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I Hate "More To Love"
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Opponent outlook: Northern Illinois
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Single-game ticket sales begin July 11
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Tribe needs to slow down opponents
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Stallworth test showed marijuana
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Men's Basketball Scheduling update
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Updated: Free Agency: Another Gone - Apparently
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IPCC Already Wrong About Global Warming
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Wow….Sarah Palin Resigns Governorship
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Picnic Wear
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Where do We Go from Here?
Let's Talk Real Estate:
Hate Crime in Fort Worth Texas: "That F***t had it Coming"
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Linda asks-where is the Ohio Chautauqua?
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Rundgren fans rejoice!: Second night of AWATS at The Civic added
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Sport Psychology and Performance Consulting
Akron Gamer:
Hot link: Best of Nintendo at E3
Published on Sunday, Apr 27, 2008
BITTERSWEET WORLD Ashlee Simpson
Geffen
Cast as the daring rock rebel in the Simpson family reality-show empire, Ashlee Simpson is hardly less plastic than her nice-girl sister, Jessica.
Her debacle of a Saturday Night Live appearance exposed her as a lip-syncher, and when she's not singing about her rocker-girl independence, she's working on Broadway. Lately, she and her fiance, Pete Wentz, of Fall Out Boy, have been teasing the tabloid media by refusing to confirm or deny pregnancy rumors.
But for Simpson as a pop contender, none of that matters. On her third album, Bittersweet World, the defiant pose — ''I just wanna color outside the lines,'' she pouts in Rule Breaker, sounding about as dangerous as an unruly kindergartner — gives her fertile songwriting territory.
Simpson is smart enough to work with expert hitmakers, among them the producers Chad Hugo from the Neptunes (his partner, Pharrell Williams, has been working with Madonna) and Timbaland (who squeezed Madonna and Simpson into his schedule). And she's shameless enough to mimic Gwen Stefani, Avril Lavigne, Madonna and 1980s hits from Toni Basil, Tom Tom Club and Missing Persons. The shamelessness pays off in songs with crisp beats, teen-seeking choruses and cheerfully obvious lyrics.
Outta My Head (Ay Ya Ya) and Ragdoll, her collaborations with the electro up-and-comer Santogold, are perky, syncopated staccato complaints. No Time for Tears segues spooky Eurythmics verses into a pop-punk chorus.
Simpson ricochets from vampy self-esteem (Hot Stuff, Boys) to postbreakup sulking (Little Miss Obsessive) to generically sincere protestations that ''it's not easy bein' me.'' It couldn't be more calculated, but that doesn't prevent it from being catchy, too.
— Jon Pareles
New York Times
BITTERSWEET WORLD Ashlee Simpson
Geffen
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