Get You a Man Who Can Do Both

One Love Manchester, Republic, REMember, Warner Bros. Records, photo to the right by GL Askew II

Our story starts with Ariana Grande, the 405, and heavy radio rotation courtesy of Ryan Seacrest. Her bad press of doughnut debacles and diva behaviors never really influenced my singing along in the car, often I didn’t even know with who I was singing along. But after the tragedy in Manchester, Ariana caught my attention by rising above her reputation to bring a collection of top artists together for the One Love Manchester concert. The star-studded event raised over $3 million for the Manchester Emergency Fund.

The performance by the local Parrs Wood High School Choir who sang a heartwarming rendition of Ariana’s ‘My Everything,’ was a highlight of the night. As the choir left the stage, Ariana was visibly fighting back tears. She called out to the audience to introduce her next guest, ‘Tonight is about love, am I right?’ the crowd cheered in response. With that, Mac Miller, prolific rapper, hip hop artist and Ariana’s boyfriend, joined onstage to perform her breakout hit 'The Way'. The two playfully danced and sang to one another, with Ariana smiling, even laughing again. They followed with his song, 'Dang' (Ariana subbed in for Anderson .Paak). Reminiscent of 'American Boy' by Estelle and Kanye West, 'Dang' has a cool, smooth funk vibe.

And this is where the fangirl digging begins. Mac Miller proved himself to be a fun, giving partner onstage, and a supportive rock for Ariana post-Manchester by canceling his own shows to be at her side, so I needed to know more. The song they performed, 'Dang', is from his latest album, 'The Divine Feminine.' Released in late 2016, the album features Robert Glasper, Kendrick Lamar, and Cee Lo Green to name a few. It’s a more sexy, sultry, jazz infused version of hip hop–he sings and drawls more than he raps. The album is about the journey of love–the allure and the confusion, a celebration of women and lessons learned. It’s about attraction, vulnerability–and sex. Of the ten tracks, eight are labeled Explicit. The transition between the tracks 'Stay' and 'Skin' features a woman having an orgasm. That may be off-putting, but in the context of celebrating the female energy of the world, it works. In fact, those are two of my favorite songs along with 'We' and 'My Favorite Part'.

In the two weeks since downloading 'The Divine Feminine', no other album or podcast has come through my earbuds. I wake and fall asleep with Mac Miller’s songs in my head. Heed Ariana’s advice as she sings, ‘Make some time for something so divine.’ Let Mac Miller and the sweet seduction of 'The Divine Feminine' allure you into making some room in your library.

NOTE: To see the tracks performed live, check out the concert special, Mac Miller: The Divine Feminine, which aired on DirecTV's AUDIENCE Network.

Meet Me at The Greek

PAX-AM, poster illustration and design by Ivan Minsloff @minsloff

Only the anticipation of live Ryan Adams jams can break through the migraine hibernation mode. With visions of Ryan at The Greek dancing in my head, I loaded up on meds: hippie shit - eastern medicine, southern shit - Goody's headache medicine, allergy shit, and aromatic shit - peppermint oil over every pressure point and then some. In two-hour rotations, I’d lay in the darkness with a heating pad on my head till I passed out. I kept this up till the last possible moment then took a shower and got dressed. I left my place with hair soaked and jeans ripped.

You know you’re in the presence of a good friend when you can show up on their doorstep reeking of peppermint, in your worst favorite torn black tee, jeans and boots, with hair still dripping wet and eyes watering till your cheeks have turned pink. Fortunately, he was in a similar mode save for the peppermint oil burning nostrils and skin. For anyone else, we’d say fuck it and skip the whole thing, but for Ryan, we rallied.

We rode to The Greek with the windows down in an attempt to wake us both. We had hoped that the spirit of the concert would take over. Our faith immediately paid off, Ryan delivered a 23-track set under the LA sky with lights red, blue and purple illuminating the stage with jams so huge we forgot where the track began. Ryan talked about recording a particular song, ‘just over that hill,’ he introduced another song, ‘this one is particularly miserable – I think you’ll appreciate it.’ It never gets old, celebrating this hometown boy and our shared adopted home of LA. In this land, the misfits can rise above the hills, and even rise out of bed.

P.S. If you know where this fangirl can get the cat constellations concert poster from this show, please send me an email and help right this concert-going wrong!

The Ladies Bring It at the Billboards

2017 Billboard Music Awards, ABC, Dick Clark Productions

While there were many great acts at the Billboards, these three ladies delivered repeat-worthy performances:

Lorde turned the stage into a makeshift Karaoke bar. Spitting out 'Green Light' the way the track sounds, like every thought rushing, racing through your mind at once before releasing into the ether. If the rest of her new album is like this, I say bring on the 'Melodrama.'

Julia Michaels’ evolution into a pop star has been exciting to watch, including her appearance at the Billboards. She performed on a small, circular stage–perfect for the budding pop star with the spotlight squarely on her, but nothing overdone. She delivered a standout, stripped down and heartfelt version of her pop hit, 'Issues.' Backed by a five-piece band including three strings, she had the crowd feeling every utterance of every word.

As for Miley, it’s understandable to read her name as a performer with an eyebrow raised, wondering what kind of antics, lengths and Lycra she’ll go to. Instead, Miley delivered a beach-breezy story and performance. The orchestra, blackened out to keep all eyes on Miley, delivered more twang than the studio recording of ‘Malibu.’ This version of Miley seemed much more natural and confident than her past iterations. Dressed in just shorts and a crop top, she took up space on the stage and let her voice do the work, filling the room. With her boots planted firmly onstage, she claimed her unwavering footing on the music scene, no matter which version of her appears. I vote for this one. Her joy in the moment was palpable, including family cheering nearby in support, the big balloon drop, and her voice cracking in gratitude as she delivered the last line.

Congrats, ladies! Wishing you continued success and magic on your respective evolutions.

Say Hello to Heaven

Universal Music Enterprises, Warner Bros.

Addiction has taken far too many good people–DJ AM, Phillip Semour Hoffman, Heath Ledger, and so many more. This week, this disease took Chris Cornell, beloved husband, father, friend and bandmate. In the wake of his passing, I take comfort in listening to Dr. Drew explain the ins and outs addiction of what led to that final, fateful moment.

When I hear Soundgarden, I think of Patrick, another angel who left us too soon. He was like a little brother to me. A towering-over-my-head littler brother. I used to give Patrick great, big hugs, and squeeze the hell out of him so he felt loved to absolute pieces. We'd listed to Soundgarden and other defiants of the '90s. Or I listened to him play drums while waiting for his sister to get off the phone. Twenty years later, I still think of Patrick when I hear Soundgarden, especially Spoonman, and also when I hear a particular track by Tom Petty. But that's another story for another day. For now, I'm thinking of those Chris Cornell left behind this week and praying that angels are watching over them. I'm lucky, I know I've got an angel looking over me.

Season Finales Got Me Like...

Warner Bros. Television Distribution

Summer is for normals– beach chairs and beers, towels draped around necks, flips flopping, sixers in hands and twelves hoisted on shoulders. Meanwhile I’m grappling with the season’s ‘ultimate Cliff hanger!’ with no relief in sight till late September. In an effort to salve this obvious crisis point, I tried to dance outside my normal low-brow range. Unfortunately, I often found myself shown back to the velvet rope:

American Gods This show has three critical lures: created by Bryan Fuller, the man behind Wonderfalls, Pushing Daisies and Hanibal, based on the Neil Gaiman book of the same title, featuring a cast of excellent actors including Jonathan Tucker. I had hoped his appearance here would soften the Kingdom series finale blow.
Going in, I knew this one was over my head with old gods battling new gods, I needed intel, bad. I watched YouTube videos discussing the origin stories of the old gods. It was like experiencing the new wave version of Cliff Notes. I hit play on episode one, even with the blood bath, I continued on. I hit play on episode two, I got an early hit of Jonathan Tucker, and then struggled to get through the final fourteen minutes. I ‘live tweeted’ with a friend–who actually has an interest in Greek/Roman/Norse Gods–who implored me to put myself out of my misery and stop. I didn’t rest till that drunk bastard on-screen was done singing his song. I was exhausted and I haven’t returned since.

Silicon Valley Let’s make this one easy. I’m not cool and I get easily frustrated with buffoonery thwarting best-laid plans. The end.

13 Reasons Why Ooooffff. Okay, let’s try this. I did a lot of YouTube previewing and comment reading to emotionally prepare. One viewer warned, ‘I was in a good, stable place going into the show, coming out of it, not so much.’ I knew of the three most violent, gut wrenching acts in the series and in which episodes they occurred, all I needed to do was watch enough to get to know the format of the 13 tapes, the protagonist, Hannah Baker (Katherine Langford), her love interest Clay Jenson (Dylan Minnette), and friend Alex (played by Parenthood alumni Miles Heizer, so we know he’s good people). I decided to take the Mad Men approach, fast forward through most, check out the characters and key scenes mentioned above and move on. I knocked the series out in an afternoon, got my zeitgeisy on and quickly exited the building.

Going further beyond these dalliances is to ignore my low-brow brand. I was raised with the words, "Sit Ubu, sit. Good dog." And to deny that is to deny my core being. Where’s the MTV soundtrack? Where are the longing looks of teen angst? Where are the smartass remarks? The Fall TV Season, that’s where. Let’s start the countdown:
Riverdale S2 premiere date: October 11, CW
Feedback: For Veronica, less French, less Audrey, less Blair, you got this, V, stand on your own. For Archie, let the writers figure that one out. And for the styling, yes and please. Continue your masterful blend of new and vintage–vintage fashions silhouettes with new details and cutaways, retro tracks with a pop twist, and oh god, the glorious colors throughout! Yes and please.
Lethal Weapon S2 premiere date: September 26, FOX
Feedback: Please continue kicking ass and having fun. Stay awesome.
Dear White People S2 premiere date: TBD, Netflix
Feedback: Give Jonelle her own episode, more Jonelle and Gabe friendship, more Jonelle and Sam friendship, more Lionel. 

Peace out, beach blankets and heatwaves. Bring on the flannel shirts and fanfare.

Dear White People Wastes No Time with Chill

Roadside Attractions, Lionsgate Televison, Netflix

Dear White People is the 10-episode Netflix series created, written and directed by Justin Simien, based on his film of the same name (episodes following the pilot were written and directed by several contributing creatives). We join Winchester University campus on the heels of the biggest scandal of the year, a blackface party held by the white-run humor/satire publication, Pastiche. Our provocateur is Samantha White (Logan Browning), outspoken leader of the Black Student Union with her own radio show, ‘Dear White People,’ where she attempts to illuminate, challenge, and educate her fellow classmates on matters of race.

Each episode focuses on a key character that populates the black residence hall, Armstrong Parker, including Sam, Lionel, Troy, Coco, Reggie, and Gabe (Joelle better get her ep in S2). With a cold open before chapter title reveal, wallpaper treatment hasn’t looked this good since Garden State. The outspoken Sam leads the revolution and episode one. Lionel Higgens (DeRon Horton) follows as he struggles to find his voice in both the black and gay communities. Troy Fairbanks (Brandon P. Bell) balances the expectations of being the perfect black leader with being a regular guy who likes women, video games (his ‘turrets’ while gaming is hilarious), and relieving stress through quick bathroom hits of marijuana. Colandrea “Coco” Conners (Antoinette Robertson) is conflicted between fitting in, escaping her past, and being herself. Reggie Green (Marque Richardson) is ready to lead the revolution until the revolution grabs him by the throat and thwarts him into the spotlight.

Beautifully shot, beautifully styled, and beautifully lit, the show is well written with pop references bouncing off every scene to this fangirl’s delight. Funny and witty, pop culture abounds with conflicted feelings of liking The Cosby Show, the difference between Dion and Stacey Dash, ‘nothing after Clueless matters,’ the challenges of becoming Insta legit, the virtues of waist thin ass thick, and the irresistibility of Gosling eyes. On top of all those references is the epicenter of black college life at Winchester, Defamation Wednesdays, where all the characters gather to watch a parody of Shonda Rhimes’ Scandal. The students cheer and jeer in outrage at the protagonist’s often questionable choices.

As our ‘ethnic but non-threatening’ narrator explains, there’s a lot more going on than meets the eye. Justin Simien attempts to both entertain and educate viewers, and he succeeds on both fonts earning Dear White People a rare 100 percent on Rotten Tomatoes. While his stories are far from my experiences, there’s lessons to be learned, empathy to be gained and razor sharp intelligence and wit to be admired. Netflix announced the show will return for season two, I for one, will be enrolling, you should too.

New Girl Knows How to Leave 'Em Wanting More

Elizabeth Meriwether Pictures, American Nitwits, 20th Century Fox

Season finale curiosity got the better of me. Admittedly, New Girl and I have been on a prolonged break courtesy of the Season 3 slump. My fangirl love is not rational– break up with my favorite character, I’ll break up with the show. Just ask Shonda Rhimes. Though we usually break up because she kills off my favorite characters. At least New Girl creator, Elizabeth Meriwether has been merciful in that regard.

After New Girl season six finale aired last week, I had to find out what the residents of Apt 4D were up to. While the writers and actors are clearly gifted with the random, the bizarre and the laugh out loud, I’ve got to give credit for my return to the epic build of the season six closing track, Green Light by Lorde. The storyline doesn’t hurt either. Now, New Girl and I are so back on.

Upon reflection of this latest development, with Green Light still playing in the background, I have to give a moment to the New Girl music supervisors Manish Raval and Tom Wolf with librarian/coordinator Jonathan Leahy of Aperture Music (also works on Community and GIRLS) who have closed each season of New Girl with a repeat-worthy track. Let’s dig in and take a listen.

SEASON 1
1x24: See Ya
Track: Shook Me All Night Long by AC/DC
Sure this one is an oldie, but it perfectly sets the tone for what we’ll dive into in Season 2. At the end of this season, Nick returns to Apt 4D–and Jake Johnson reaches leading man status with one word, ‘Hey.' That one word made ladies everywhere exhale a collective, ‘Daaayuuumm.’ Followed by dancing and cheering around the room exclaiming, ‘IT’S ONNNNNN!!!!!’

SEASON 2
2x25: Elaine’s Big Day
Track: I Always Knew by The Vaccines
At the end of this season, our two favorite oddballs ‘uncall it’ and we all exclaim a collective woooooooo!!! The Vaccines provide just the right celebratory track as we all set out onto new, wild relationship adventures.

SEASON 3
3x23: Cruise
Track: I do not accept any tracks from this season aside from Jess’s signature post-break up track, River by Joni Mitchell
With the anticipation-of and post-breakup suck-fest of a season, I was forced to employ the classic break up with a show before it breaks my heart. I’m with Winston drinking and hiding under a blanket till this nonsense passes. Curses, Cruisers.

SEASON 4
4x22: Clean Break
Track: Rivers and Roads by The Head and The Heart
At the end of this season, full of optimism and elation, beauty and grace the track begins the moment Cece says yes. The last frame is a save-the-date post-it on the refrigerator of Apt 4D and sets up the anticipation of the season to come.

SEASON 5
5x22: Landing Gear
Track: Still by Seinbabo Sey
At the end of this season, in Apt 4D’s most magical scene ever, this loving, tender and reflective track celebrates the first official union among the residents and their future together. There’s also a little Hava Nagila in there for good measure.

SEASON 6
6x22: Five Stars for Beezus
Track: Green Light by Lorde
At the end of this season, Jess is locked out of the building as the first keys of Lorde’s Green Light are played. What proceeds is a game of catch the elevator, accentuated by a drop in music before the elevators open to reveal and finally embrace–endgame. No more will they or won’t they, but endgame. And Green Light is just the track we needed to build up and rejoice in the moment, creating an elation to last all summer long.

Thank you, New Girl, for giving us the Green Light to dance in celebration. Let's go, Season 7! I’m off to continue this dance party with some pink wine!

State of Love and Trust

Ten album cover photo by Lance Mercer, middle by Kevin Westenberg, Rock 'n Roll Hall of Fame ceremony photo by Chad Batka for The New York Times

During my Freshman year of college, I camped out for Pearl Jam tickets. By the time I arrived outside the Pensacola venue, people were already lined up. An hour later, with so many of us in line, we came up with the Sharpie system so we could wander around. Upon arrival, everyone would check in with the Sharpie guy, he would write the number of your place in line on your hand and then off you’d go into the night. What could have been a run-of-the-mill line for 12 hours, became an all-night party. Freshman year and full of optimism, we were ready to see what the night would bring. I made friends with the Sharpie guy who in turn was friends with the guy who would become one of my best friends, my soul brother. We wistfully tell people of the story of the night we met, ‘under a bridge camping out for Pearl Jam tickets.’ That friendship was written in the stars. 

After mere months of discovering this new friend, this obvious soul mate, we made it our mission to stay connected even as we moved about the South East. I’d visit him in Pensacola, drink too much at house party, say amusing things, do a wall slide and pass out. I’d visit him in Savannah, drink too much at club, say amusing things, do a wall slide and pass out. I’d visit him in Athens, drink too much at bar, say amusing things, do a wall slide and pass out. We finally reunited in New York and again, more recently, in Los Angeles, where a poster of the original Pensacola show now hangs. Two Florida kids with only one mission–get out. And it all began under a bridge camping out for Pearl Jam tickets.

In the morning, we all sluggishly gathered, gripping our coffees to reclaim our places in line. It was shockingly orderly and peaceful. Perhaps that was due to the nature of the show–a Rock for Choice concert marking the one year anniversary of the death of Dr. David Gunn, a local doctor who was gunned down for performing abortions. Or maybe it was simply good-natured folks who were grateful to be surrounded by like-minded people–be it activism or musical taste.

I don’t remember much about the show itself, I think the magic of meeting someone who would become a permanent star in my life eclipsed whatever Eddie Vedder and company could come up with onstage. It was more about that time, those years that were teeming with possibilities. Grunge wasn’t about flannels and Doc Martens, it was about breaking from complacency, it was about awareness, standing up, and coming together. It was about finding your voice and taking action. Our actions tended to find us road tripping to New Orleans for concerts including Lollapallooza and Beastie Boys. Our actions found us at a Smashing Pumpkins concert on the night Kurt Cobain died and crowd surfing in his honor. Moreover, our actions were unwaveringly about dedicating ourselves to one another.

All that passion, that action, was ignited by our soundtrack–the one that we sang along to at the tops of lungs. And that was Pearl Jam. That feeling of being larger than life, unstoppable, and undeniable is forever intertwined with Pearl Jam. 

So this week, when fangirl saw that Pearl Jam was finally inducted into the Rock and Roll Hall of Fame, I had to calm her down, ‘easy does it,’ and keep her on a short leash. Though one friend cracked wise, ‘Drop the Leash.’ Still, I am doing everything in my power to prevent from going full fangirl–of epic, stage-diving proportions–I could easily lose weeks. And while everything meant so much, it makes it that much harder to look back. I will simply say this, no band had a greater impact, be it in their musical artisty and talent, their cultural influence, their activism, their answer to the call to lead the way–however begrudgingly. I never sing louder, or with everything that is in me, than I do with Pearl Jam. It’s about the passion, and the people, and about the action and voices that could no longer be contained. Pearl Jam is a life force and that’s all this fangirl has to say.           

Don't Blame the Messenger

DirecTV, Audience Network, Balasco Productions

Last night, a hesitant Miss A sent a link to the news that the series Kingdom will end with the upcoming third season. Given my fangirl love and MissSugarbritches seal of approval, Miss A was basically hurling over a truth bomb and quickly ducking for cover from an anticipated fangirl spiral.

The merciful Miss A was likely headed to toward my place with Kleenex and wine coolers to numb the pain, when I simply told her, 'All good.' I'm all good with Kingdom wrapping with Season Three. Truth. These guys killed it in their roles. They got so beautifully and blissfully lost in these characters, I'm happy for the actors to move on. As a fangirl, I appreciate every damn glorious thing they did on Kingdom and can let them and these characters go.

However, here's sneak attack soap box rant: the thing is, three seasons is totally respectable. I'm not a lunatic–I think it's cool to tell stories and then move on. ALL I'M SAYING is–why couldn't my favorite One Season Wonders have that same opportunity?? A moment of silence for those so cruelly denied a season two, let alone a season three: Wonderfalls, Bunheads, Selfie, Hellcats, Mercy, and The New Normal. Also canceled too soon: Pushing Daisies, Sirens, and Smash (three season minimum to tell these stories, people!!!! NOT TWO!!), and Happy Endings which had three but Brad and Jane deserved a three season spinoff of their own.

Back to my Kingdom men at hand–Jonathan Tucker, Matt Lauria and Nick Jonas–I'm happy they'll get released soon, but I will miss them terribly. They completely nailed these performances and transformations–they reshaped their bodies and faces, they changed a scene with a mere gesture or glance, they fought, they struggled, and it's beyond impressive. The way they inhabited their characters, it's been a gift to watch–every single time. When the actors are that good, you gotta let them go, explore something new, hopefully the next thing I fangirl. I wish you the best, my MMA gentlemen, and to the entire cast and crew of Kingdom. You've done the show and the world of MMA right–above and beyond. 

In the meantime my dear Sugarbritches, let's count it down. 59 days till the premiere date of Kingdom's third and final season. Come on, May 31, let's do this!!!

Lethal Weapon Graduates Season One with Flying Colors

Warner Bros. Domestic Distribution

I can’t believe the best wild ride of the TV season is the first to air their finale! The 18 episode first season of Lethal Weapon was a triumph–action-packed, heart-wrenching, endearing, bromance-building and funny. The cast is superb, and play excellently alongside one another. The writing, direction, effects and music are all top notch coming together to create what has been the highlight of my week this TV season. You gotta imagine everyone goes to work on-set thinking, ‘Best. Job. Ever.’

Throughout the season we’ve been cheering Riggs on, hoping the friendship and stability of Murtaugh and family would be enough to keep him from self-destructing. The love and pride in RJ's graduation scene alone could keep this blogger warm all winter long. Nevertheless, we all waited with dread for the pieces of Riggs' past to finally be revealed. The last two episodes did just that. Despite Riggs’ marginal growth and recovery throughout the season–enough to open up, clean up, get sexed up, dressed up and show inklings of moving on–by the end of the last episode Riggs had left us to jump off the metaphorical cliff. Even Delgado gave a final warning to Murtaugh, 'Forget Martin Riggs. He’s gone.'

Now that the season has wrapped, I have to wait till we’re in peak heat wave to get my answers. I’d be really pissed off if I wasn’t so proud and happy for the Lethal Weapon team. I’m sending the writers and producers good juju to create an epic season two storyline.

Rest well, Lethal Weapon cast and crew, you done good.

Ryan Adams Sets Himself Free

PAX-AM, Center Photo with Vincent the cat by Rachael Wright for Rolling Stone

Ryan Adams ups the heartbreak ante with his 19th album, Prisoner. Created on Sunset Blvd. in his personal wonderland, PAX-AM (and New York), Ryan described Prisoner to NME as, ‘the moment you realize that you’re free from something, you’re free from a trap that you maybe had set for yourself that’s not real.’

Prisoner is the result of Adams’ hard won freedom, some of his most inspired work yet with whispers of Smiths, Springsteen, Prince and even some Moonlighting saxophone. Ryan creates albums that are made to be listened to all the way through–he’s a storyteller after all and he takes no short cuts. However if you are in need of the one-two Prisoner punch, let these tracks, these deep cuts, knock you out: Do You Still Love Me?, Shiver and Shake, Anything I Say to You Now, and We Disappear (every lyric on this one will gut you).

I can’t help but have a certain sense of pride in our shared adopted home, Los Angeles. I'm keenly aware that his prolific songwriting and obvious joy are created somewhere along Sunset Boulevard. I hold that fact close–it keeps me inspired. I advise not disregarding these as mere sad, disenfranchised  songs, but regard them as made by someone who is living his dream, his purpose, someone who has set himself free, and listen with awe.

Pax-AM

RIVERDALE I'm So In!

Warner Bros. Television Distribution

As SNL’s Stefon would say, ‘This show has everything...’
    Glorious colors: reds and greens–delightful. Foggy, woodsy–yes.
    Gorgeous cast.
    ‘A new Queen B’? Please. But good effort with the black hooded cape.
    Solid tracks.
    Luke Perry as the daaaaaaaad.
    The artsy reinvention of Cole Sprouse from his former saccharine-filled Suite Life days.
    AND a murder mystery a la Twin Peaks but on the CW. YES.

I find the whole link to Archie comics bizarre, and the storyline a liiiiiittle to close to Twin Peaks, but for the list above, they got me–for now. Pilot is up on CW. I’m anxiously awaiting Ep 2.

Thank You, Aziz Ansari

NBC Studios, Broadway Video

I want to take a moment to thank Aziz Ansari for delivering the best monologue on SNL this weekend. Aziz took the SNL stage not a moment too soon–the day after Trump’s inauguration and the evening of the global Women’s March. He delivered with equal parts thoughtfulness and humor, just what we needed. There’s so much vitriol on both sides, it’s easier to tune it all out, but tonight, Aziz gave us all a reason to tune in.

Julia Michaels' Issues Come to Life

This fangirling spiral was brought to you by Gwen Stefani. I know, I did it again, but go with me. I got caught up in watching interviews with Gwen talking divorce, Blake and coming up with an album out of nowhere. She talked of crying on her way to the studio. Once inside the studio, she simply said, I don’t care what comes out of this, I don’t care if it’s radio friendly, I just need to create and get whatever’s happening out. 

Several times over the interviews Gwen mentioned Justin Tranter and Julia Michaels. I decided to look them up. He’s the former glam rock frontman for Semi Precious Weapons, she’s been a professional songwriter since her early teens–producing her first hit, Miss Moving On by Fifth Harmony, at the age of 17. Together the songwriting duo are a creative force, producing such hits as Good For You and Hands to Myself by Selena Gomez, Sorry by Justin Bieber, Cake By The Ocean by DNCE and Gwen’s latest hit, Used to Love You. 

To look at either of their Instagram accounts (Julia and Justin) is to see professional magic at its finest with an unwavering friendship. And that’s what got me hooked, to connect with someone–to have  that written-in-the-stars creative collaboration–it’s a thing of beauty. 

Today, Julia took as step out on her own, out of the songwriting shadows and into the pop star spotlight with the release her own single, Issues. It’s a song she wrote that she simply couldn’t give away. I love a gal with a story, so send some love her way and download her debut track.

My Girlfriends, There Through Thick and Thin

Paramount Domestic Television

In honor of Tracee Ellis Ross’ Golden Globe win for Blackish I thought it would be a good time to dig into her previous series, Girlfriends. Created by Mara Brock Akil (executive produced by Kelsey Grammer), Girlfriends is about the lives and loves of four professional women and longtime friends Toni Childs, Maya Wilkes, Lynn Searcy and Joan Carol Clayton played by Tracee Ellis Ross.

I actually came to Girlfriends through my recent obsession with Lethal Weapon and the all badass, no nonsense woman that is Keesha Sharp. Sharp’s character, Monica, was a regular late in the series as the antagonist of the group and as the replacement for the departure on Jill Marie Jones who played Toni. While die-hard fans (and there are many) still see Toni’s departure as the show’s demise, I still came in rooting for Monica–and she gave me a lot in return.

Fangirling Keesha Sharp introduced me to the whip smart world of Girlfriends. Creator and showrunner Mara Brock Akil originally envisioned a single-camera show, however, due to budget and network expectations, it became a multi-cam sitcom. No matter how that original vision was altered, beyond the studio lighting, I can still see her vision–and it is beautiful. I wished everyone got to see these four women, living in Los Angeles, playing out their lives on a Sex and the City budget. The writing and relationships between the women were unquestionably up to the task.

As it stands, the network sitcom Girlfriends begs to be binged watched. I burned through the series so fast, I often find myself singing the theme song. Flawed, funny, rational, irrational, these women were fully drawn out and had me regularly laughing along with them. Toni, Maya, Lynn and Joan (real estate agent, administrative assistant/authoress, free spirt/eternal student and lawyer), all at different moments of their lives, all returned to one another with each turn–usually with a strong drink, a quick quip and a delightfully willing William on their arm.

Despite its many awards and accolades, Girlfriends suffered an abrupt end as a result of the ’07-08 Writers Guild of America Strike, leaving many plot points up in the air. However, for 8 seasons, Mara Brock Akil and company told great stories, made me laugh, taught me a lot and celebrated my adopted home. The four women of Girlfriends were unabashedly female, strong, and real. Funny how relevant that feels today.

Resolutions Are For Suckers

CBS Television Studios, Warner Bros. Television Distribution

‘Tis the season when we foolishly believe in our own ability to change–like when I drank a beer a week in preparation for the holidays with my family. Of course it didn’t work, there’s no drinking like holiday drinking. Or the time I thought I’d be breezy and gave a guy my phone number by ripping the receipt off my dry cleaning with my digits on it. Breezy, that’s me.

But then again, there’s the case of Hart of Dixie’s Lemon Breeland, played by Jamie King. In season one, Lemon had her future planned out as Queen Belle of Blue Bell, preserving traditions with the Memory Matrons and wife to George Tucker. Season one Lemon was obsessed with holding herself to an impossible, idyllic image of a proper southern woman leaving her to be uptight, ridged, and ultimately unhappy.

However, Lemon proved that disappointment and heartbreak can create a new, unexpected path of strength and growth, even with a few stumbles along the way. By season four, Lemon had left the Belles, started two businesses, tried living on a houseboat and learned how to be a good friend. She proved resilient, blazing her own trail, gaining strength as a risk-taker in her decisions, even reflecting in her wardrobe. She traded her homemaker fifties dresses for modern accents, breezy silhouettes, and pop colors. Season four Lemon was confident, generous, walked lighter, smiled easier, was capable of love and emotional intimacy, and was happy.

Obviously the inspired evolution of Hart of Dixie's Lemon is a case of TV fiction, great writing, and the performance of Jamie King, but perhaps, in my case, I was also aiming too low with my drinking tolerance goals. Here’s hoping there’s a Lemon Breeland in all of us with the potential and resiliency to truly evolve and change. Mere resolutions are for sissies.

Holiday On Wheels

NBC Studios, Warner Bros. Television

This weekend, Team G and I had to figure out how to fit three holiday parties across the city of Los Angeles into one night. Wildly out of character, we approached the party circuit with a bold ambition that belongs only in sitcoms. But proceed we would…cue cold open.

We piled into the first car of the night and once seated, debated how to traverse the city as only Angelenos can. The stops were Silverlake, Crenshaw and West Hollywood by way of Venice. In addition to routes and traffic, we also took both best food and height of party merriment into consideration. The path was clear, first stop, West Hollywood. It was the closest and since the crowd was older, they’d have better food–couldn’t count on the hipsters of Silverlake for food, but we could count on them for later night antics. As predicted, the West Hollywood party held in an established Art Deco apartment served food fresh out of the oven. Everyone was lovely and visited with one another in front of the fireplace. The second car took us to Silverlake which had a dessert bar and a redneck Santa. After a heated game of Ornament Gift Exchange, we took the last car to Crenshaw. Upon getting out the car we followed the music to the backhouse where the dance floor was in full effect. When we finally stumbled into the last car, Team G and I applauded ourselves and our masterful plan for getting away with shenanigans without the need of a laugh track or audience applause.

Our antics felt oddly, specifically familiar, and I finally remembered the source: Will & Grace, A Moveable Feast, Season 4, Episode 9 (2001). In the episode, Will & Grace join forces with Jack and Karen to face the issue all those attempting to adult must decide–when to spend the holidays with family and when to take a stand to spend it on your own. The four New Yorkers decide to spend Thanksgiving together. However, unbeknownst to them, guilt also had a seat at the table. To rid themselves of the guilt, and still enjoy their own holiday meal, they come up with an plan of epic, sitcom proportions. They decide to drive to each of their families’ homes to visit–with rule of the egg timer. In order to make it back to their own dinner, upon walking into each home, they’d set the egg timer for an hour, once it dinged, they’d promptly, abruptly, and in unison, leave. They piled into Will’s car and made the rounds: prison, where Karen’s husband was spending time, a hotel where Jack’s step-dad was staying, Aunt Honey’s condo in Brooklyn where Grace’s mom was dining (and performing the ‘I Told Ya So’ dance), and the Waspy mansion in Connecticut where Will’s mom lived and dinned with her sisters, ‘the haters.’

This season, whether or not traversing the city with friends is in the holiday cards, definitely check out Will & Grace’s Moveable Feast. Watch it and love it so I can do the ‘I Told Ya So’ dance!

Stefon, Club Kid with The Merrymaking Plan

NBC Studios, Broadway Video

The season’s hottest party planner is Stefon. This SNL character has everything–streaked highlights, slicked goth hair, a long sleeved Ed Hardy shirt with faux tattoos, and an exceptional talent for the dramatic pause… for six seasons, Stefon shared club kid tips of where to go when visiting New York City.

While aimlessly packing for winter break, I can’t help but think of Stefon’s holiday party planning ways. What’s that special holiday magic he brought for so many seasons that I still can’t shake? It’s that thing of when Bill Hader performs as Weekend Update City Correspondent Stefon–young party monster, introvert pulling at his sleeves, creating a teepee with his hands to ‘protect his secrets’, mooning over Seth Meyers and sharing tips for a berserk night in New York. Or it could be the sneaky script changes John Mulaney would give Hader just as he was walking onstage to get his writing partner to break. Which he succeeded at–every, single time–thus teepee hands. Hader always tried playing it cool by dramatically rolling into the scene in his correspondent’s chair while scowling at the audience. His attempts were no match, Mulaney often had him struggling through performances to compose himself. And the result is magic. How I’d love to order a cappuccino from the barista who inspired them to create the character.

While packing, I doubt I have to prep for f’d up leprechaun situations, throw up music or piles and piles of expired Lunchables, after all, I’m not going to the Lower, Lower East Side. But I can still watch Stefon on NBC.com, and pray that I won’t be seated next to Gizblow, the coked-up Gremlin, on the plane. Happy holidays everyone!

Lethal Weapon Blows Away the Fall TV Fray

Warner Bros. Television, Fox

December is the time for colorful, blinking lights, holiday parties every night and somehow, in between, mid-season finales. As I burn through the last of the finales, I’ve gotta give respect to Matthew Miller, McG and the new Lethal Weapon crew for taking on the original Shane Black script to create one of the most surprisingly fun rides of the Fall TV season. I was first to balk, see my earlier post. But now I am first to say, I was wrong. I am in. So in. Anxiously waiting for the latest episode, return date is January 4th, in.

As you know by now, this fangirl likes to stick to the classics, the originals, the true blues. However, when it comes to the reboot of Lethal Weapon, it has successfully left the past behind, creating something that is new, funny, and action packed. Clayne Crawford and Damon Wayans have a great chemistry and banter as Riggs and Murtaugh. Damon provides the heart and stability of the show as Murtaugh with his wife Trish and their three kids. Clayne is the wild card who carries a lot on his shoulders by taking on the role Mel Gibson made so famous. But I gotta say, comparisons here are wasted. Clayne stands on his own. Hailing from Alabama, the man wastes no time retracing footsteps of the past, but moves forward on his own terms, authentic with a dash of southern goodness. My favorite kind.

The show had me at the cold open of the pilot. I’ve been hooked, regularly rewatching, ever since. Props to the writers mixing action with humor, the stunt coordinators, VFX and directors, lighting all of it – superior team at work making Lethal Weapon such a fun show to watch. Props also to the music supervisor, Billy Gottlieb. While I usually skip the action movies, I can absolutely appreciate his selection of tracks to tell the story of these two detectives in Los Angeles. Appropriately dude-like – I say that with respect – his selections are yet another excellent element of Lethal Weapon’s storytelling. Holy mother, just realized Gottlieb also does the music supervising for Kingdom. Hell yes!!! Love it.

One last note and bonus, Lethal Weapon takes place in Los Angles, like so many of my favorite shows. No wonder I always wanted to move here. Local Santa Monica note, Bay Cities’ famous Godmother sub made it into episode 3. Extra pepperoncinis. Respect. Any show that give props to the Godmother (even with my current vegan ways), deserves respect.

MVP: Stacey Oristano

NBC Universal Television Distribution, Dorothy Parker Drank Here Productions, ABC Family, Warner Bros. Television, Netflix

Let's take a moment to appreciate Stacey Oristano who appeared in the recent Gilmore Girls mini-series, A Year in the Life. Stacey has appeared in some this fangirl's favorites including Friday Night Lights and Bunheads. Each time, she successfully blends herself into a new world be it Texas football or Southern California ballet dancers.

In Friday Night Lights, Stacey played Mindy Collette, the promiscuous sister to Tyra, bride of Billy Riggins, and stripper at The Landing Strip. One year after FNL wrapped, Stacey made her appearance on Amy Sherman-Palladino's short lived series, Bunheads. As Truly Stone, Stacy played the bashful, painfully awkward shopkeeper at Sparkles in Paradise, California. After keeping to herself in the quaint, tiny community, she befriended Michelle and began to break out of her Sparkles shell.

It's no surprise that Stacey was invited for the return of Amy Sherman-Palladino's original series reboot, Gilmore Girls, A Year in the Life. Stacey's was a welcome ASP alumni face in a sea of random cameos. She appeared as Allie, a fellow Wild-er to Lorelie's short lived Pacific Crest Trail adventure. As Allie, Stacey brought a dash of Truly's awkwardness mixed with a new determination to solve life's post-divorce mysteries. While I've always enjoyed Stacey's appearances, it's this last one that reminded me she's someone special and we should all take notice. I'm grateful for her friendship to Lorelai around the campfire and hope she finds her next adventure soon. I'll definitely be tuning in with s'mores in hand!