The first step to accepting Justin Bieber is getting past his age. It’s everywhere on this record, impossible to ignore, and, frankly, if Bieber was simply a twenty-something white boy with an R&B fetish, My World 2.0 would be easy to acknowledge as a disposable adult contemporary record in the vein of latter-day Backstreet Boys. But Bieber is just following in the proud tradition of plenty of vapid pop stars before him, from the Mickey Mouse club to Miley Cyrus, and although his voice stubbornly refuses to conjure up images of anyone older than thirteen, it would be shortsighted and irresponsible to write off Bieber as a flash in the pan novelty.

Hot Tub Time Machine is a comedy that follows two friends Nick (Craig Robinson) and Adam (John Cusack) as they try to boost the morale of their suicidal friend, Lou (Rob Corddry), by planning a ski trip to the same resort they used to frequent in their heyday. They drag along Adam’s depressed nephew Jacob (Clark Duke), who prefers life in the virtual word over the real world.

Seventh Tree, Alison Goldfrapp and Will Gregory’s fourth album, was a bit of a detour from the glossy, ’80s pop sheen of their last couple of records, drawing from nature, and pagan worship than your typical electro-diva effort. Predictably, it also sold less than Goldfrapp’s previous work, so it should come as little surprise that their fifth album returns unabashedly to the roots of Goldfrapp’s [financial] success. I could say that Head First combines the up-tempo, synth-heavy electronic dance of Supernature and Black Cherry with some of the ambient, folkier sounds of their superb debut and Seventh Tree, but that sort of mixture is more often the exception rather than the rule. No, Head First rather brazenly throws everything to the wind and kneels to its glam-pop influences without an ounce of shame.

Volume Two is about as appropriate a title as one could hope for from Zooey Deschanel and M. Ward’s second collaborative effort. It’s simple, it’s straightforward, and it’s without a doubt true: where 2008’s Volume One was the first example of She & Him’s sun-kissed brand of ’60s girl-group pop and singer-songwriter folk pastiche, Volume Two is, uh, the second. Volume One consisted of thirteen tracks, three of those covers; Volume Two consists of thirteen songs as well, but ups the ante with only two covers. M. Ward makes only the occasional vocal contribution, preparing to work the production behind the scenes and let his vintage guitar do the talking, as he did on Volume One. Hell, even the album art is eerily similar, with that same slightly creepy faceless girl and a different color scheme. And Zooey is, well, still Zooey, never falling prey to the conceit of oversinging and using that lovely, country-inflected alto to melt Ben Gibbard’s heart. In short, it’s the same She & Him those who enjoyed Volume One fell in love with, and it’s the same She & Him that bored many to tears…

We as consumers need to be prepared when it comes to buying products, and cosmetics are no different. Designer liners, mascaras and hair products can be pricey purchases so I’ve decided to write about my experiences with these products in an effort to educate others and share my satisfaction (or dissatisfaction) with certain products. If you have any suggestions on products you want me to try and review, please leave your thoughts in the comment section below.

Editor in Chief of THEPOPFIX.com, Erin Darling, interviewed the band Until June for AssociatedContent.com. Until June is currently on a West-Coast tour, and preparing for upcoming release of their second full-length album, portions of which were released on “Sound of Defeat” in 2009. Until June has embarked on international tours, gained a #1 hit on the Official Airplay Chart in Greece for over 20 weeks. They’ve also had music featured on ABC’s “Grey’s Anatomy,” and “Private Practice.” You’ve also heard them on E! and MTV.

Check out the interview here.

J’adore Dior. John Galliano immersed us this time (on March 5th, to be exact) in pure pleasure for the senses. His leathers, furs and transparencies portray an old-fashioned English countryside mixed with beautifully tailored elements in this ready-to-wear collection. The colors are evidently fall-oriented with browns, olive greens and some elements of black, and elongated boots in dark, wine colors or calf-boots in black. Overall, he manages to communicate the message very effectively and cohesively in this collection. It does not miss a single step, even when he goes from ensembles to full dresses that still have the same vaporous air of his last collection. As usual, he presents his models in an environment that ends up being irrelevant because his designs overwhelm the audience. We can’t help but drift away in his incredible cuts.

Armani presented his Fall 2010 collection in a monochromatic atmosphere in beautiful Milan. And what an ugly collection, if I do say so myself. Regardless of how “acclaimed” Armani’s collections are, I found this one to be meaningless. I can not find a simple cloth or garment to be innovative or even transcendental…