THE LINK – The Marquette Tribune -

Marquette University took back an offer for the position of dean of their College of Arts & Sciences from Jodi O’Brien, a professor of sociology at Seattle University, who is a lesbian.Some believe that this was due to her academic research on homosexuality and gay-Christian identity, according to The Marquette Tribune.

http://marquettetribune.org/2010/05/06/news/arts-sciences-dean-search-ends-without-appointment/

The Link – The Fordham Observer -

Today, after a four-year struggle, Fordham University faculty celebrated the extension of health benefits to legally domiciled adults (LDAs).This change is a progressive victory for Fordham and the Jesuit school system, because it will allow faculty to provide benefits for same-sex partners or spouses in addition to elderly parents or other dependent adults.

The Fordham Observer: Fordham University faculty receives equal benefits

By Blair Thill, Gavel Blogger -

Answer: A TV series everyone should know yet few college students recognize aside, perhaps, from the fact that it launched Bruce Willis’s career before uttering the words, “Yippee kay yay mother…” – well, you know the ending. Question: What is the one-time 80s hit, Moonlighting?

Any TV fan, whether 23 or 53, should take note of the impact Moonlighting has had on the TV landscape. You see, Cybil Shepard and Bruce Willis, the stars of the show, hated each other, nay, abhorred each other off screen. This utter disdain somehow translated into magnetic chemistry on screen, and so their characters, Maddie and David, embarked on their crime-fighting partnership filled with sarcastic quips and lustful glares. The tension kept viewers tuning in week after week. The the producers and writers decided to give fans their payoff by orchestrating the hook-up of Maddie and David. And that’s when viewers tunes out. The characters lost all their bite and spark. It became awkward instead of exciting.

Moonlighting was canceled later that season. That’s when the TV world took notice. The dilemma of the showmance had been presented and the question morphed from “will they or won’t they” into “should we or shouldn’t we?” And yet, what has since become one of the primary tools in any drama or sitcom’s toolbox? The couple that everyone roots for. The couple that makes you think, “Gee, if they can’t make it, who can?” In short, the couple you tune in for.

Think of how many popular shows have employed this buzz-building technique since the 80s. We had Diane and Sam on Cheers, Niles and Daphne on Frasier, Corey and Topanga on Boy Meets World, Amy and Ephram on Everwood.  Each show succeeded in their showmance to varying degrees. Diane and Sam got together, broke up, got together, and then broke up for good (or until the finale) when Shelly Long decided to leave the show, so perhaps that isn’t the best example. Niles and Daphne were considered supporting players, so perhaps they aren’t the best example. Things got awkward with Corey and Topanga when they decided to get engaged during high school graduation, then college just never felt the same. Amy and Ephram were perhaps the best example, though the thought that Madison’s pregnant babysitter was the most frequent distraction still feels wrong.

Then there are the granddaddies of them all that don’t even need show identification: Luke and Lorelai, Ross and Rachel. These two couple are, for the most part, sterling examples of how to keep the romance alive through multiple seasons. Luke pined after Lorelai for four seasons before they got together in the perfect first date. Was their breakup annoying? Of course. But the key to Gilmore Girls’s success was that there was a suitable alternative to Luke for Lorelai, and that was Christopher. There was always something attractive about the idea of Lorelai ending up with Rory’s dad, even though we always knew Luke was the one she belonged with. The reason why Ross and Rachel worked is much simpler: the ensemble cast of Friends took the pressure off of the couple to succeed, but that didn’t make the payoff of Rachel getting off the plane any less sweet.

What, may you ask, specifically prompted my lesson in the history of showmance? A situation arose about a month ago amongst fans of the much adored, little watched NBC action/comedyChuck. Fans were sent into a tizzy when they heard that both Chuck and Sarah would be kissing different people, and what’s more, Sarah would be dating her target, Shaw, played by Superman, er, Brandon Routh. Fans were outraged that Sarah and Chuck could possibly be with different people after just two and a half seasons and (hopefully) counting. But if Chuck-hards really want their show to succeed, should they have been rooting so fervently for the romance that serves as a main basis of the show? Chuck and Sarah are now together and while it certainly isn’t awkward, it still remains to be seen if that move will, indeed, bring in more viewers and save the show from its fate on the dreaded bubble.

To theorize Chuck’s fate, let’s look at other current shows that rely on the showmance. There’s Grey’s Anatomy, where Derek and Meredith are the only consistent couple in the series’ romantic revolving door. Shonda Rhimes swears they’re together for good, which would have been welcome if it weren’t for the boring story lines and general creative rut that accompanied their union.The Office is still going strong after Jim and Pam’s hook-up, but it’s really just working off of the Friends ensemble. The best model for Chuck is probably Bones, as the popular Fox show is likeMoonlighting II: This time we learned. Booth and Brennan have been doing the dance for roughly six seasons, and the creative team has figured out just the right amount of give and take to keep the romance between viewer and show alive.

But is it too late for Chuck, now that its main characters are actually together? Time will tell. While the show has never provided a suitable alternative to Sarah and can’t be considered a true ensemble a la our previously explored archetypes, it does have the element of charm on its side, which is no small asset.

But the moral of the story, friends, is that will-they-or-won’t-they couples are not toys to be played with. They are integral cogs in the wheels of television, and one wrong tweak could send the wheel flying and the car in a tailspin. Isn’t fictional love grand?

By Dan Monan, Culture Editor -

Yes, the “blog” is not dead! Although air-quotes may be necessary until some sort of regular schedule is worked out.

This time I’ve decided to go the route of historical fiction with Seth Grahame-Smith’s Abraham Lincoln Vampire Hunter, the same guy who gave us Pride and Prejudice and Zombies and Sense and Sensibility and Sea Monsters, the gleefully irreverent corruptions of Jane Austen’s classic novels.

Unlike those earlier works, which interwove actual text from Austen novels with more, shall we say modern additions,  Abraham Lincoln: Vampire Hunter does not use an older novel as its base material. Instead, Grahame-Smith claims to have uncovered a “secret diary” explaining Lincoln’s double life as a vampire-hunter, along with the hidden, vampire-based reasons for the Civil War and Lincoln’s political career.

The book is good. Let’s get that out of the way before anything else. Its Abraham Lincoln, axe in hand, chopping creatures of the night limb from limb, what’s not to like? The gore-filled pages move at a decent clip, and Lincoln is a surprisingly fleshed out character. True to life, Lincoln is a tragic figure, and by the end, feels believably presidential (But in a good, pre-George Bush kind-of way… actually, make that good in a pre-Bill Clinton way… actually, let’s just call it presidential like Harrison Ford in Air Force One).

Lincoln. Axe. Vampires. This is what the title offers; this is what you shall find. And Lincoln’s secret hack-and-slash pastime offers more than enough to create an engaging storyline, but deep social commentary this is not. Yes, vampirism makes a wonderful metaphor for slavery, yet once the connection is made, little more is done with it.

I suppose I’m saying the book is shallow, or maybe that it just feels too neat. The world Grahame reveals is exciting and interesting and at some points disturbingly believable, but he never plunges into the depths of it. If this were a movie, it would be a popcorn action flick, perhaps even a better-than-average horror film. Grahame seems unwilling or unable to pull away from the violence to focus on the complexities of his creation. And this prevents a good book from becoming a great one, although to be fair, Grahame never really tries to delve into these issues. He seems to know what he’s good at and stick to it.

Likewise, while Lincoln is a deep character, most of the others are not. It would be a shame to reveal too much of what is truly an enjoyable book, so without going into details, most other character he encounters is uninteresting and forgettable. I finished the book less than a week ago, and most of their names are already gone, though some are unique enough to leave an impression.

Despite these reservations, as before, Abraham Lincoln: Vampire Hunter is a worthwhile read. Something undeniably entertaining comes from a straight-faced account of America’s favorite president, decapitating fanged monsters. I’m looking forward to Grahame’s next foray into the genre, Teddy Roosevelt: American Werewolf perhaps?

THE LINK: WBZ-TV

A B-Line train and a Jeep crashed in Brighton Sunday morning. Courtesy of WBZ-TV. The seven people in the car have been identified and all face charges of minors in possession, according to WBZ.

http://wbztv.com/local/brighton.trolley.accident.2.1655187.html

By Sean Meehan, Video Editor -

What do you get when you take the exceedingly stylish violence of Kill Bill, mix it up with the unabashed love of comic books from Spiderman, and add a heavy slathering of Superbad’s humor? That all-parts-awesome blend is a little film called Kick Ass, and it’s already well on it’s way to taking over the geek population. Don’t let the hype, marketing or Clash of the Titans deter you, because Kick Ass is that sort of celebration of style and exuberance that everybody needs to see.

Kick Ass tells the story of Dave Lizewski, a scrawny, nerdy kid who decides to go out and do the one thing we’ve all wanted to do – become a superhero. He’s got no special talents, no radioactive powers, just a green scuba suit and a police baton. His first foray into crime fighting isn’t exactly a success, and he is left stabbed, beaten and hit by a car. As a result of this beating, Dave (or “Kick Ass” to the unsuspecting public) is left with metal reinforcements in his body and a slight ability to withstand more than your average beating. Undeterred by his original failure, Dave goes out into the night yet again, this time fending off a few small-time crooks and garnering heavy internet notoriety. Through a MySpace page that he sets up, Kick Ass begins fighting crime on a first come, first serve basis. Without going into much more detail, let it be said that this lunacy is only the beginning, and the ride only gets faster and crazier.

Directed by Matthew Vaughn and adapted from the Mark Millar’s graphic novels, Kick Ass has a look and feel that is so distinctly “comic book” that it can make Zack Snyder squirm in in his 300 loincloth. The visuals are bright, brutal and bold all at the same time, and the filmmaking that’s on display here is the epitome of fun at the movies. Your response to the following sentence will determine precisely how you’ll react to this film: Nicholas Cage plays Big Daddy – a scenery-chewing ex-cop who has donned a Batman-esque superhero mask and trained his 11-year-old daughter to become a swearing, murdering machine. If that statement made you squeal with excitement, your ticket is probably already preordered. If it provoked a sense of “oh, Nic Cage huh?” then it might take some more convincing.

If one thing can be taken away from the film, it’s Chloe Moretz, and her insanely vulgar portrayal of Hit-Girl. Trained by her father to be the ultimate badass, she’s a perpetually swearing hellraiser that takes down goons three times her size. It’s a bold decision to not dial down the violence and swearing for an 11-year-old character, but this is exactly where Vaughn’s crystalized love of the material steps in and blocks the censorship. Moretz owns the film, and no matter what scene she’s in, you won’t be disappointed.

All of the above points that have been made in the film’s favor could very easily be viewed as flaws. This film is so audience-dependent that it could be argued that it will hurt the film’s overall appeal. I’m of the opinion that anybody can find enjoyment out of Kick Ass, but I’m also sympathetic to the fact that if you hate superhero movies, raunchy comedy and brutal violence, this film will make your head spin.   9.0/10

By Blair Thill, Gavel Blogger -

This has been a dismal year in the film industry thus far for me, the chief reason being that I’ve only been inspired to see two films in theaters. Sure, I could have seen Shutter Island and experienced the mind-bending twist, but Lost tends to fulfill all my confusing island needs. I could have seen Leap Year or Valentine’s Day, since both are in my chick flick wheelhouse, but thought better when neither could muster even a “C+” grade from Entertainment Weekly. I’ll opt for the $1 Redbox rental. And so, when April rolled around and I was really jonesing for a theater fix, my friends and I made a game-time decision to see Hot Tub Time Machine.

Did Hot Tub Time Machine fail to meet my expectations? Of course not. What could you possibly expect from a movie titled Hot Tub Time Machine? It’s a head-scratching yet laughable title, much like the movie; head-scratching a result of Rob Cordry’s unlikeable oaf and laughing a result of Craig Robinson’s cheating wife subplot and Clark Duke’s general dismay of the 80s. And yet Hot Tub still managed to disappoint me for very different reasons.

ONE: the preponderance of homophobic jokes. I mean, aren’t we in the second decade of the 21st century for Pete’s sake? Is it really necessary to use the f-word, especially in a post-Isaiah Washington scandal world? I think not.

TWO: the degradation of women. At the risk of talking down from a feminist high-horse, I just wasn’t a fan of the one-dimensional female characters. Whereas Judd Apatow produced raunchy comedies showcase at least one realistic woman (i.e. Catherine Keener in 40 Year Old Virgin, Mila Kunis in Forgetting Sarah Marshall, Hot Tub was populated with only minor females, the majority of whom could be (and were) categorized as “bitches” and “sluts.” What great classifications for us!

This issue brought up an interesting question in my mind: why is it that male-skewed comedies rely so heartily on the sexual objectification of women? The fairer sex is either a bombshell ripe for the banging or a “dog” ripe for the taunting, stupidly vapid or alarmingly headstrong. Pondering this question led me to wonder something else: is this how guys feel when they watch rom-coms, only instead of sexual objectification they see their fellow men being emotionally objectified? Then again, are these particular questions really the questions I should be asking? Or should I be focusing on why there have to be two separate categories of comedy for each gender in the first place?

Enter my second theater experience this month: the Steve Carell and Tina Fey vehicle Date Night. The two comedic geniuses go head to head as a husband and wife being chased down by thugs after taking another couple’s reservation. Sure, there are screwball moments that were perhaps below the integrity of Carell and Fey, but there were also some gems. The biggest laughs in the theater came from the scene in which Fey’s suburban realtor and mother, Claire, and Carell’s tax attorney, Phil, pretend to be strippers to get to the crooked D.A. Thoughts of their robotic sex simulation still evoke a laugh. And the best part? Both male and female were being hilariously objectified in this scene at the expense of their dignity! Equal opportunity demeaning!

But seriously, as I sat watching Date Night, it struck me that the audience was filled with both men and women equally enjoying the on-screen antics. There were no unlucky-in-love women chasing after a men. There were no men using that dreaded f-word to make themselves feel more masculine. There were just two adults stuck in a jam with hilarious consequences. And the key word in that sentence was ADULTS. How often do we see those in movies anymore, at least box-office winning movies? Not very often. So while Fey and Carell were probably simply striding to make a funny movie, little did they know they actually achieved another goal by proving that adults can, miraculously enough, be funny.

By Sean Meehan, Video Editor -

RackedFocus is the official film blog of Sean Meehan for The Gavel. Here, you will find the reviews, rants and musings of an above-average, slightly over-opinionated film geek. Comments, questions or suggestions are always welcome – in fact they’re encouraged.

Sometimes a trailer can tell you everything about a film. Take the trailer for Myley Cyrus’s newest, The Last Song: a heavy serving of melodrama with a drizzling of shirtless man-candy should make for a pretty basic, sort of sloppy little film. Turns out that (surprise, surprise) the film is everything the trailer made it out to be, albeit with less water-drenched teenage men then you would expect. Other times, a trailer can completely misrepresent a film, and that’s most certainly the case with DreamWorks’ newest, How To Train You Dragon. Do not judge this film based upon its trailer, because Dragon is a heartfelt, hilarious and exhilarating picture that does so much right that any small quibbles one might have are rendered, well, toothless.

Dragon tells the story of Hiccup, a young boy on the Viking island of Berk. Hiccup is son of Stoick the Vast – the biggest and baddest leader the Vikings as well as the most effective “exterminator” of the island’s one pestilence: dragons. Although he’s not exactly of Viking stature, spindly Hiccup desperately wants to be a part of his community, but despite his best efforts, he’s not much of a dragon slayer. When his father sets sail to find the dragon’s nest, he enrolls Hiccup in dragon training so that he can learn to finally be a chip of the old block. Just before he can start, however, Hiccup discovers that he has ensnared a dragon – but not just any dragon – he’s bagged the dreaded Night Fury, the most mysterious and feared of them all. The only thing is, this particular dragon seems decidedly benign, and as the film progresses Hiccup learns that these flying reptiles may not be quite the threat that his father believes them to be.

Visually, the film is masterful. It has been said by other reviewers before, but reiteration is the most sincere form of flattery : the flying sequences in How To Train Your Dragon out-Avatar Avatar. You should see this film not just in 3D, but in IMAX 3D if possible. Take a deep breath, accept the absurd cost for a ticket and just jump in. I only managed to see it in old-fashioned, humble regular 3D and spent much of the film experiencing a bubbling of that sort of rush one experiences in an IMAX presentation. The character designs are admittedly highly cartoonish and stylized, but the overall look of the film lends itself to a storybook-esque treatment. If you think about it, what does a Viking look like normally? Pointy helmet, battle axe, obnoxiously bulbous gut veiled by an equally enormous beard. They looked goofy before anybody decided to make them computer-animated anyhow.

The visuals can only be so good if they’re accompanied by a strong voice cast, and that is certainly the case here. Hiccup is voiced by Jay Baruchel, who can do the earnest, wimpy act as well as anyone. He is complimented by great performances from Gerard Butler as Hiccup’s father and from Craig Ferguson as Hiccup’s boss/dragon trainer. There is, however, one performance that stands above the rest, although it’s hard to really call it a performance. The character of Toothless (the dragon that Hiccup finds and trains) is by far the star of the show. The allegories to our relationships with more conventional pets (namely dogs) are fairly obvious, and are hammered home by the character of Toothless in such a way that it makes you want to go out, buy a puppy, and smother it with attention. Quite simply, How To Train Your Dragon made me realize how much I love my dog more than My Dog Skip or Marley and Me ever could dream of. As a fun little factoid, Toothless’s character design is based heavily on the design of Stitch from Disney’s Lilo & Stitch, film that was co-directed by Chris Sanders and Dean DeBlois who also directed Dragon.

With the recent blind infatuation with all things tri-dimensional, it’s safe to say that people should be selective when it comes to forking over $15+ for a ticket these days. Every project under the moon is getting the stereoscopic treatment post Avatar, and I worry that we’re getting dangerously close to a world where Citizen Kane might be rereleased in the format. That said, some filmmakers have learned how to appropriately and effectively use the technology, and in the case of How To Train Your Dragon, the ticket price should in no way dissuade you. That’s not to say that the film is flawless: the story is by no means anything groundbreaking, and like most DreamWorks animated films, it lacks the subversive quality and biting commentary that many Pixar films offer. Despite these concerns, what remains is a great film that is certainly worth seeing. If nothing else, when choosing between Clash of the Titans or How To Train Your Dragon, resist the temptation to release the kraken and treat yourself to something genuine. 8.5/10

By Blair Thill, Gavel Blogger -

The drama on the primetime version of Grey’s Anatomy has been rather abysmal for the past two seasons. What started as one of the most talked about shows on television has become a revolving door of ridiculous – from the romantic Rubik’s cube for mostly every character to the medical cases we honestly couldn’t care less about. Shonda Rhimes has recently released that Meredith and Derek are going to discuss the b-word by the end of the season – no, not the usual “brain hemorrhage” but “baby.” If this proves to be vaguely interesting, I vote for another Grey’s Anatomy spin off featuring a newly parenting Mer and Der moving back to his home in New York City. Shonda, I expect some sort of credit in creating this idea when you actually sell it to ABC.

So yes, drama isn’t coming easy these days on America’s former favorite primetime show. The drama off the set of Seattle Grace in the past few years, however, is a completely different story, though that too has finally come to a close. It all started with good old Isaiah Washington – remember him? Remember when he stupidly decided to use the f-word with regard to costar T.R. Knight … twice? The cast banded together around Knight after that incident, and Isaiah was promptly shuttled off the show. We all thought that’d be the end, right?

Wrong. It was just the beginning. The most outspoken of all the Grey’s castmates in Isaiahgate was, let’s all say it together now, Katherine Heigl. She formally derided Washington to anyone who would listen, and was heralded for her zero tolerance attitude. In this week’s Entertainment Weekly cover story, Heigl even admits that the support she garnered for those comments was both a blessing and a curse – a curse because it opened her own floodgates to think she could say whatever she wants, whenever she wants.

Wrong again. After rightfully winning an Emmy for her stunning work as a grieving almost-widow, Heigl’s outspoken ways started getting her into trouble. In keeping with the motif, Emmygate struck the following year when Heigl refused to submit her Season 4 work for an Emmy, saying the material she was given wasn’t worthy enough for any level of accolade. Then there was the comment she made to David Letterman about the horrible 17-hour work days on the show that made her career… Man, she has been a busy woman.

But the complaints should finally come to a close now that it has been confirmed Heigl will not be returning to Grey’s Anatomy even for one more second. After roughly three seasons of fighting her way out of a contract, Katie is a free woman. I feel a bit cheated that we don’t get to bid Izzie Stevens a proper good-bye, as her character has provided some of the most gripping storylines of all six seasons. But man, did this conflict need to end. Will you join me in a resounding chorus of “Hallelujah?”

I will be very interested to see what happens to Heigl now that she’s gotten ridden of the old ball and chain (not you, Josh Kelley). Her film career in relatively new, but also on its way to being successful as long as she sticks to the likes of 27 Dresses and Knocked Up rom-coms instead of the aptly titled The Ugly Truth. Given her efforts to branch out in future projects, most notably with the adaptation of Janet Evanovich’s One for the Money, I’d say there’s a good chance she can become an even more bankable actress. With the caveat that this EW interview is the last time she says anything about Grey’s Anatomy. Move on, Katherine Heigl. Leave the diva comments to the likes of Mariah Carey and Kate Gosselin.

By Blair Thill, Gavel Blogger -

Whenever American Idol season roles around, I find myself anxiously awaiting new interpretations of classic tunes, new and old. David Cook was the first contestant to truly revolutionize this contestant mentality, giving us lite-rock versions of pop confections such as Mariah’s “Always Be My Baby” and MJ’s “Billie Jean.” Season 9 has provided a few instant memories, my favorite being Didi Benami’s take on the Fleetwood Mac gem “Rhiannon,” but that performance is easily toppled with the horrible nightmares that were Todrick’s Hall’s “Since U Been Gone” and Jon Park’s painful “Gravity.”

It’s those last failed attempts that have caused me to look to consult my iPod for some comfort and find the best covers ever recorded. I have compiled a list of the five best covers of all time, and five newer ones I particularly enjoy.

5 Best Covers of All Time

All Along the Watchower – Jimi Hendrix, originally Bob Dylan – It’s hard to top Bob Dylan, who is one of the greatest songwriters and musicians of the twentieth century. Dylan started his career as a songwriter, giving his legendary material to folk artists like Joan Baez and Peter, Paul, and Mary, only to later eclipse their popularity. Not the case with this transcendent Jimi Hendrix guitar aria. The dips and bends of Jimi’s Fender Strat add a trippy feel to Dylan’s original acoustic guitar and harmonica work, and the changes equal classic rock, psychedelic paradise.

Respect – Aretha Franklin, originally Otis Redding – Otis Redding is a soul star in his own rite, crooning such classics as “Sittin on the Dock of the Bay” and “Try a Little Tenderness,” but who in America remembers that he was the originator of the would-be female power anthem of “Respect?” No one, because once Aretha owned the song, it was hers forever, and we realized that what we wanted, baby she had it.

Twist and Shout - The Beatles, originally The Isley Brothers – The Isley Brothers were obsessed with shouting, first with the toga party ditty “Shout” that put them on the map. But “Twist and Shout” barely made a dent in the music industry until it was recorded by The Beatles. John Hughes was an obvious fan of the cover, using it in his iconic parade scene in the 80s classic Ferris Bueller’s Day Off.

Nothing Compares 2 U – Sinead O’Connor, originally Prince – Prince isn’t exactly known for his ballads. It’s no wonder, then, that his recording of this ode to loss got lost in the mix of his experimental days with The Family funk band. Luckily for all of us women out there who have needed the perfect song to deal with a broken heart, Sinead O’Connor transformed the song into a the three-hankie weeper in 1990 with a decidedly softer, more emotional feel.

Mad World – Gary Jules, originally Tears for Fears – I am a sucker for 80s music. I love the synthesizers and perfectly syncopated drum machines. But even I have to admit the tune “Mad World” is better suited for Gary Jules’ simplistic vibe than the 80s cheese of Tears for Fears. Jules’ voice cuts right through your soul and makes you ponder what a very strange world we live in.

5 of the New and Improved

Somewhere Over the Rainbow – Israel Kamakawiwo’ole, originally Judy Garland – Many people have tried to emulate or improve upon Judy Garland’s seminal Wizard of Oz classic, and very, very few have succeeded. Sometimes the key to a successful cover is to completely switch up the melody, and this unknown Hawaiian singer did just that to beautiful perfection. The ukelele and soaring falsetto make this cover, in a word, stunning.

Poker Face – Chris Daughtry and Lady Gaga tie – “Poker Face” was EVERYWHERE a year ago. Every bar, every party, every pre-game. How could one possibly improve upon that kind of saturation? Well, Chris Daughtry decided to strip down the techno vibe and opt for a simple acoustic guitar. Lady Gaga herself stuck with a piano and major melisma. They’re both so fantastic, it would be torture to choose. And this is my blog, so I didn’t.

Crazy - Ray LaMontagne, originally Gnarls Barkley – Gnarls Barkley’s claim to fame is this song and this song only – well, aside from the Star Wars getups they performed the song in at the MTV Movie Rewards. Ray LaMontagne isn’t all that well-known for his blue-eyed soul on songs like “Trouble.” Put these two moderately famous entities together, and you have one banging cover that includes nothing but Ray’s guitar and voice.

Message in a Bottle – John Mayer, originally The Police – In case you haven’t noticed, my favorite covers are usually the stripped down versions of popular rock and pop songs. So despite the fact that I’ve previously told my readers I hate liking John Mayer’s music, I couldn’t leave out his cover of The Police classic in which he trades in Andy Summers frantic riff for a lonely, haunting acoustic guitar.

Umbrella – Mandy Moore, originally Rihanna – In keeping with the theme of this list, I am probably committing blasphemy in many minds by including Mandy Moore’s coverage of the Rihanna mega hit, but I can’t help it. I love the slowed down piano and Moore’s aching crooning. Perhaps not a chart-topper, but fabulous in its own rite.