Lee, you were asking for a PowerPoint presentation?

WOOT

Yeah, until she writes a song anywhere near as good as "I'm Just A Girl" or throws anything as left field as a drumline into her pop songs, she's not anywhere close to Gwen's stature as a pop princess.

Hey, I agree, although I was referring to Stefani's solo work and not No Doubt, which I categorize entirely differently given the distinct genre switch and the collaborative nature of ND. But there's pop visionary and pop princess, and I think Ashlee's more than made herself a niche there. Stefani is in a different league entirely, from a conceptual standpoint.

Her music aside, I think Ashlee kind of rocks. Also, to be shallow, she looks amazing with red hair.

Also, I think she is smarter than Avril, but then, there are teratomas smarter than Avril. Avril's, like, sub-Celine.

The Hush Sound is probably the most musically accomplished and talented of Decaydance's stable of artists.

I want to gush about Brendon Urie's musical genius, but I know I'm just projecting. Although I do think he's hella talented, and will show it more the older he gets.

Also see: Patrick Stump! Boy fucking wonder.

Avril's, like, sub-Celine.

Ouch.

I will admit to singing along with Avril stuff on the radio, though.

Frankly, Panic's sound is too non-cohesive and experimental right now; they're all talented musicians, but that doesn't necessarily translate to a particularly accessible record. Comparatively, The Hush Sound has had a visible and viable progression over the course of their three albums that's shown an obvious maturity as they're coming into their own. That's what I mean by accomplishment.

I mean, I can't get Pretty Odd off my iPod, but I'm aware that there are reasons for that which aren't exactly due to it being a work of staggering genius.

Patrick Stump, though, is a different thing altogether. The songs he's put together for Fall Out Boy show the same kind of mature progression--especially interesting given the distinct genre, which Panic has never been pinned to--that THS has shown over time. The melodies and rhythms get more complex, more interesting, a little more risk-taking. They successfully bring in elements of R&B and the heavy melodic overtones of late-era Morrissey or later Cohen (in terms of musicality, not necessarily lyricism) while still retaining adherence to the genre. When you look at the things Patrick's worked on as a producer, I think it's pretty impressive that he's held onto that particular vision with Fall Out Boy while being notably experimental (from pop-punk) with other bands.

The thing about Avril is that she has had songwriting credit on most of the material on her albums from the start, which I always found rather admirable. I'm not going to lie and say I like her music, but with "The Best Damn Thing" she took the image and style she established with "Let Go" and ramped it up a notch. I can't fault her for making a good marketing decision, and while the music's not to my taste, it's in line with that image while still being something she can stand behind. So's Ashlee--that is, she's been songwriting since "Autobiography." I don't know, I certainly don't find it interesting or moving, but it's fun to dance to, and that's about all I expect from her anyway.

New question!

Who writes the music for MCR? I mean, I'm assuming Gee writes the lyrics, but does he write the music as well? Who does, if he doesn't? I'm sort of amazed I don't know this already.

I really like what I've heard of Hush, and I'd like very much to hear more of TAI. (And Empires, since your squee intrigues me.)

Gerard is the main lyricist, and Ray Toro is the main composer. The rest of the guys add stuff too, but the main songwriters are Gee and Toro.

::now loves Toro EVEN MORE::

Thank you!

So Toro is the Stump to his Wentz?