Did you know they made a Broadway show out of the Green Day album "American Idiot"?

And it got a great review in the NYT? Excerpt:

Who’s the American idiot being referred to? Well, as that curtain slowly rose, we heard the familiar voice of George W. Bush break through a haze of television chatter: “Either you are with us, or with the terrorists.” That kind of talk could bring out the heedless rebel in any kid, particularly one who is already feeling itchy at the lack of prospects in his dreary suburban burg.

But while “American Idiot” is nominally a portrait of youthful malaise of a particular era — the album dates from 2004, the midpoint of the Bush years, and the show is set in “the recent past” — its depiction of the crisis of post-adolescence is essentially timeless. 

Malaise... <giggle>... see previous post.

It's an odd business to be obsessing about George Bush when he's keeping such a low profile these days. He's hoping to fade into history, perhaps, but some people really miss him — miss him in the sense that they want him there in center stage to hate on, like back in the good bad old days. And now here he is, center stage, on Broadway, where they do punk rock. If there is a "malaise of [each] particular era," then I guess that says something about the one we're in.

ADDED: Sonicfrog blogs:

Ah, yes. The ggod ol’ days. Back when it was OK to hate the President. Of course, bashing Bush was not exactly edgy or breaking new ground by the time “American Idiot” came out – Dixie Chicks, Keith Olberman, and Rosie “fire has never melted steel” O’Donnell had already blazed that trail. What make the Green Day album notable was not the music – I doubt many could name a single song from the album, or hum one of the tunes – but the fact that the anti-Bush sentiment was marketed so prominently as a feature of the album.

Still trying to recover from that horrible "American Idol" last night...

Entertainment Weekly has some good advice for next season's final show:

Don't allow any non-Idol performers to take the stage — unless they agree to duet with one of the 12 finalists. Think about it: Instead of piping in a ''live'' feed of Gwen (who appeared to have a giant flower attached to her derriere) performing ''4 in the Morning'' with utter detachment, you could've forced her to show up at the Kodak and duet with Chris Richardson on ''Don't Speak,'' a number he'd already nailed earlier in the season. Can you imagine the watercooler buzz you'd have scored if Kiki had rescued Bette midway through her abysmal, convulsive ''Wind Beneath My Wings''? And for cryin' out loud, Tony Bennett's ''For Once in My Life'' was taken from his album Duets, and Melinda Doolittle's Memphis audition number was...''For Once in My Life.'' Do I really have to do the math for you?

Yeah, and end on time. Were they deliberately trying to screw us TiVo-users? Just because I fast-forward through all the commercials (and much of the music), you don't care about me? This is from the Village Voice's "running diary" of the show:

I got home a bit late tonight, so I'm not watching this show live; I'm seeing everything on DVR about ten minutes after it actually happens. But the show actually runs over, which means my DVR cuts off right before they reveal the goddam f[]cking winner of the season. Seriously, don't the producers know that some of us are watching this on DVR?

I'm going to say they do know, and they are not so much punishing us but training us to use the TiVo to record into the next time slot to hurt the other networks. It's a way to turn TiVo into a ratings weapon.

Here's a good line from the EW story:

And was I the only one envisioning Gladys Knight assessing the top six ladies at dress rehearsal and declaring, ''Only Melinda and LaKisha are allowed within three feet of me!''?

So true, both as an observation and as an appropriate attitude for Gladys Knight.

Anyway... I'm fine with the outcome, which I predicted back on March 21, when we were down to the final 10:

Let me just try to pick the order that they will leave (and we can look back and see how wrong I was): Chris R., Gina, Hayley, Phil, Chris Sligh, Sanjaya, LaKisha, Blake, Melinda, Jordin. So: Jordin to win.

So I'm fine that Jordin won, but now the show needs to go away for a long time so we can all forget how insufficiently enjoyable it was and, like the ninnies we are, start watching again next year. Or will some of us snap out of it?

Ah, I see that as I was writing this Jacob at Television Without Pity finally got his mini-recap up. For some crazy reason, he gives the show an A+:

The very excellent, very long night begins with a shouty, flirty duet... Ryan's "good friend" GWEN STEFANI, looking pants in a weird Astro Boy bubble tutu dress... KELLY CLARKSON!... Blake reveals that he has like fifteen powers of awesome beatboxing we didn't even know about... CARRIE UNDERWOOD, in a cute dress over pants... Carrie gives an awesome speech about her wild success. A huge contingent of awesome bald African kids... Sanjaya is compared to both Einstein and Abraham Lincoln, then performs "You Really Got Me" with Joe Perry in a wind tunnel... GREEN DAY ... ROOOOBEN... BETTE EFFIN' MIDLER sings "The Wind Beneath My Friggin' Wings" in a leather skirt and is one Parliament and a late night out from turning into Marianne Faithfull once and for all; it's cheesy and very very American Idol and unending. Randy and Paula, at this point, start making out down in the audience, while Bette Midler sings poorly and interjects God into every other line of the song, for some reason....

Blah! Well, I get it. If you watch the show, you watch for the crappiness of it, and since they over-the-top maximized the crappiness, it gets an A+. The A+ is logical. If you don't like this, why are you watching? This is the whole point.