'SNL' adds humor to campaign trailhttp://www.blogger.com/post-create.g?blogID=142542459694282603

Molly Schreiber

Issue date: 11/6/08

Throughout the past few months, the nation has been electrified by the sense of urgency that accompanied the 2008 presidential race. With a devastated economy, a vicious campaign and troops still at war, Americans were in desperate need of a good laugh.

Taking advantage of our political predicament, "Saturday Night Live" provided our nation with a perfect remedy. The epic return of Tina Fey, "SNL" has not only boosted ratings but lifted spirits.
With more than 17 million viewers and the best ratings since 1994, "SNL" has made comedic history.

While the sketches continue to impress, the question of election impact now comes into play. Did Fey's flawless impersonation of Sarah Palin affect voters on Tuesday? Did John McCain's willingness to poke fun at himself on air remind voters of the McCain of earlier years? Or did our laughter remain separate from our politics?

With the tension on each side of the campaign mounting, "SNL" started its season two weeks early. Poking fun at all parties involved, SNL writers pledged to spread their mocking evenly. "The trick with all of these people is to try to come out as fair and evenhanded as possible," said Seth Meyers, a primary writer and actor for the show. Fairness, however, seems an ancillary concern in the skits.

An extraordinary amount of time and resources were dedicated to mocking the Alaskan governor and her past slip-ups. Despite highlighting her inexperience and poor communication skills, the Palin camp adored the attention. Perhaps abiding by the "any press is good press" rule, Palin's spokesperson, Tracey Schmitt, told reporters that Palin "thought it was quite funny, particularly because she once dressed up as Tina Fey for Halloween."

While the majority of the attention is paid to Fey's impressions of the gun-toting Alaskan, Will Ferrell's impression of George W. Bush and Darrell Hammond's impersonation of John McCain reminded viewers of the comedic high point "SNL" experienced in the '90s.
In addition to the return of key players, Amy Poehler's weekly impressions of Hillary Clinton added humor and intelligence to the show.

Last weekend's "Solid as Barack" skit allowed Fred Armisen to parody a hard-to-mock Barack Obama. The musical montage included impressions of Joe Biden, Nancy Pelosi and even Bill Clinton. Genius sketches like these spurred and punctuated the even more hysterical appearances of the leaders themselves.

As Clinton, Palin, McCain and Obama took their turns on the show, Americans were given an opportunity to see their leaders in a new light. With increasingly smart writing and a slew of political fuel to propel the material forward, the future of "SNL" looks bright.

In a cathartic sense, the humor of the show allows Americans to look at our plight from a different point of view. While it is impossible to tell whether or not the skits impacted the way Americans voted, it seems unlikely that our leaders will ever be viewed the same way. And, dontchaknow, sometimes a little comic relief is all we need.

Ray LaMontagne's Comfort and Confindence Glow in 'Gossip in the Grain'

Molly Schreiber

Issue date: 10/23/08

After four successful years and two solid records, Ray LaMontagne proves that three times truly is the charm. His third studio release, "Gossip In the Grain," showcases his remarkable growth as both a singer and a song writer. With the success of his past two albums, LaMontagne made little effort to venture away from the dark beauty of his epic ballads. With a slew of fans satisfied by his adherence to the folk mentality, experimentation and drastic expansion within his third record seemed unlikely. However, "Gossip In the Grain" exceeds expectations without abandoning LaMontagne's distinctive sound.

The first track of the album, "You Are the Best Thing," catapults the listener into the world of Stax sound, Motown horns and soulful lyrics. With the help of Supremes-esque backup singers, LaMontagne translates the wounded yearning that characterized the sounds of his first two albums into a soulful longing. Without disrupting the fluidity of the album, the following track, "Let It Be Me," reassures the listener that his trademark sound is not lost. His rough voice, akin to the vocals of predecessors like Van Morrison and Cat Stevens, returns to his expertly practiced role of injured lover, lending the album both vulnerability and honesty.

In "Sarah," another track that illustrates his growth as an artist and loyalty to his sound, LaMontagne employs his emotional lyricism with more uplifting instrumentals, adding accessibility in addition to depth. Sandwiched between tracks with the classic LaMontagne sound lie songs of humor and triteness. LaMontagne, famous for his heartbreaking ballads, integrates commendable wit and forced comedy, as well.

In his love song to the White Stripes' drummer, "Meg White," LaMontagne utilizes the simplistic lyrical style of Buddy Holly's "Peggy Sue," emphasizing the purity of his love with uncomplicated lyrics. LaMontagne drawls: "Someday/ I'd like/To take a walk with you/ Maybe ride our bikes down by the seaside/ … Meg White/ Baby you're the bomb."In his laughable attempt at musical humor, the listener is left both amused and a little confused. While his musical expansion is laudable and the song is charming, there is little warning or segue.

As his humor becomes more evident, though, its relationship to the album strengthens. The listener can't help but smile when LaMontagne's giggle introduces the track "Hey Me, Hey Mama." For fans, this change may be hard to stomach, but it undoubtedly foreshadows future triumphs.

With a sound reminiscent of Johnny Cash in "Henry Nearly Killed Me (It's a Shame)," and traces of Motown magic in "You are the Best Thing," "Gossip In the Grain" demonstrates LaMontagne's musical prowess and budding versatility. Although the title track holds little weight in the album, the work in its entirety is the perfect soundtrack for fall. While maintaining his style, LaMontagne successfully incorporates other genres and instruments cohesively.