they auditioned. Those unheralded contestants, who made the list for the women were:

Paige Miles

Siobhan Magnus

Michelle Delamour (she was predicted to have made the cut on some Internet websites)

Those who made the cut who had been featured prominently and nearly all of who (m) I predicted were:

Lilly Scott

Janell Wheeler

Lacey Brown

Ashley Rodriguez

Crystal Bowersox

Haeley Vaughan

And Katie Stevens

I did remember Katie’s back-story about her grandmother with Alzheimer’s disease, and I did remember Tory Kelly, (who did not make it). I accurately predicted nearly all the contestants that we, the at-home audience, had been allowed to see.

The notable exception to my predicting would be the elimination of Angela Martin. Privately, I wonder if the 6 days in jail she did for “traffic violations” was an influence on the judges’ decision, but, again, it’s hard to comment on young women like Paige Miles, Siobhan Magnus and Michelle Delamour, whom none of us at home saw. [I was paying close attention, Folks].

So, admitting that the men, this year, are not as compelling, I’m feeling okay about predicting the following contestants: Janell Wheeler, Lacey Brown, Ashley Rodriguez (again, check her out on the posted Internet video), Crystal Bowersox, Lilly Scott, Haeley Vaughan, Didi Benami and Katelyn Epperly.

That’s 6 correct female picks—8 if you accept my hand-on-heart contention that I had picked both of the 2 announced on Tuesday night (Didi Benami and Katelyn Epperly). I missed 4 out of 12 for 2/3% accuracy.

The question can legitimately be asked whether Angela Martin should have been cut. Angela’s comments after her elimination, which involved an almost full-out counseling session with Judge Kara sitting with her in one chair, were “Music heals me. I can’t give it up.”

The judges obviously knew they were doing something that would be viewed as controversial when they cut Angela. Some savvy music executive might still pick Angela up as a client, and she could be one who has a career despite being eliminated (Jennifer Hudson, anyone?). While Thaddeus Johnson did not have the “look” that the judges are seeking, and was far too dependent on dear old mom for support at every turn, making him seem less than adult,  Angela had been through a lot and deserved a shot. For me, she was far superior to Haeley Vaughan (black C&W singer), who made it through. I had speculated that Courtney Vance might make it through, but, in my notes after her first appearance, I commented, “Very small voice. Will not go far.” That last part proved accurate.

[*Note to self: must start paying more attention to the male contestants, even if they aren’t as good as the girls.]

First, let’s consider the 5 that Academy members have already nominated:

1) Anna Kendrick for “Up in the Air.”

2) Vera Farmiga for “Up in the Air.”

3) Maggie Gyllenhaal for “Crazy Heart”

4) Mo’Nique for “Precious”

5) Penelope Cruz for “Nine”

Let’s consider, for a moment, the current official nominees and their chances. I have not seen Penelope Cruz in “Nine,” but I watched a Charlie Rose roundtable discussion of the film in which critics from both coasts described the movie as a mess. It seems obvious that the two fine actresses nominated for “Up in the Air” are likely to cancel each other out. Maggie Gyllenhaal’s movie, “Crazy Heart” has not been distributed nationwide until recently, so few have seen it. It is also not that “showy” a role, nor is she onscreen that long. Mo’Nique, who has Oprah pulling for her, is a virtual lock on this award, from the performances I’ve seen (4 out of 5). In a moment I’ll return to the actual nominees and tell you why I feel they are as deserving as the additional five I’ve been asked to pick.

The others that I would recommend to the Academy as good or better than the current crop of nominees would include these fine actresses, and my reasons for recommending their performances this year:

6) Samantha Morton in “The Messenger”- Samantha Morton (5/13/77) has been nominated for two Oscars previously, once for “In America” in 2002 for her role as Sarah, who has lost a child, and again for “Minority Report” with her role as Agatha, one of the future-telling floating mystics in the pool whom Tom Cruise consults. She has also had roles as Hazel in 2008’s “Synecdoche, New York,” a puzzling film by screenwriter Charlie Kaufman. In “The Messenger” Samantha plays Olivia Pitterson, the wife of a soldier killed in Iraq. Her co-star in the film, Ben Foster (as Staff Sergeant Will Montgomery) talked about how excited he was to be starring opposite an actress of Samantha Morton’s caliber when he appeared with the film at the Chicago Film Festival. At the time, said Foster, Morton had just given birth and was often busy nursing her newborn child when not onscreen. Samantha Morton is a serious, fearless actress who has earned an Oscar nomination, more than nominees #1 and #2, above.

7) Sigourney Weaver in “Avatar” – Weaver (8/8/49) has been nominated for 3 Oscars during a long career. (She turned 60 in August).  In 1987 she came to fame as Ripley in “Aliens,” for which she was nominated as Best Actress. In 1999, she was nominated for her part in the film “Working Girl.” In 1989, her last nomination, she was nominated for playing Dian Fossey in “Gorillas in the Mist.” Weaver has also earned plaudits, including Saturn and BAFTA awards for her roles in “Alien Resurrection” in 1997, “The Ice Storm,” and “Galaxy Quest,” a 2000 spoof of her “Alien” roles that won her a Saturn award. Surely an actress who has been doing good work this long deserves a nomination more than an actress whose only previous leading roles were in the teen vampire movies “New Moon” and “Twilight”? This year’s role of Dr. Augustine in “Avatar,” the best-selling movie ever, would seem to be as worthy as Anna Kendrick’s or Vera Farmiga’s, and she has paid her dues much more than either of those decades-younger actresses.

8) Amy Adams in “Julie and Julia,” opposite Meryl Streep, was criticized in the role, for reasons that seemed bogus, to me. As Julie Powell, the young girl who decides to make every single recipe in the Julie Child cookbook, she did a good job…at least as good as Maggie Gyllenhaal’s role in “Crazy Heart.” In addition, Adams has been on a hot streak. She co-starred (again, with Streep) in “Doubt” as Sister James in 2008 and had a role in 2007’s “Charlie Wilson’s War” as Bonnie Bach. She also appeared as Giselle in 2007’s “Enchanted” and as Brenda Strong in 2002’s “Catch Me If You Can” with Leonardo DeCaprio.

9) Natalie Portman (6/9/81) played Grace Cahill in this year’s “Brothers.” She was the stay-at-home wife of 2 small daughters, left behind on the home front as her husband, Toby Maguire went to war. Jake Gyllenhaal plays toby’s brother in the film. For reasons that can be attributed to post traumatic stress disorder, Toby’s character becomes convinced that his brother (Jake Gyllenhaal) has had a relationship with his wife (Natalie Portman) while he was off fighting in the war. Ultimately, Toby has a classic Oscar-worthy meltdown. Natalie, who has previously played roles as varied as the lead in “V for Vendetta” (2005) and in 2 “Star Wars” episodes, must project strength for her children’s sake and the stand-by-your-man attitude of a good woman who truly loves her troubled husband. Natalie did a great job, and her previous role as Alice in “Closer”, Sam in “Garden State,” Sara in “Cold Mountain” and in the film “Anywhere But Here” are just a few of the wonderful performances she has provided audiences with, prior to this year’s overlooked film, “Brothers.”

10) The 10^th spot as a nominee for “Best Supporting Actress” should go to one of two female supporting performances from the film “Precious.” The unknown actress Paula Patton, portraying Ms. Rain, the teacher who helps Precious discover her potential, is one possibility, but far more intriguing would be Mariah Carey, who eschewed all make-up and fancy wardrobe for her role as the social worker, Mrs. Weiss. At first, watching the film, you can hardly believe this is the same Mariah Carey whose plunging cleavage recently graced the Golden Globes. Carey’s debut film, “Glitter,” was an unmitigated disaster. Director Lee Daniels made sure that Mariah (and, for that matter, rocker Lenny Kravitz in a small role as a male nurse) really inhabited roles that are the antithesis of their normal rock star images. Carey was recognized for the good job she did as the disgusted social worker who can hardly believe the self-serving, narcissistic rantings of Mo’Nique as Precious’ mother. Not only did Carey win a Palm Springs Award for Breakthrough Performance Award for her part, but she also won a Capri (Hollywood) role for Best Supporting Actress. In addition, she was nominated (as part of the ensemble) for awards by the Washington, D.C. Area Film Critics Association, the Screen Actors’ Guild (cast nomination), the Broadcast Film Critics’ Association Best Acting Ensemble award, the Boston Society for Best Ensemble Award and was nominate for a Black Reel award.

If I ruled the Oscars and there were 10 nominees in the Best Supporting Actress category (rather than simply 5), these would have been my nominees. (And, no, I haven’t totally forgotten about Betty White’s turn as Ryan Reynolds’ grandmother in “The Proposal.”)