Langfield
Entertainment
88
Bloor Street E., Suite 2908, Toronto, ON
M4W 3G9
(416)
677-5883
langfieldent@rogers.com
www.langfieldentertainment.com
NEWSLETTER
Updated: August 24, 2006
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This year's Honey Jam was another
successful showcase of
Canadian female talent - hosted by Jemini and Mark Strong! Props to Ebonnie Rowe for bringing us this
important addition to the music industry. Check out some pictures in my
PHOTO GALLERY from the show (Note:
not all artists are shown). |
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::TOP
STORIES::
Legend Avoids The Obvious On Sophomore
Album
Excerpt from www.billboard.com -
Tamara Conniff and Hillary Crosley, N.Y.
(August 18, 2006) R&B singer/songwriter John
Legend will follow-up his
Grammy-winning 2004 Sony Urban debut "Get Lifted" on Oct. 24 with a
new album, "Once Again."
Among the producers involved with the project are Kanye West, Raphael Saadiq
and will.i.am., with whom Legend wrote seven songs in their first five days of
collaboration, including the single "Save Room." "I didn't
go into the new album thinking about the Grammys I had won," Legend tells
Billboard. "It's one of the greatest challenges of writing music-for it to
not sound like what you think it's supposed to sound like or sound like the
last album." "The mind state we kept while working on this
record was one of hunger, humility and fear," will.i.am says. "Since
John and I first met, both of us have sold a lot of albums and won a bunch of
Grammys. But we didn't think about that."
Saadiq adds that the pressures of recording a follow-up to a Grammy-winning
album can be extraordinary. "You always put the pressure on
yourself," he says. "That's how bad [songs] happen."
Legend spent about six months working on "Once Again," during which
time he amassed 30 songs. "It was one of the most productive periods of my
life," he says. "I was focused only on music. For the first time I
didn't have to worry about school or a job." Though many of his new
songs are about the emotional angles of love == from bliss to the pain of a
cheating partner, "Once Again" also houses a few social gems reminiscent
of Stevie Wonder and Marvin Gaye, particularly the song "Show
Me." "It's a spiritual love song," Legend says. "You
could be talking to God or your loved one in bed at night. It asks real
questions about what's happening in the world today -- about wars and people
dying and why God takes some and not others."
John Legend Readies New Album
Excerpt from www.eurweb.com
(August 22, 2006) *Kanye West, Raphael Saadiq and
will.i.am are among
the producers contributing to the sophomore album from John Legend, titled Once Again. Due
Oct. 24 via Sony Urban, the project includes seven songs written within the first
five days of Legend collaborating with the above-mentioned producers. Among
them is the track, Save Room. "I didn't go into the
new album thinking about the Grammys I had won," Legend tells Billboard.
"It's one of the greatest challenges of writing music-for it to not sound
like what you think it's supposed to sound like or sound like the last
album." "The mind state we kept while working on
this record was one of hunger, humility and fear," will.i.am adds. "Since
John and I first met, both of us have sold a lot of albums and won a bunch of
Grammys. But we didn't think about that." Legend says he
has written some 30 songs during the six months he has spent working on Once
Again. "It was one of the most productive periods
of my life," he says. "I was focused only on music. For the first
time I didn't have to worry about school or a
job." Topics on the LP range from the pain of a
cheating partner, to socially relevant tunes reminiscent of Stevie Wonder and
Marvin Gaye, particularly the song "Show Me." "It's
a spiritual love song," Legend says. "You could be talking to God or
your loved one in bed at night. It asks real questions about what's happening
in the world today -- about wars and people dying and why God takes some and
not others."
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Black Canadian Playwrights Find Cause For
Optimism As They Gather For Theatre Festival
Excerpt from The
Toronto Star - Bruce Demara, Entertainment Reporter
(Aug. 21, 2006) It may not have the scale or grandeur of Martin Luther
King
Jr.'s, but Djanet Sears also has a dream: that some
day, the voices of black playwrights will be an integral part of Toronto's and
Canada's theatre scene. The fourth triennial meeting of the AfriCanadian Playwrights Festival
running tomorrow to Sunday is an important step on that journey. "I
have a dream that one day, I'll wake up and look in a newspaper or magazine and
see that, somewhere in the city, I'll find a play by people who look like
me," Sears said. "I want my progeny, those younger than
me, to grow up with that choice of having a huge chorus of voices about what
blackness is," said Sears, an acclaimed author and director. The
six-day event, the fourth held since 1997, suggests there is cause for
optimism. More than 60 playwrights will be among the more than 200
theatre folk attending. There will be readings from almost two dozen plays,
many of them new and by young, contemporary playwrights. "It
is the best time (for black Canadian playwriting). I think these stories have
not been heard enough; I think they're being heard more and more and they can
only enrich everyone's lives," said Sears. Her play, Harlem Duet, a Dora Award winner in
1997, is being produced at the Stratford Festival this season. Sears will serve
as playwright-in-residence for Tarragon Theatre during its upcoming season
while developing a new work of her own. That is just part of a
mini-renaissance for black Canadian talent that makes the upcoming gathering
even more relevant.
Playwright d'bi young, who was honoured at the Doras
earlier this year, winning Best Actress and Outstanding New Play for blood claat: one womban story, will
restage the production for a two-week run at Theatre Passe Muraille beginning
on Aug. 29. Young, who spent the first half of her life in Jamaica
before coming to Toronto, said she is simply carrying on the long-established
tradition connecting storytellers and their communities. "The
festival ... reminds us of all the storytelling traditions we're coming out of.
It celebrates the relationship and the reciprocity between storytellers and the
community. I feel like in the absence of celebrations ... we lose sight of
what's important in our lives," she said. George Elliott
Clarke, an English professor at the University of Toronto specializing in black
Canadian literature, said the festival is particularly important in bringing
together a far-flung and diverse black community from across the country. That
includes black communities in Nova Scotia dating back seven generations such as
his own, and those who arrived from the Caribbean during the 1960s and '70s,
speaking French and English to more recent African immigrants. "We
sometimes forget that we live in the world's second largest country. There are
many black communities across the country; they have different ethnic
compositions, they have different cultural concerns and linguistic expressions.
And it's difficult for us to communicate with each other," Clarke said. "This
kind of event helps bring people together, helps us network with each other and
discover new actors very important for a playwright and for actors to
discover new playwrights," he added.
Clarke, already a published poet and scholar, will present one of the
festival's more interesting new works. It's entitled Trudeau:
Long March/Shining Path and explores the late prime minister's special
relationship with the black community, which embraced him as a cultural icon. There
will be a dramatic reading on Saturday and the work will premiere as an opera
at Harbourfront Centre in 2007. "Many (black Canadians) would
say that their parents, if not themselves ... have had a fascination or an
admiration of Trudeau as somebody who seemed to have made Canada more welcoming
to them," Clarke said. "He was somebody who seemed to be
comfortable with people of colour ... and he appealed to many African
Canadians. There seemed to be an outrι quality, an outrageous quality, a
dynamic about him that made him seem cool," Clarke added. A
stage version of The Polished Hoe by Austin Clarke, which won the 2002
Giller Prize, will be presented on Friday.
TIFF
Screens Africa
Excerpt from The Toronto Star - Susan
Walker, Entertainment Reporter
(Aug. 18, 2006) The Toronto International
Film Festival is highlighting
films from Africa and the African diaspora with screenings of nine features
throughout this year's festival, Sept. 7-16.
· Spike Lee's four-hour documentary, When the Levees Broke: A Requiem
in Four Acts records the aftermath of Hurricane Katrina and tells the story
of the New Orleans disaster through its citizens. It screens in the
Masters series.
· The Last King of Scotland, based on a prize-winning novel by
British author Giles Foden, is the story of a Scottish doctor taken on by Idi
Amin to be the Ugandan dictator's private physician. Forest Whitaker
plays Amin in director Kevin Macdonald's adaptation, running in the Special
Presentation program.
· Phillip Noyce (Rabbit-Proof Fence) directs the U.K./South
African film Catch a Fire, based on a real story from the apartheid era.
Patrick Chamusso, a victim of police squads turned into an underground rebel,
is played by Derek Luke (Antwone Fisher). Tim Robbins plays a policeman.
· A best actor award at Cannes went to the ensemble cast of Indigθnes,
the story of North Africans who join the French army in 1943 to drive the Nazis
out of France. Rachid Bouchareb directs the drama.
· A Congolese-French co-production in the Visions program, Kinshasha
Palace is directed by Zeka Laplaine in the form of a diary.
Laplaine also plays Kaze, a man in search of his brother in travels across
France, the Congo, Portugal and Cambodia.
· Childhood chums meet again later in life as Abeni, the daughter of a
wealthy Beninoise man runs from an arranged marriage with Akanni, who is from a
poor family, in Abeni, directed by Tunde Kelani.
· Jamaican filmmaker Perry Henzell, who made The Harder They Come,
directs a musically enhanced, politically spiced story of a New York City film
producer on a descent into a world she's ill-prepared for, No Place Like
Home.
· Sistagod is the name given to Mari, pregnant by an unknown man,
and forced to wear a costume to disguise her shame.
The movie, from Trinidad and Tobago, is directed by Yao Ramesar.
· A Brazilian film, Antonia is about childhood friends who become
back-up singers for a rap group. Tata Amaral directs.
· Additional films from Africa, North America and the Caribbean include:
Akim Omotoso's Gathering the Scattered Cousins; Tahani Rached's These
Girls; Abderrahmane Sissako's Bamako; Asger Leth's Ghosts of Citι
Soleil; Jerome Laperrousaz's Made in Jamaica; John Barker's Bunny
Chow; Mahamat-Saleh Haroun's Daratt; and Teboho Mahlatsi's Moekgo
and the Stickfighter.
Film Festival Information
Passes and coupon books go on sale Aug. 25, single tickets on Sept. 6. Call
416-968-3456 or visit bell.ca/filmfest.
Rogers
OMNI.1 Exclusive: We Jumping Higher
Source: Rogers
(August 22, 2006) Toronto As official television media partner and
sponsor of the 2006 Toronto Caribbean
Carnival (Caribana), Rogers OMNI
Television is pleased to present its viewers with a front row seat at North
Americas largest cultural celebration! OMNIs exclusive broadcast of We
Jumping Higher a two-hour special presentation that captures the visual
pageantry of the floats and the revelry of the Mas bands will air on Rogers
OMNI.1, Sunday, August 27th
from 9PM to 11PM ET. An encore presentation of We Jumping Higher
will air on OMNI.1,
Sunday, September 3rd. In addition to familiar on-air
personalities from the OMNIs News and Diversity Programming teams covering
carnival highlights, We Jumping Higher will be helmed by powerhouse
guest talents:
·Anthony Master T Young, Host Urban-music icon and former
veejay;
·Rudy Blair, On-location Co-host - Entertainment Reporter, 680 News;
·Laverne Atkinson, On-location Co-host - Anchor/Reporter, FOX News
And relive the fun and excitement of the 39th annual Toronto
Caribbean Carnival (Caribana) through the eyes of its participants. For almost
40 years, the Toronto Caribbean Carnival (Caribana) has been not only a joyous
celebration of the citys diversity but also a boon to local businesses,
annually generating more than $200 million in tourist revenue from visitors who
to come to the GTA from all over the world specifically to attend. This years
event showcased no less than 16 flamboyant Mas (masquerade) Bands and We
Jumping Higher will feature all of them! Further information
on these bands, their king & queen and their music, along with host bios
may be accessed at www.omnitv.ca/Ontario. For those who wish to
re-experience the 39th annual Toronto Caribbean Carnival (Caribana)
in its entirety, OMNI Plus On Demand will be re-broadcasting the full event
soon; details to be announced @ http://www.shoprogers.com/store/cable/ptv/programming/omniplus.asp.
::MUSIC NEWS::
Bolton Revives Sinatra Standards
Excerpt from The Toronto Star - Ashante
Infantry, Entertainment Reporter
(Aug. 22, 2006) It's been nearly 10 years since Michael Bolton's last No.
1 single ("Go the Distance"), but the 53-year-old Connecticut native
remains a committed balladeer, touring and releasing a new album every 18
months. After forays in R&B, pop and classical, the singer-songwriter's
latest effort Bolton Swings Sinatra finds him in big-band mode. The
Star caught up with the genial entertainer during a recent Toronto visit.
Q: Why an album based on Frank
Sinatra's songbook?
A: Initially I
just wanted to make a swing big-band record with a little bit of jazz, but in
listening to hundreds of songs to find a dozen for an album it became clear
that Sinatra's version had launched a lot of these songs. He's a storyteller.
The tough-guy image disappeared when he stepped up to a microphone and sang
"In the Wee Small Hours" or "My Funny Valentine."
Q: "New York, New York"
seems an odd choice given the album's romantic bent.
A: That's a
song that I knew some people were going to say was a red herring and yet it
brings the house down every night. In the line "If I can make it there,
I'll make it anywhere" is a bit of what everyone relates to in being
successful in pursuit of their dream. But I was on the border (about including
it), not because it didn't fit the body of work, but I thought maybe if you
were in Detroit or Chicago you might not want to hear it, because your team is
going to compete with the New York Yankees. It was actually Nicollette who said
to me "Everybody wants to go to New York sooner or later; people love that
song."
Q:
Speaking of (fiancιe and Desperate Housewives star) Nicollette Sheridan,
how did you balance privacy concerns with your desire to record a duet of
"The Second Time Around" with her?
A: By not
caring too much, not overthinking it too much and by doing something that feels
organically great. We were together 14 years ago for six years and I've heard
her sing in the house, in the car, but when she would notice that I was listening
she would clam up. She's frightened to death about her own voice. ...
Nicollette would always sing in key and she has a really beautiful tone to her
voice, so I would always encourage her to sing. And of course the lyrics were
very timely for us. The song captured what we've been feeling, love really is
better further down the road.
Q: You've sold 53 million albums
and won two Grammys, do you miss being at the top of the record charts?
A: I think in
the pop culture where you matter is where you are in the papers, in magazines,
on radio and you just can't look at what the downside is as compared to what
the upside is. I was a kid who wanted to sing when I was 12, 13 years old, and
40 years later I'm selling out Royal Albert Hall.... And if this record does
two or three million worldwide it won't be (1991's) Time, Love &
Tenderness, which sold 14, 15 million, but it will allow me to do what I've
always loved: sing.
Dirrty Is As Dirrty Does
Excerpt from The Globe and Mail -
Carl Wilson
Back to Basics
Christina Aguilera
RCA/Sony BMG
(Aug. 19, 06) Over the first half of this double album, you sometimes feel
like you're in the shower with Christina Aguilera. But not the way you did when you heard Xtina's last racy record,
Dirrty. It's more like you're eavesdropping as Aguilera tests the
stall's tiled acoustics by singing along to her record collection. Aguilera
would be a particularly nice singer to hear that way. The Latina
ex-Mouseketeer's brassy yet supple voice has stood out since Genie in a
Bottle, and her wiggles and crescendos now sound more like pleasure and
less like bids for approval. The record collection is a pile of soul and jazz
sides from producers DJ Premier (of 1990s hip-hop legends Gang Starr), Kwame,
Mark Ronson and others. Premier, in particular, puts enough spin on his samples
and layers to offer Aguilera's pipes a real game, as you know if you've heard
the hit single, Ain't No Other Man. The basics of the title are meant to
be classic singers' genres gone by -- gospel, soul, jazz and blues.
Negotiations between that legacy and Aguilera's own teen-pop past produce several
robust hybrids, in not only No Other Man but the Betty Harris-quoting Understand,
the fluttery Here to Stay and Oh Mother, a moody memoir of her
family experience of domestic abuse. Elsewhere, though, Aguilera sounds as if
she's making up words and melodies as she goes -- more like notebook jottings
than finished songs, especially on jaw-droppingly indulgent tracks such as F.U.S.S.
(a poison-pen e-mail, at best, to former producer Scott Storch) and Thank
You (Dedication to Fans). The latter, as anyone approaching this album
deserves to be warned, consists largely of voice messages from devotees telling
Aguilera how cherished and life-saving she is. It's almost brazen enough to be
amusing, but there should be a memo circulated to let today's singers know that
what's funny or rousing in rap -- such as puffed-up recaps of the gossip around
your own career -- can provoke a seizure's worth of cringing when it's belted
out in song.
An exception would have to be made, though, for Still Dirrty, Aguilera's
answer song to herself, which flips a pre-emptive bird at any notion that being
happily married and done up in Vargas-pin-up hairdos must mean shutting off her
inner, lusty "freak." The argument -- "why is a woman's
sexuality/ always under so much scrutiny?" -- is a perfectly proportional
retaliation, and so is Premier's literally horny backing track. There are no
such redeeming qualities to the second disc. Aguilera's out of the water now,
and it turns out she was getting scrubbed up to do a Broadway show. Written and
produced with Linda Perry, her co-writer on the hit ballad Beautiful,
this suite of songs is supposedly a further tribute to old-school jazz and
soul, but it's a dog's breakfast that would make Elton John or Andrew Lloyd
Webber blush. If it were just the usual exercise in singing standards, it might
have been sort of pointlessly all right. As it is, despite her damnedest vocal
efforts, there's no exit from this over-rouged wreckage. Chalk it up as a
lesson learned for a newly grown young starlet. Meanwhile, the basic that
Aguilera's admirers should get back to is just to enjoy the singles as they
come -- and let the rest fade away with all decent haste, like the soapy
residue on a glass shower door.
Downtown Beach Party
Excerpt from The Toronto Star - Raju
Mudhar
(Aug. 20, 2006) For all the talk about waterfront revitalization, there is
already a place by the lake that the citizens have taken over and created into
something quite special. Down in the port lands, Cherry
Beach in summer has long been a party spot of
choice for DJs, promoters and scene-seekers looking for some serendipity in
Toronto's nightlife. During the summer, almost every Friday or Saturday
night sees various organizers lug in generators, sound systems and lights to
hold beach parties that harken back to the early days of the '90s rave scene.
Drawn by word-of-mouth and web message boards, hundreds of people have begun to
show up, struggling in the darkness to find the beats by the beach. It's
not really a secret, it's been happening for years but most people still
don't like to talk about the Cherry Beach scene for fear of jeopardizing future
events. For the most part, police at the 51 Division station that sits on
Cherry St. just up from the beach let the events happen undisturbed, provided
things don't get too out of hand. "Don't wreck the
parties," is the common sentiment of those who have been enjoying the free
outdoor fun, when asked pesky questions. While the nights are active, the
flagship event actually happens during the day. Cherry Beach Sundays are the
labour of love of David Macleod and Irving Shaw. As the braintrust for the Promise
events, the two have been throwing successful parties around town for years,
but their decision to stage Cherry Beach parties (first held as a one-off in
2002) in the light of day has shown they are a breed apart. "We love
it," says Macleod. "You don't know how many people we've met through
it, how many people email us to make sure it's still going."
"How we've always positioned it is that Cherry Beach is a gift and we've
been lucky enough to be allowed to continue to use it for such an extended
period of time," says Shaw. "Also we've really pushed over the
years to create it not as something to continue your weekend in terms of a
clubbing experience, per se but more to unwind, to hang out with your
friends. You know, bring your kids and your dogs, Frisbee, hammocks, have a
picnic and just relax." This is the fifth year for the pair's Sunday
jams. Starting at around 3 p.m. from May until Sept. 1, the guys' eclectic
programming brings in DJs and performers of all stripes to jam in the sun. Usually
a few hundred people come out; on long weekends, the event is moved to Monday
and the turnout can double. Shaw and Macleod talk about the events as a
way of giving back to the community, but it's also obvious that hosting brings
them a lot of joy. "We go through about 70 performers, DJs,
musicians and bands through the summer, so the ability it gives us to explore
different kinds of music is unbelievable," says Shaw. "It's to the
point that we can call just about anyone in the city and they'll happily do
it." Completely free, the events have a definite hippie vibe, which
comes straight from the top guys imposing very few rules other than a
"leave no trace" policy that is, clean up your mess and don't
damage anything. It is a place where you'll see young club kids and older
partygoers mingle. There are families there who have stumbled onto the event,
and older ravers who bring their kids. The tone is laidback and mellow, with
most people laying on blankets and others dancing. It's one of the closest
things this city has to Montreal's Tam Tams summer Sunday events in which
vast numbers of people spontaneously cluster to play hand drums on the eastern
slope of Mount Royal. "We're inspired by those events in Montreal,
like Tam Tam and Picnic Electronique, that are ad hoc community events, loosely
organized and mainly based on the participation and goodwill of the people that
attend," says Shaw. "Really that's what shapes Cherry Beach the
people who come." The two organizers accept donations to pay for the
generator and sound system, but the rest comes out of their pockets. While the
guys are a bit reticent to talk about the events, this season there are three
more weekends left.
Close by Cherry Beach is The Docks nightclub complex, long the focal point for noise
complaints. Last month, the Alcohol and Gaming Commission capped a 10-year
legal battle by ruling in favour of Toronto Island residents and revoking The
Docks' liquor licence. After The Docks appealed the ruling, its licence
was restored, temporarily at least, under certain conditions. While a truce
currently seems in place, Shaw and Macleod were asked by Jerry Sprackman, owner
of The Docks, to discuss the situation. According to the Promise duo, he told
them that he respected how they are responsibly handling their Cherry Beach
events, but if his liquor licence is jeopardized, he may have to cite them as
another source of the noise along the waterfront. "He basically said that
he had to protect his investment," says Shaw. "Which we understand."
After the meeting, the Promise duo detailed Sprackman's position in a message
to their huge mailing list, and offered pointers for other promoters using
Cherry Beach. Their note, written in an even-handed way and expressing sympathy
for both the Islanders and The Docks predicament, suggested sound systems
should be pointed away from the island, and people should avoid getting lippy
with police officers if they show up. "The response has been
overwhelming, although a lot of people are surprised by how articulate we
sound," says Macleod with a laugh. It's a respect-thy-neighbour
approach that many others in the city could learn from. "The fact
is, it doesn't have to be loud to be fun," Macleod says. He and Shaw
are pledging to hold Promise events on a spot inland from the beach, and to
make routine checks to make sure the sound isn't travelling across the water.
As well, they say they'll check with friends living on the islands to make sure
they aren't being disturbed. For those looking with a critical eye at Cherry
Beach, there may be violations here and there, particularly at night. Sure,
there are people being freely recreational in what they smoke or pour into
their plastic cups. Just as people are doing, less publicly perhaps, in every
other corner of the city. That said, if you want an exhibit for the
city's T.O. Live with Culture campaign, here it is at Cherry Beach living and
breathing in a part of city that most people couldn't care less about.
For those who do care, it's one of this city's best summer traditions.
A Glorious Giovanni
Excerpt from The
Toronto Star - Geoff Chapman, Special To The Star
(Aug. 21, 2006) Don Giovanni is a popular opera, one that succeeds
when the presentation takes special note of its special needs: an acute sense
of style and drama and meticulous attention to textual detail. That
was the case yesterday, when a rousing production of the Mozart creation
brought a packed house at the U of T's MacMillan Theatre to its feet and
signalled the end of the inaugural Toronto Summer Music
Festival. Heap most credit
onto Agnes Grossman, who not only conducted four Giovannis but was festival
artistic director. Her yeoman work with the National Youth Orchestra
demonstrated real harmonic awareness, unfailing taste and the ability to
inflect great colour and range into the challenging score. Moreover, she
maintained an elegant balance between the intense expressiveness of the singing
with the need to display understanding of the volatile narrative as it unfolded.
That's no mean feat, one aided by eight principal singers who
should all make significant progress in their careers and a set that made full
use of large video projections to project not only distanced backdrop but
specific instances, such as the arrival of aristocrats using coach and horses
and, of course, the stone statue of the slain Commendatore. The
ancient story is one of moral, the punishment of sin. The title character is a
restless rake bent on deflowering every female. His put-upon servant Leperello
protects him; three women he has or wishes to betray bemoan their fates and
others plot revenge. Ultimately the Don is nailed by the statue and consigned
to Hell. If the instrumental playing was of high quality, the
singing of this cast (there were two) and the chorus was exemplary. Their
acting ability, so often a letdown even on the world's top stages, was
extremely good.
Overall the women carried the day, but by the merest whisker. Best of all was
soprano Jessica Bowes as Donna Anna, the Commendatore's daughter who Dirty Don
tries to rape. Her singing was beautifully realized, shimmering and sparkling,
clear and agile and, like her two soprano colleagues Rachael Harwood-Jones as
Donna Elvira and Lisa DiMaria as Zerlina, capable of generating heartbreak. In
a way, Elvira and Zerlina are tougher roles, in that they're required to show
some ambiguity towards the Don, who married then abandoned Elvira and stole
Zerlina on the day she was to marry Massetto (baritone Matthew Cassils). They
projected substance in spades. In the title part, baritone Philip Carmichael
possessed a winning charisma, a glamour that suggested one reason why his
conquests were virtually irresistible while ripe-voiced fellow baritone Neil
Aronoff as Leporello scored well in the comedy moments of this clever libretto.
Tenor Joey Niceforo as Don Attavio was clear with a nice vibrato
but seemed emotionally undernourished. The ensemble singing,
usually a pleasure in Mozart-land, was uniformly glorious.
Juanita Bynum And Jonathan Butler Hook Up
Source: Amy Malone / GIC Public Relations / amygicpublicrelations@msn.com
(August 21, 2006): LOS ANGELES - Flow Records
and Maranatha Music
presents an extraordinary and enchanted night in Birmingham Alabama, when
Classical, Jazz, and Gospel music came together to produce a sound that was
nothing short of miraculous. Combine the pure anointed voice of gold
recording artist Juanita Bynum, and the smooth sound of Jazz great Jonathan
Butler, couple them with the 60-piece Gospel Goes
Classical Symphony Orchestra and the seventy-five voice mass choir, and you
have a live recording that transcends all musical genres - Gospel Goes
Classical, an inspirational new double CD, that debuts September 26, 2006. The
orchestra and choir were led by renowned arranger/conductor, Dr Henry Panion,
III, who has worked with legendary artists such as Stevie Wonder, Chaka Khan,
Aretha Franklin, and the Winans. This talented visionary brought together
singers from across the state to create a choir with the soulful sound of one
great gospel singer, and merged them with the full resonance of a world-class
symphony orchestra. This combination is the musical backdrop for Juanita Bynum
and Jonathan Butler's Gospel Goes Classical. Live performances include
favourites such as the new single "One Night With the King" and
"Psalm 121" performed by Bynum, and Butler's popular "Falling In
Love With Jesus" and "Don't You Worry." Both artists premiere
new songs - Juanita introducing "X" and Jonathan performing the new
single "We Need You Lord." The CD is capped off with a special duet
featuring both artists, "I Don't Mind Waiting," an affirmation of
love and trust in Jesus.
Bynum is a gifted vocalist, internationally acclaimed Bible teacher,
prophetess and psalmist. She is fuelled by a passion to fulfill God's mandate
for these turbulent times. Her thrust on character building by merging
spirituality with everyday living provokes people to pursue a life of
integrity. Wherever she goes, Bynum exhorts and encourages her listeners to
deepen their intimacy with God and arise to their divine calling and destiny.
"The evening was spectacular," said Bynum whose record company, Flow
Records is partner in the project with Maranatha! Music. "This CD will
truly usher listeners into the presence of the Lord. The fantastic orchestra
and the various cultures and backgrounds of people who participated in this
live recording truly speaks to music being universal, and I believe that this
project will transcend to all music genres and will be appreciated by all
humankind." Butler, multiple Grammy Award nominated, Gold-selling,
international recording artist, has had successes over his twenty-five year
recording career in pop, R&B, smooth jazz and adult formats. His canvass is
even more expansive than the above mentioned genres, he masterfully dips his
brush into vibrant hues of Africano, world music and gospel colorings. Butler,
is a soulfully inspired man, who sees music as his salvation and "the
purpose and tool which God has used for my life." If we must label and
define this individually gifted artist and his music, "Soul Jazz"
seems to be the most fitting. "Gospel Goes Classical was such an exciting
project to be a part of. It is more than gospel; it brings together all forms
of music and shows that you can bridge all genres. Not only is this an anointed
project but also a message that transcends age, color and background,"
said Butler. Rarely does one find a musical collaboration that works on every
level, but Gospel Goes Classical embraces the beautiful sound of the
instruments and intertwines them with harmonious vocals producing an
unforgettable evening of music, inspiration and praise.
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Musical Fusion On The Menu
Excerpt from The Toronto Star - John Terauds, Classical Music Writer
(Aug. 19, 2006) Push the guitar, violin and piano aside a bit, and make
room for the oud, guzheng and tabla. We're not
afraid to mix Japanese, Indian, Ethiopian, Vietnamese, Moroccan, Chinese,
Chilean, Persian or Mexican on the subway during morning rush hour or in a
restaurant. But we've tended to be more standoffish with music. Some
cultural boundaries in our global village have yet to come down. But that's
changing quickly. The Royal Conservatory
of Music is
expanding its World Music Centre to include traditional Chinese genres. And Western classical
music is not dominant in the coming season's OnStage concert series at the Glenn Gould Studio. Talk around the
Canadian Broadcast Centre on Front St. W. suggests that classical-music bastion
Radio Two is in for a major makeover in the next year. World music may become
part of the new programming mix. When two of this country's most
venerable cultural institutions turn to our immigrant cultures, you have to pay
attention. The estimated population of the Greater Toronto Area in 2005
was 5.8 million. More than 10 per cent of that number are people of Chinese
background, while another 10 per cent are of South Asian origin.
This is only a small selection of people who are not of European descent. And
their music is becoming as much a part of our city as indie bands at Lee's
Palace or classical recitals at the Jane Mallett Theatre. Harbourfront
Centre, the city's largest programmer of world music, had 5 million visitors
last year, according to spokesperson Bill Bobek. The Masala! Mehndi! Masti!
festival of Indian culture, held at the end of July, outgrew its Harbourfront
home and relocated to Exhibition Place this year. Even the out-there,
two-day Beats, Breaks & Culture festival, which mixes world music with hip
hop and electronica, has grown attendance from 80,000 in 2004 to 95,000, says
Bobek. Lula Lounge, in an otherwise lonely strip on Dundas St. W., has
become a magnet for the city's growing Latin American music scene. "It has
that kind of cachet now that special things happen there," says musician
and producer Jowi Taylor. Afrofest gets bigger each year. And Caribana is
one of the continent's major tourist draws. There are two different
audiences for world music, explains Alan Davis, a producer and promoter of
global sounds through his Small World Music organization. One is each ethnic
community. The other is made up of Toronto's eclectic world-music fans, who
like to mix styles and ethnicities. "Blending audiences is something
we strive to do," says Davis, whose next Small World Music Festival in
late September will include performers from Egypt, India and Spain. Davis
thinks that it's the right time to start breaking down ethnic barriers for
good. He is frustrated that smaller communities, like ex-Iranians, still enjoy
their music in isolation. He says that concerts of Persian classical music
typically are heard by an audience that is "85 per cent Iranian."
"I may be dreaming larger, but I want to see those communities exploring
other stuff," says Davis. "Wouldn't it be great if we could get all
these communities speaking to each other?" You can witness a
pan-Latin version of this at Lula Lounge, thanks in part to concert promoter
Billy Bryans. A celebration there tomorrow night is a perfect example.
Bryans' old band, Parachute Club, will share the Lula stage with Madagascar
Slim, Samba Squad and seven other performers or bands in a riot of Latin-centric
beats and melodies. It's all in celebration of Bryans, who is recovering from
lung-cancer surgery. Bryans is thrilled at Lula Lounge's diversity.
Describing one night there not long ago, Bryans says, "There were 250
non-Latino people dancing to a Cuban band." Jeff Melanson, the dean
of the Royal Conservatory's Community School, and main advocate of the World
Music Centre, sees the future in crossovers. The charismatic
singer-turned-arts administrator is boldly tying in the conservatory's 120 years
of Western tradition with the musical realities of a multi-ethnic city. He
hopes that one day, his institution will be at the forefront of creating a new
musical fusion that will incorporate elements from all Toronto cultures.
It might also do wonders for music education, given that the Community School
has 230 faculty and about 6,000 students. Melanson tells of an experiment
where a group of teens were offered workshops in Western classical music
theory, drumming and turntabling. "In the first (workshop), the
teens couldn't wait to get out. In the other two, the teens didn't want to
leave." He laughs, saying that from an educator's point of view,
"each is rhythmic analysis, but using completely different
means." People considering taking Conservatory-approved lessons can
now choose from a wide range of styles, from traditional Western classical to
Latin jazz, Taiko drumming, traditional Chinese music and turntabling.
And you don't need any prior background in a particular style to get started,
which is less intimidating for people who are simply curious about alternative
performance styles. Matthew Baird, the senior producer for CBC Radio
Two's OnStage series, says that Toronto's "population makeup and cultural
diversity have certainly made huge inroads" in the world music area.
Baird says that another reason for the CBC to pay attention is that "many
communities are marginalized by Top 40 radio." As for traditional
Radio Two listeners, Baird thinks they will "find interesting and diverse
things" in the corporation's new programming. Alan Davis is
determined to witness a Toronto musical fusion: "It's going to have to
happen over the next 20 years if this society is going to get over its myopic
multiculturalism." What he means, of course, is breaking down
barriers between communities. You can't argue with that.
EUR New Artist Spotlight: Seven
Source: E360Live.com
(August 17, 2006) *After years of gansta rap and
commercial hip-hop; it
seems like hip-hop is finally returning to its roots --the days of MC battles,
B-Boys, Graff Artists, scratching, block parties and mental gymnastics.
Over the last few days, the Who's Who of the Underground Hip-Hop
world, gathered at the legendary Hip-Hop Music Festival - Scribble Jam in
Cincinnati, Ohio to celebrate the essence of true Hip-Hop culture.
Scribble Jam, now in it's 11th year is America's largest Hip-Hop
festival, and has become an annual tradition for Hip-Hop enthusiasts from all
parts of the US, forging all the skills of hip-hop and the urban culture
together under one roof. Past Scribble Jam participants and attendees
include Eminem and a host of other underground greats. Among Scribble Jam
2006's headliners were Big Daddy Kane, SEVEN, Juggaknots, Brother Ali, and Mr. Dibbs. Stealing the show this
year; was SEVEN, the newcomer, whose debut album Dirt 2 Diamonds, is to be
released on Mercy Soldier Recordings in September 2006. Seven performed his hit
tracks 'Hip Hop', 'Dirt 2 Diamonds', 'Doesha', 'Fat Laces' all from his debut
album. As South Florida's very own hip-hop maestro, New York native Seven
walks the walk and talks the talk on his exceptional debut album, Dirt 2
Diamonds. Upheld by his already stellar local reputation, the microphone
prophet born T. Haimes delivers his keen life observations on the title track,
gets nostalgic on 'Fat Laces,' the buoyant, upbeat ode to old school, and bumps
with 'Club,' a celebratory look at nightlife.
Yet as much as he portrays strength and vision, Seven has endured his share of
hardship, including the 2004 shooting death of his older brother. The very same
sibling, who as a young teen, encouraged him to pursue music. 'He heard me
rapping,' Seven remembers, 'And he gave me the confidence that I could do this.
Losing him so tragically has been hard, but he will always be in my heart.'
Persistent and sturdy from front to back, Seven's spitfire rhymes coupled
with a diverse stylistic approach has helped him become a sensation on Sunshine
State stages and local radio. Fuelled by the desire to elevate himself and
uplift the genre, the deserving artist on the verge of success is definitely
one to watch for. As Seven puts it, 'My name, which is Society's Evolutionized
Vision for Eternal Nation (S.E.V.E.N) is way more than just lucky number seven.
People may see me as a certain kind of artist, but there is always a message in
my music, and it's more than likely that I'll project positive stuff.' Listen
at www.theofficial7.com
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80 Years Of Tony Bennett
Excerpt from www.billboard.com -
Tamara Conniff
(August 4, 2006) Tony Bennett is a rebel -- he has walked away from
recording contracts to keep his integrity and won't sing a song he does not
believe in. He adheres to the philosophy of art for art's sake -- whether he's
recording an album or painting a portrait. "You have to be
different," Bennett says. "If you do what everyone else is doing,
you're just one of the crowd." This year, Bennett marks several
milestones. On Aug. 3, he turned 80. On Sept. 26, his own RPM Records and
Columbia Records will release "Tony Bennett: Duets/An American
Classic," which pairs the singer with an all-star artist roster for live
duets of his best-loved songs. And in December, Bennett will be presented
with the Century Award, Billboard's highest honor for creative achievement,
during the Billboard Music Awards in Las Vegas. Happy 80th birthday, Tony!
What does it mean to be honored with the Billboard Century Award?
It means everything. Billboard is the bible of the music business. I'm going to
be 80 years old and to still have people interested in me is fantastic. My 80th
feels like a big payoff to me. It's really the best year I've ever had in show
business. It's been a yearlong celebration.
Your career spans more than five decades. Does your success still shock you?
I've been very fortunate. I've always had sold-out [shows and albums]
throughout my life. The public has been great to me. It was because of the
thrust from Billboard magazine originally. Billboard always had me on the
charts. It really institutionalized me when I was very young, in the '50s and
right into the early '60s. That was enough of a thrust that everyone in America
got to know me.
I was the first to kick off "The Merv Griffin Show," "The Steve
Allen Show" and Johnny Carson. And Rosemary Clooney and I would always be
invited to "The Ed Sullivan Show" to get them the ratings. We were
the first American Idols. Then Michael Jackson came along, and they gave it
over to him.
What did it mean to you to record with these younger artists?
Years ago, the artists that were 10 years my elder were masters like [Frank]
Sinatra, Dean Martin, Nat "King" Cole, Ella Fitzgerald, Louis
Armstrong and Count Basie. That's what I grew up on. So these artists for the
duets album were all new to me. Now all of a sudden, they are telling me I'm
the master. I couldn't believe it.
Did you leave Columbia Records in 1972 because you did not want to follow
its pop formula?
Columbia was owned by CBS, and they had to bring the level of popular music down
so it would sell immediately. I understood it. They needed to pay their
employees every week and wanted records that sold right away.
But I had a different training. In the American Theatre Wing, they insisted on
no compromise. When you go out into the world, you find out everyone is going
to tell you, "You have to do this, or we can't book you." You just
have to hold out and go for the best level you can go.
Mitch Miller [then head of A&R at Columbia] actually understood where I was
coming from even though he was frustrated with me. I try to just never
compromise. Not to be stubborn, but I don't like to insult the audience. I
don't look down at the audience, I never do. I don't have a philosophy that
says, "Well, I'm more intelligent than they are because I'm on the stage
and they aren't."
People that think that way in the business are very strange to me. I'm not that
greedy. I don't ever want to insult an audience. A mass audience is very
intelligent. They are geniuses about whether something is good or not. They
will let you know right away. That's been my education. Being in front of
audiences teaches you just what to leave out and what to put in a show.
What did you do when you left Columbia?
I went to England. The reputation was that my career dropped when I went there.
But I went to paradise. I went to England and studied with Robert Farnon, who
Sinatra called "the governor of all orchestrators." I went to
paradise. The records didn't sell, but they'll last forever.
How did Bob Hope give you your stage name?
I was working at the Greenwich Village Inn. Pearl [Bailey] heard me rehearsing.
She went to the boss and said, "If this boy isn't in my show, I'm not
singing here next week." She put me on the show.
Bob Hope was at the Paramount Theater with Jane Russell and Les Brown's band.
He came down to see Pearly May, and he got a big kick out of me because I was
the only white kid in the show. He said, "Come over here, son. What's your
name?" I had a name that I thought would be catchy, and I said, "Joe
Bari."
Bob said, "That's a city in Italy! What's your real name?" I told him
Anthony Dominick Benedetto. He said, "That's going to be too long for the
marquee. We'll call you Tony Bennett." He gave me my name. I was about 26
years old. He had no idea there'd be a singer one day called Engelbert
Humperdinck.
Bob took me on the road and was wonderful to me. I went all over the country.
He taught me how to perform for an audience. When I got back, Mitch Miller
heard that Bob Hope had taken me on the road, and he signed me and Rosey
Clooney to Columbia.
What was it like to be in New York at the birth of bebop?
That was the greatest. I didn't know who Charlie Parker was, and I went into
Birdland with a friend of mine and we had front-row seats. Charlie Parker
performed, and it was so percussive and something so different from anything
I'd ever heard that I actually got up and ran out of the club and regurgitated
in the street, I was so moved. I didn't know who he was. I'd never heard
anything like it.
How did you find your vocal sound?
My vocal teacher Mimi Spear was on 52nd Street in New York City. Across the
street from her brownstone, we could see marquee signs that read "Count
Basie," "Art Tatum," "George Shearing" and "Stan
Getz." They were all on that street.
She said, "Tony, go down there and listen to all the musicians and find
out who you like and imitate them. Don't imitate singers, because if you do,
you'll just be one of the chorus." That's how I got my own style.
Fifty-second Street was the best. At 3 a.m., the clubs would close, and it
would be Billy Jo Jones, Miles Davis, [John] Coltrane, and I would sit there
and listen to them until 12 in the afternoon. The clubs were dark, no lights.
I'd walk out and be blinded by the sun and sleep in the afternoon. That
happened day after day after day. It was the greatest. They don't do that now.
You were the first white singer to perform with Count Basie. What was that
like?
It changed my career even though people didn't like it. He always had the right
tempo.
Did you encounter a lot of racism?
There was a lot of it. It's still not right, even now. Look at [Hurricane]
Katrina and the United States, with the money and power that we have in our
great country. I have traveled around the world to Asia and Europe. They show
you what they have contributed to the world. The British show you theater, the
Italians show you music and art, the French show you cooking and painting, and
the Germans show you science. The only thing that the United States, which is still
a young country, has contributed culturally to the world is jazz-elongated
improvisation. It's tragic.
Fifty years from now people will be bowing to Dizzy Gillespie and Charlie
Parker, just like the impressionist painters like Monet, who were starving in
their day. The Americans don't even know what they have come up with.
How did the advent of rock'n'roll affect your career?
I learned a lot, and it's different than what anybody is doing today, even now.
I went to the Paramount Theater with Louis Prima. We had to do seven shows a
day -- start at 10 a.m. and go until 10 p.m. Sinatra did the same. It was
tough. Bob Whitman and Nat Shapiro, who were the managers of the Paramount in
those days, gave us advice and said, "Never do anything but good songs. Don't
ever sing a bad song, ever."
Plus, my mother used to be a seamstress and raised three children by herself
when my father died. She used to get a penny a dress, this was during the
Depression. Every once in a while, she'd take a dress and throw it over her
shoulder and say, "Don't have me work on a bad dress. I'll work on a good
dress. I won't work on a bad dress."
There are small stories, but looking back they really molded how I think. If
you do good songs, the young people will like it, and their parents will like
it. I always tried to do good songs. So when the whole rock'n'roll change came
in with the marketing of Elvis Presley, the Beatles and the Rolling Stones, I
kept doing good songs. So I went right through.
I just kept working. I wasn't playing stadiums, but I'm not interested in that.
I like a nice acoustical [setting] where the whole family can come and hear me.
My ambition was never to go to No. 1, over the top, bigger than anybody. To me
there's God, and then there's the rest of us.
If I'm sold out, and people want to come back 11 months later and see me again,
I'm successful. I like show business. I don't even question it. My hero is
Louis Armstrong, because the audience was it for him. He knocked them right
out. He went for the jugular vein when it came to the audience.
Why didn't you choose between painting and music?
I've always had to do both. The late Joe Williams, the famous jazz singer, met
me on a plane once, and he said, "The thing about you, Tony, is not that
you want to sing-you have to sing." It was very accurate. It saved me a
lot of money. I didn't have to go to a psychiatrist and try to figure it out. I
still have the commitment and craving to sing and paint every day and stay in
shape. I'm always learning. You never stop learning. I really enjoy my life,
because I'm doing the two things I love to do. I don't feel like I worked a day
in my life. I can't wait to get to the stage and hit the painting.
Do you have any regrets?
My greatest teachers are the mistakes I made. I made many, many mistakes.
Kleopatra Girl's Ringside Report
Excerpt from www.eurweb.com -
(August 22, 2006) Alrighty
then! Theres a new showcase that features up
and comers that is off the hizz. Truly, this new passionate, fiery and
super talented line-up makes American Idol look like the Ted Mack Hour (for
those wet behind the ears, thats good research info). Primarily, Next Shinning Stars Showcase presents
an R&B music offering. So if you love hip-hop and rap, this is not the
deal. Although, the calibre of the singers was beyond measure and everyone I
saw exuded a I'm ready to be signed attitude, with talent to match. The show
opened with encouraging props from Comedian Chris Spencer who passed the mike
to the evenings co-hosts T-Rex and Coffee (a superlucious cafι-mocha model with a long, long ponytail
dressed in a fiery skin fitting red dress). On Wednesday, August
16, the Henry Fonda Box Theatre on Hollywood Blvd. was transformed into a
cabaret style setting and those in attendance were given ballots. The
performances were so sensational, I dont think anyone had time to write.
People were dancing and singing along with the artists and showing their love
with mega applause and shout outs. By the end of the evening it appeared
to me that the audiences ballots had been set aside, and voting took place
with their cheers like Showtime at The Apollo. Next Shinning Stars Showcase is
an ongoing competition that will hit many cities in the US. Chicago and Miami
are on the list with the finalists receiving their awards and monetary prize at
the national competition in Miami. Who are the next shinning stars? Remember
these names, Khaliyah Williams, Bryan Sledge, Rachel Assil, Velvin Lamont,
Carmel Exhols, Vincent Walker, Sharon Youngblood, Johnny Paddio. Every
showcase has its standout and in my opinion Velvin Lamont was it. He was dressed
super clean all in white: white hat, necklace, suit. He was untouchable and
sang his heart out. I was screaming my lungs off for this act. The winner
for the night was Ms. Sharon Youngblood who reminded me of a young Jennifer
Holliday and sang like her too.
The judges panel included veteran Music Producer Kashif. I asked him
what advice he could offer these young people, some dos and donts of the biz.
"The first thing is dont take these opportunities for
granted," he responded. "Just because you're talented doesnt mean
you're going to be discovered, so you have to be pro-active. (So be) on top of
your game. When the brother came out with the nice white suit, he was at the
top of the game. I also asked him the importance of major names
supporting these young artists. I think its important for celebrities
to come out so new talent can interface with them to give them some level of
excitement and encouragement through all the ups and downs," Kashif said.
Other celebrities in the house included singer, Remone Redmond who says, The
industry is tricky, timing is everything you never know when someone is going
to call you for an interview so be prepared. Billy Moss from BMA was on the
distinguished judges panel. The producer of the event was spear headed by Don
Russell from Chicago, who describes himself as a frustrated musician.
Russell is committed to helping young people put together a full package from
showcase to signing at a major music label. He is offering a top monetary
prize of $50,000.00. I have to say Don was a gracious host and made sure
everyone in the media had something to eat and drink. Faith Evans
and Jamie Foxx were scheduled to attend. And in what has become typical
Hollywood fashion, they were no shows and you know what, they missed out!
It was an awesome showcase. For more info log on to www.thenextshingstars.com.
Eugenia Wright is a former actress turned freelance writer/publicist.
You may write to her at kleopatragirl117@hotmail.com
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Kierra Kiki Sheard Shares
Excerpt from www.eurweb.com - By Kenya M.
Yarbrough
(August 23, 2006) *Born in Detroit out of legendary gospel lineage, Kierra Kiki
Sheard released her debut follow-up, This Is Me,
to a legion of gospel, hip-hop, and neo-soul fans. The
granddaughter of gospel trailblazer Dr. Mattie Moss Clark and the daughter of
Rev. J. Drew Sheard and popular gospel star Karen Clark-Sheard, Kierra has
forged her own way in the gospel genre, appealing to young listeners with her
contemporary sound. With her sophomore outing, Sheard has morphed into an
even more mature young adult. The aptly titled, This Is Me shows her growth
as a person and as an artist, as she participated in penning a number of the
tracks eight to be exact and selecting producers such as Darkchilds Fred
Jerkins and her brother J. Drew, and therefore defining the album. This record
is more personal and its more of [my] writing than being behind the scenes,
she explained. A lot of my fans listening will be able to have more of a
personal relationship and somewhat get to know me through this record because
Im just much more involved. Its me talking about my testimony and experiences
throughout this album. It has a different sound, too. It shows the type of
music that I listen to. Sheard described the disc as chronicling her
growth spurt, as she puts it. [Its just me just growing into a young
adult and me developing spiritually and naturally. We all go through certain
struggles and the Lord bringing us out of certain situations we got ourselves
into. Its pretty much just talking about basically my growth; finding out who
my friends really are and having to get out of some relationships. It pretty
much talks about things the Lord has brought me out of and brought favour on my
life. She continues that being an 19-year-old and a third-generation
gospel star has its difficulties; particularly as a teenager in the music
industry and a minister of sorts at the same time. But Sheard says that these
temptations and conflicts are just a test.
As far as any individual goes, theres always some temptation there. Im just
growing and when you go through any growth spurt, you gotta realize who you
need to be around, you gotta change your environment there are a lot of
changes that take place. As far as singing [about the word] you could consider
me a minister ... Being a minister, it can certainly be a test also. It can be
a little difficult. In addition to those difficulties, Sheard shared
with EURs Lee Bailey that she faces some discontent in the gospel community
with her music. A lot of people may talk me down or may disagree with
things I may say or how I present myself on stage, but I just have to deal with
it. I cant confront everybody, so I just go on. But a lot of people support me
and believe in me and believe in what Im trying to do. When you have people
constantly bringing you down, it can be hard. Ive prayed and asked the Lord to
give me the strength. People have to accept me for me, cause this is just me.
Just like the album title says: This Is Me. Nonetheless, Sheard submits
that her music is gospel music, even if it has an infectious bass line and a
few lines of rap. It definitely is gospel music, she said. Its
basically for the young people. I wanted to reach out to young Americans
because I think we all have potential and visions, but it has to be brought out
of us. My music is for the real folk. It has a contemporary sound, but it still
has that gospel message; it still has the Word in it; it has scriptures in it.
But can you dance to it? Sheard is a little on the fence about grooving
to her disc. While the disc is described as hip modern gospel with
up-to-the-minute R&B and hip-hop language the young artist does not
really want to encourage massive club play.
I dont want people to be distracted and feel like they can just dance and
just get their groove on, she explained. Thats not what it is as a gospel
song. Its supposed to minister the truth; its supposed to help lost souls.
You need to listen to this word because its helping you get closer to Christ.
I mean you can groove a little bit and throw your hands up, as long as it
doesnt get out of control. Not surprising, Sheards disc player is
filled with a number of contemporary and traditional artists. The singer says
she likes secular artists like Lauryn Hill, Sade, and Mary J. Blige. What might
be surprising is that she also spins the sounds of rappers T.I. and 50 Cent.
I appreciate what every artist does, she said considering some of her
hip-hop tastes. Every artist has their own uniqueness, but I know that with me
being a minister, I have to limit what I listen to, so that I can have the
authority to defeat the enemy when I need to. When asked if she had set this
path in gospel music for herself or if it had been laid out by her famous
family, Sheard explained that it was her every intention to be a gospel singer
and spread the Word through music. My parents didnt make me do
this. It was my plan to follow in their footsteps, but I wanted to do something
a little different. They made their legacy; they reached out to a lot of
people. I want to reach out to a lot of people, too. This Is Me is in
stores now, with a special edition available at Wal-Mart. For more on Kierra
Kiki Sheard, check out her website at www.kierrakikisheard.com or
http://www.myspace.com/kierrakikisheard.
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MUSIC TIDBITS
Patti Labelle - The First Collection To Span Her Entire Five
Decade Career!
Source: Universal Music
Patti LaBelle
is the shining brass cannon of the soulful divas. For over
four decades, she has been a recording artist unparalleled. More importantly
she has been a beacon of fortitude and a ball of flashy fire for a legion of
fans that like their music unbridled and electrifying! When youve been blessed
with a voice that commands ovations, awe and respect, not to mention a stage
presence that flat out floors folks, you accept with those gifts enormous
responsibility. Patti LaBelle has met and exceeded expectations,
particularly in her choices of songs. This collection culls some of her finest,
a catalogue of classics spanning from 1963-2004, that soothe, inspire and fill
your heart with joy. It includes hits with the Bluebelles, LaBelle and Pattis
solo years, features guest performers like Grover Washington Jr., and Michael
McDonald, and also includes tracks produced by Jimmy Jam
& Terry Lewis, Burt Bacharach & Carole Bayer Sager and Prince!
Tony Bennett To Appear On Canadian Idol
Excerpt from The Globe and Mail -
Brad Wheeler
(Aug. 23, 2006) Toronto -- Three Canadian Idol finalists will be over
the
moon when legendary crooner Tony Bennett appears with them on episodes of CTV's twice-weekly
star-searching series, to air Sept. 4 and 5. After next week's audience
vote-off, the trio of Idol hopefuls will fly to New York for rehearsals
and mentorship with Bennett, a Grammy-winning interpretive singer famous for
hits such as I Left My Heart in San Francisco and Fly Me to the Moon.
During his own concerts, Bennett, 80, is known to perform a single song without
benefit of amplification or microphone, demonstrating to younger audience
members the lost art of vocal projection.
Jazz Series Changes Name, Venue
Excerpt from The Toronto Star - Ashante
Infantry, Entertainment Reporter
(Aug. 17, 2006) It has a new name and location, but plenty of familiar
faces
are on tap for Canada's longest-running jazz concert series. Tickets
($25-$30) go on sale today for JAZZFM91's Sound of
Jazz program that kicks off Sept. 18 at
Harbourfront with saxophonist Jim John's Swing Shift big band. Organizers
have dropped "Toronto" from the moniker of the annual Monday night
shows that run through March to signify "that it is truly an international
phenomenon," said Ross Porter, the station's president and CEO.
Plus, "there are so many musicians living here that come from other parts
of Canada, (the name) is a reflection of that." None of this year's
concerts will be held at the Ontario Science Centre, which was the event's
headquarters for its first 30 years. The 11 shows will be split between the Old
Mill Inn and the Harbourfront Centre Theatre, which is being utilized for the
first time. It began in 1976 as eight live concerts broadcast from the Science
Centre on CJRT-FM, Ryerson's radio station and the forerunner of Toronto's only
24-hour jazz station. Sound of Jazz Series, a compilation of 20
performances from the event's first three decades, is now available in record
stores. The two-disc retrospective demonstrates the various styles and formats
the popular program offers: big band, vocalists, ensembles. Though
continually drawing from the talent pool of local performers, such as trumpeter
Guido Basso, pianist Bernie Senensky and multi-instrumentalist Don Thompson,
organizers build the shows around listener-friendly themes. The 2006-07 bill
includes tributes to Oscar Peterson, Chet Baker, Louis Armstrong and Ella
Fitzgerald, plus showcases for flute, organ, trios and Jazz on Broadway.
For full schedule and tickets, visit http://www.jazz.fm or call 416-595-0404.
Kelis Disappointed With Handling Of Album
Excerpt from www.eurweb.com
(August 21, 2006) *Eclectic R&B artist Kelis is upset with her record label
Jive for including the track F*** them B*tches on her upcoming album against
her wishes. "I just did [the song] to get it out of my system,"
the singer explains to the New York Daily News. "I did not want it on the
album. It's just not a statement I want to make right now." The
26-year-old Harlem chanteuse and wife of rapper Nas feels Jive is treating her
like a naοve newcomer by going against her creative decisions. "My label
is constantly trying to take control of me," she says. "I'm not a new
artist. I've been working hard to create my persona and have longevity and they
went against my wishes." A born again Christian, Kelis says many folks are
misunderstanding the message behind Bossy, the first single from the new
album Kelis Was Here, due Aug. 29. "A lot of people think being
bossy means bossing somebody around," she says. "But it's about being
in control in your life. I'm fighting to be my own woman." The
statement is underscored by Kelis decision to sever ties with former producers
The Neptunes, which produced her biggest hit Milkshake. In her decision to
avoid them for her new album in favour of such beatmakers as Scott Storch,
will.i.am, Raphael Saadiq and Linda Perry, Kelis said she no longer wanted to
be perceived as the Neptunes puppet. The singer, born Kelis Rogers, says
her album title is about leaving a mark; it's about letting people know
someone was here before you."
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Mack 10 Grabs Record Label Job
Excerpt from www.eurweb.com
(August 17, 2006) *West coast rapper Mack 10 has taken a position on
the
staff of Melee Recordings as an A&R scout for new talent. Melee is
run by industry vet Bryan Turner, who founded Mack 10s former label home,
Priority Records. Under Mack 10s new title, the rapper will also look for
talent to join his own Melee-distributed Hoo Bangin Records imprint.
"I'm very excited to join forces with Bryan once again, this time as an
executive," Mack 10 said. "We both have years of experience in this
music game. The streets of L.A. are full of talent ready to explode, and the
West is ready to come back hard. Hoo Bangin' and Melee will be the perfect
structure to put the Left Coast back on the map in a major way.
Turner, whose era at Priority saw the rise of signed artist Ice Cube and
label moguls Eazy-E, N.W.A., and Master P, says Mack 10s mind for business was
evident during his days as an artist on the rap label. He'll be a great
executive and I will completely support his efforts, Turner said.
Soul Man Sam Moore
Source: Paula Witt / pwitt@shorefire.com
(August 18, 2006) Sam
Moore of the classic soulful duo, Sam &
Dave,
has a new CD out. The first single from the album - 'Sam
Moore: Overnight Sensational' - features Sam, Wynonna, BeBe Winans and
Bekka Bramlett doing the Ann Peebles classic "I Can't Stand the
Rain." It impacted radio on Monday, August 14. The song,
originally a hit for it's co-writer Ann Peebles, in 1974 and has also been
successfully covered by Tina Turner and sampled by Missy Elliott. Moore's
version features country superstar Wynonna, and a collaborative ensemble that
also includes Bekka Bramlett and BeBe Winans's special inspirational vocal
touches and the genius of Billy Preston who tied it all together on the Hammond
B3 organ, which was sadly to be his final recorded performance.
"Everyone put such passion into the recording of this track, I'm
moved and proud of how it turned out and thrilled it's the first single for the
album," Sam Moore said of the track. Check out the video
featuring Sam in the studio with Randy Jackson and hear what music superstars
like Sting & Jon Bon Jovi have to say about Sam Moore. The 12 tracks on
'Sam Moore: Overnight Sensational,' which will be released nationally on August
29 to traditional retailers, online outlets and all Starbucks Company-operated
locations features the one and only soul man's amazing performances of
exceptionally diverse material in collaboration with 20 of his musical
superstar friends and fans including Jon Bon Jovi, Bekka Bramlett, Mariah Carey,
Eric Clapton, Nikka Costa, Sheila E., Fantasia, Billy F. Gibbons, Vince Gill,
Van Hunt, Billy Preston, Robert Randolph, Paul Rodgers, Bruce Springsteen,
Sting, Travis Tritt, BeBe Winans, Steve Winwood, Wynonna, and Zucchero. http://www.shorefire.com/artists/smoore
- http://www.rhino.com
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Trina Says See Ya To Atlantic Records
Excerpt from www.eurweb.com
(August 21, 2006) *Rap diva Trina has ended her professional
relationship with Atlantic Records and is currently seeking a new label
home. According to Ted Lucas, owner of Trinas label Slip-N-Slide
Records, the self-proclaimed baddest b**ch needs a company that can take the
MC to the next level. We decided to look for another label that will be able
to promote Trina more effectively, and turn her into an even larger selling
artist, Lucas told AllHipHop.com, adding that the "departure was
amicable." Trina, born Katrina Taylor, is said to be working on a new
album called Rock Starr that will drop in 2007. She is in the
recording studio now, and we hope that her fans will be patient until her new
material is ready, Lucas said.
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Tanya Stephens' Rebelution
Excerpt from www.eurweb.com -
(August 17, 2006) Tanya
Stephens Rebelution album to be released
on VP Records on August 29 If the preview of whats coming out on Tanya
Stephens VP Records album Rebelution is anything to go by then dancehall
lovers can gear up for another hit from the sassy singer/deejay. These Streets
a single released off the album is now kicking up steam on local and overseas
reggae charts. The single is an airy acoustic guitar track where Tanya pleads
with her thug-love to realize that these streets dont love you like I
do. Rebelution is due out on August 29. The video for
These Streets was shot in Miami and Jamaica under the direction of Dale
Restighini who brings a wealth of experience having directed the video for
Camrons Touch It Or Not, Juelz Santanas Clockwork and Sizzlas Ultimate
Hustler. Tanyas last album Gangsta Blues yielded a string
of hits including The Other Cheek, Little White Lie, What a Day and the tear
jerker Its a Pity.
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I Can Play Piano
Excerpt from The Toronto Star
(Aug. 20, 2006) To them it's a video game, but to you it's an
inexpensive piano teacher. As its name suggests, I Can Play Piano is an electronic toy
that teaches children how to tinkle the ivories (er, in this case, plastic)
through a handful of interactive lessons, games and jam sessions with a virtual
band. While the three-octave piano can be played on its own with its
built-in speakers, most kids will plug it into a television (RCA cables
included) to see and hear their performance on TV. For example, in "Old
MacDonald" one of the eight songs included on the bundled cartridge a
drawing of a farm serves as the background, while multi-coloured eggs float
towards a coloured keyboard at the top of the screen; players must press the
corresponding colour-coded key on the piano at the correct time in order to
rack up points. Children can also tweak the difficulty as they improve by
selecting to play the right or left hand (or both), increase the tempo or pick
a different on-screen view of the song that makes it harder to follow
along. Each of the additional cartridges (sold separately for roughly $20
each) includes eight new songs, two musical games and a freestyle mode that lets
kids to create musical melodies. Downside: You can't save your
performances.
Fergie's 'Bridge' Earns Second Week At No.
1
Excerpt from www.billboard.com -
Clover Hope, N.Y.
(August 17, 2006) Fergie's "London
Bridge" holds atop the Billboard
Hot 100 for a second week and also leads the Hot Digital Songs chart for the
same time span. The Hot 100's No. 2-5 slots see no movement, occupied
respectively by Gnarls Barkley's "Crazy," Nelly Furtado's
"Promiscuous," Cassie's "Me & U" and the Pussycat
Dolls' "Buttons" featuring Snoop Dogg. Elsewhere on the chart,
Sean Paul's "(When You Gonna) Give It Up to Me" featuring Keyshia Cole
jumps 7-6 and is the greatest sales gainer. Panic! At The Disco's "I Write
Sins Not Tragedies" climbs 10-7, Christina Aguilera's "Ain't No Other
Man" warms the No. 8 spot and Ne-Yo's "Sexy Love" ascends
14-9. Young Dro's "Shoulder Lean" featuring T.I. rises 12-10 to
round out the Hot 100 top tier and also leads the Hot R&B/Hip-Hop Songs
chart for a third week. Justin Timberlake's "SexyBack" is the
Hot 100's greatest airplay gainer, rising 52-35, while the top debut belongs to
the Killers' "When You Were Young" at No. 29. Also new are
Heartland's "I Loved Her First" (No. 75), Chris Brown's "Say
Goodbye" (No. 79), Omarion's "Entourage" (No. 85), Dierks
Bentley's "Every Mile A Memory" (No. 95), Ludacris' "Money
Maker" featuring Pharrell (No. 96) and Frankie J's "That Girl"
featuring Mannie Fresh & Chamillionaire (No. 100).
Willie Nelson Teams With Ryan Adams For New CD
Excerpt from www.billboard.com -
Jonathan Cohen, N.Y.
(August 16, 2006) Seventy-three-year-old music icon Willie
Nelson
collaborates with 31-year-old singer/songwriter Ryan Adams on his new album,
"Songbird." Due Oct. 31 via Lost Highway, the 11-track set was
produced by Adams, whose band the Cardinals back Nelson throughout. Veteran
harmonica player Mickey Raphael also appears. The track list features
covers of Gram Parson's "$1000 Wedding," Christine McVie's
"Songbird," the Jerry Garcia/Robert Hunter favorite "Stella
Blue" and Leonard Cohen's "Hallelujah." In addition,
Nelson reworks his own "Rainy Day Blues" (which opens the album),
"Sad Songs & Waltzes" and "We Don't Run," as well as
tackling the traditional "Amazing Grace." Nelson is in
the midst of a tour with John Fogerty and also has headlining dates on tap
through a Sept. 15 appearance at the Austin City Limits festival. On Sept. 30
in Camden, N.J., he will join Neil Young, John Mellencamp and Dave Matthews and
Jerry Lee Lewis for Farm Aid in Camden, N.J.
Dallas Austin Talks About Dubai Debacle
Excerpt from www.eurweb.com
(August 22, 2006) *EUR caught up with super producer Dallas Austin at
last Thursday nights big 25th anniversary party for Radio One in Washington
D.C. and wasted no time trying to get him to speak on his drug bust in
Dubai. It was blown way more out of proportion than what it really was,
Austin said of the ordeal, which saw him detained in a Dubai jail after
pleading guilty to possessing 1.26 grams of cocaine in July. I wasnt in
prison, it was nothing like that, he clarifies, adding that the facility where
he was kept had plasma TVs and other creature comforts. Knowing that I was
gonna leave this place, I had one of the best experiences I could ever have.
Austin said he never once thought that his incarceration would be permanent,
despite reports that his offence carried a life sentence, and in some cases, an
execution. I appreciate everybodys prayers and everything, but it was no
where near what got out in the press, he told Bailey. It got turned into a
big issue just from hearsay. Austin said he was worried about what all these
so-called false press accounts were doing to his worried mama back home in the
States. I left a message for her that said, Dont listen to the press.
Youre gonna start hearing stuff, thats not what happened, he
said. Well what did happen? Bailey asked, as his handler tried to
pull him away and into the party. Ill talk to you about that one a little
later, he yelled back. That takes a longer time, but I will talk to you about
it. According to reports, Austin was arrested May 19 at Dubai's airport while
en route to a birthday bash for supermodel Naomi Campbell. He told a judge that
he unintentionally broke the law by bringing cocaine into the country.
Beyonce Prefers Her Curves
Excerpt from www.eurweb.com
(August 22, 2006) *During her BDay promo
swing through the U.K.,
Beyonce stopped at Britains
GMTV morning show Thursday and got into a discussion about the liquid diet she
used to drop pounds quickly for her upcoming film, Dreamgirls.
The 24-year-old admitted that its a dangerous way to go about losing weight,
and would not suggest that folks try it at home. "I would not
recommend it if someone wasn't doing a movie, because there are other ways to
lose weight, she said. But I needed to lose it really quick, and I put the
weight back on as soon as I finished, so I am no smaller or bigger than I've
always been. It was strictly for the movie." Beyonce
said even she was amazed at how great her body looked in Dreamgirls, an
adaptation of the Broadway musical due in theatres in December. Beyonce
portrays the svelte lead singer of a girl group who rises to fame, but not
without internal conflict. "It's great because I look at
(the movie) and I don't recognize myself which was the point," she told
GMTV. Now that the film is over and her upcoming album is set
to drop on Sept. 5, Beyonce is happy being back to her normal bootylicious
self. "The funniest part was putting the weight
back on and eating my doughnuts and all the other things," she said.
"So now I'm back to my body. I'm very conscious of being a curvy woman and
I'm very happy that I am a curvy woman."
Ne-Yo's Love Goes Beyond 'Sexy'
Excerpt from www.eurweb.com
(August 22, 2006) *"Sexy Love"
singer Ne-Yo
was honoured Saturday for
his humanitarian work by "The Disabilities and Special Needs Board of
Clarendon" in South Carolina, reports
ClarendonToday.com. The artist was given a plaque during an
impromptu appearance at the board's facility in Manning, where more than a
hundred fans cheered his arrival. "I heard that I had some
fans over here," Ne-Yo told the local newspaper. "I had a little
extra time so I came to say hi, take some pictures and show love to those who
show me love. I've been blessed beyond anything I could hope or want; this is
another way for me to give back."
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Ushers Broadway Arrival Boosts Box Office
Excerpt from www.eurweb.com
(August 23, 2006) *Things are looking up for
Broadways Chicago, which last night began its first staging with music sensation Usher Raymond in
the role of Billy Flynn, and has enjoyed a 30 percent boost in ticket sales
since word of the singers casting hit the streets earlier this year. "I
don't know if you can win a Tony for a few months on Broadway but, hey, why
not, wishful thinking," he told Reuters Tuesday on the evening of his
scheduled six-week run, due to wrap on Oct. 29. "It is more challenging
than anything that I have ever done, and I am yet to even begin it."
Other folks who have played deceitful lawyer Billy Flynn on the New
York stage include Taye Diggs and Wayne Brady. "This character is a
well-rounded guy. He is always in control, always knows exactly what he wants
and he loves his women," Usher said. Chicago also features
Brenda Braxton as Velma Kelly, Kevin Chamberlin as Amos Hart, Lillias White as
Matron "Mama" Morton and R. Lowe as Mary Sunshine. The
James Naughton revival is playing at the Ambassador Theatre, located at 215
West 49th Street. To purchase tickets, click
here.
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Gotti at Universal
Excerpt from www.eurweb.com
(August 23, 2006) *Irv
"Gotti" Lorenzo is said to be on the
verge of
bringing his Inc. Records to Universal Motown. According to the New York Times, the mogul is about to sign a
three-year deal worth $10 million in advance for future revenues and payment of
overhead expenses. The deal also would allow Gotti to buy the master tapes from
The Incs previous incarnation, Murder Inc. "It feels exhilarating,"
Gotti told The Times. "It's like a rebirth. It feels like God put me
through hell, showed me a lot of things, showed me who the good people and bad
people are around me, and lined me up to do what I'm put here to do." Ja
Rule and Ashanti are among the artists signed to The Inc.
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::CD RELEASES::
August 21, 2006
2Pac, The
Sound of 2Pac, K-Town
Beenie Man, Live
in San Francisco, 2B1
Beenie Man, Miss
Angela, MPG
Betty Everett, They're
Delicious Together, P-Vine
Beyoncι, Deja
Vu [Single], Sony Urban
Music/Columbia
Big Lokote, Rage,
Thump
Big Noyd, The
Stick Up Kid, Traffic Ent.
Big Truck, I
Know U Want That/Monsta [Single], Universal
Bob Marley, The
Best of Bob Marley [Cherished Class], Cherished Class
Bobby Womack, Post,
Castle
Cadillac Jones, The
Big Takedown, Arcthefinger
Candi Staton, The
Ultimate Gospel Collection, Shanachie
Cassie, Me
and U, Pt. 2, WEA International
Cassie, Me
& U, WEA/Atlantic
Cham, Ghetto
Story [Bonus Track], WEA/Atlantic
Chamillionaire, Ridin',
Universal International
Danity Kane, Danity
Kane, Bad Boy
Dave Hollister, The
Definitive Collection, Hip-O
DJ Kayslay, The
Champions: North Meets South, Koch
DMX, Lord
Give Me a Sign, BMG/RCA
Easy Star All-Stars, Radiodread,
Easy Star
Field Mob, Baby
Bend Over [Single], Geffen
Field Mob, So
What, Universal
GB3, Emptiness
Is Our Business, Rubber
Georgia Anne Muldrow, Olesi:
Fragments of an Earth, Stones
Throw
Ghostface Killah, Back
Like That, Universal International
Gregory Abbott, Rhyme
and Reason, Collectables
Ice Cube, Why
We Thugs, Pt. 1, EMI/Virgin
Ice Cube, Why
We Thugs, Pt. 2, EMI/Virgin
Ice Mike, Do
Em Dirty,
J Isaac, Welcome
to the Planet, 306 Music And
Entertainment
James Brown, Live
at Montreux 1981 [DVD/CD], Eagle
Vision USA
Jay Dee, The
Shining, BBE
Kai, Particle
[EP],
Keith Hudson, Entering
the Dragon, Trojan
Kelis, Kaleidoscope/Wanderland,
EMI
Kelis, Kelis
Was Here, Jive
Kool & the Gang, Best
of Kool & the Gang [Disky], Disky
Kouichi, Itsuka
Mita Aozora, Vap
K-Riley, Incredible:
The Life of Riley,
Layzie Bone, The
New Revolution [Clean], Thump
Lee "Scratch" Perry,
Live
in San Francisco, 2B1
Lee "Scratch" Perry,
Panic
in Babylon, Narnack
Lloyd Banks, Hands
Up [Single], Interscope
Loer Velocity, Song
I Sing/Conversation Piece, Embedded
Lou Rawls, The
Lou Rawls Show: With Duke Ellington [Video], Hal Leonard
Luther Vandross, Shine
[Single], Sony
Luther Vandross, The
Ultimate Luther Vandross [2006 Collector's Edition], Sony
Luther Vandross, The
Ultimate Luther Vandross [2006], Sony
Method Man, 4:21...
The Day After, Def Jam
Michael Franti, I
Know I'm Not Alone, Liberation
Minnie Riperton, Come
to My Garden, Airmail
Missy Elliott, We
Run This, WEA/Atlantic
Mitchy Slick, Bass
Chaser/Makin Your Money, Up Above
Movie Soundtrack, Exit
Wounds, Believe
Mr. Shadow, Gang
Files, PR
Mr. SOS, Pre-Op,
L.A. Underground
Outerspace, Blood
Brothers, Babygrande
OutKast, Idlewild,
La Face
OutKast, Idlewild
[Clean], La Face
Papa Levi, Blue
Honey, Counter
Paris Hilton, Paris,
Warner Bros.
Patrick Adams, The
Master of the Masterpiece: The Very Best of Patrick Adams, Traffic Ent.
Patti LaBelle, The Definitive Collection, Geffen
Peggy Scott, She's
Got It All: Rare 70's Soul, Shout
Pharrell Williams, Number
One, Pt. 2, EMI/Virgin
Pimp Black, Hate
the Game, Love the Pimp, Break the
Law
Princess Superstar, Perfect,
Tinted
Randy Crawford, Feeling
Good, Universal
Raw Produce, Selling
Celery to Get a Salary,
Raydar Ellis, Late
Pass, Brick
S.E.GA Boys, Business
Bout Ya Self, Attitude
Scienz of Life, Blaxploitation
Sessions, Shaman Works
Shane Capone, Heated
Speech, Rock City
Smokey Robinson, Pure
Smokey, Universal
Snapper, The
Sequel, PR
Snoop Dogg, The
Sound of Snoop Doggy Dogg, K-Town
Street Kings, Crown
Gang Family,
Suga Free, The
Features, Siccness
The Bad Hand, This
Is No Time for Modesty, Prankster
Dice
The High & Mighty, Eastern
Conference, Vol. 2, Eastern
Conference
The Roots, Game
Theory [UK Bonus Track], Universal/Def
Jam
Trilltown Mafia, It
Goes Without Sayin, Rap-A-Lot
Vanilla Ice, The
Best of Vanilla Ice [Collectables], Collectables
Various Artists, Asian
Hip Hop, Sony
Various Artists, Best
of Black + Rap, Dance Street
Various Artists, Crunk
Hits, Vol. 2, TVT
Various Artists, Crunk
Hits, Vol. 2 [Clean], TVT
Various Artists, H-Town's
Most Wanted, Wreckshop
Various Artists, Hoodz
DVD Magazine: Scarface, Hoodz DVD
Magazine
Various Artists, Hit
Me with the Music, Vol. 1, Calibud
Music
Various Artists, Romantic
Reggae, Vol. 7, Jet Star
Willie Boo Boo, Fool,
Ghetto Man Beats
Young Buck, Do
It to Myself [Single], Interscope
Wilbert Harrison, An
Introduction to Wilbert Harrison, Fuel
2000
August 28, 2006
50/50 Twin, Mobb
Boss of Da Nawf, Oarfin
Agony Life, Slab
Soldiers Scars and Stripes, Vol. 2, Oarfin
Beenie Man, Undisputed,
Virgin/EMI/Empire
Beyoncι, B'day,
Sony
Beyoncι, Deja
Vu, Pt. 1, Sony BMG
Bobby Valentino, Special
Occasion, Def Jam
Bobby Womack, Post,
Castle
Cassie, Me
& U, WEA/Atlantic
Cham, Ghetto
Story [Bonus Track], WEA/Atlantic
Cherish, Do
It to It, Pt. 1, EMI/Parlophone
Cherish, Do
It to It, Pt. 2, EMI/Parlophone
Choclair, Flagship,
Q&W
Chris Farlowe, Hungary
for the Blues, Blue Label
Cory Mo, Houstons
Most Unknown, Oarfin
Crazy Toones, CT
Experience, BCD Music Group
Crime Mob, Rock
Yo Hips [Single], Reprise / Wea
Curtis Mayfield, Back
to the World, Snapper UK
Diana Ross, The
Definitive Collection, Motown
Diddy, Come
to Me, Bad Boy
DJ Fame, Sullivan
Room, Vol. 1,
DJ Spinna, Intergalactic
Soul, V2/Papa
Dr. Alimantado, House
of Singles, Greensleeves
Earl Bostic, Complete
Quintet Recordings, Lonehill Jazz
Esther Phillips, Atlantic
Years, WEA/Rhino
Gloria Gaynor, All
the Hits: Remixed, Megahit
High Po4mance, Life
in the Fast Lane, Imn
Is What?!, The
Life We Choose, Hyena
Jin, 100
Grand Jin, Draft
Kelis, Bossy,
Pt. 1, EMI/Virgin
Kenn Starr, Starr
Status, Raptivism
Killa Kyelon, Drank
Epidemic, Vol. 2, BCD Music Group
Kouichi, Itsuka
Mita Aozora, Vap
Larry Williams, Specialty
Profiles, Specialty
Lee "Scratch" Perry,
Mastercuts
Presents, Mastercuts / Artist
Lee Dorsey, Holy
Cow!: The Best of Lee Dorsey, Snapper
UK
Lil Cuete, The
#1 Gun, East Side
Lil' Flip, I'm
a Baller Mixtape [CD/DVD], BCD
Music Group
Lil' Flip, Southern
Lean, Vol. 2 [Chopped & Screwed], Oarfin
Lil' O, Hood
Hustlin, Vol. 12, BCD Music Group
Lil Wayne, Shooter
[Single], Cash Money
Lloyd Price, Specialty
Profiles, Specialty
Loon, No
Friends, Cleopatra
Ludacris, Disturbing
tha Peace, BCD Music Group
Luny Tunes, Mas
Flow, Vol. 2.5 [CD/DVD], Machete
Music
Mesianico, Con
Furia,
Method Man, 4:21...
The Day After, Def Jam
Michael Franti, I
Know I'm Not Alone, Liberation
Minnie Riperton, Come
to My Garden, Airmail
Missy Elliott, We
Run This, WEA/Atlantic
Mr. Capone-E, Don't
Get It Twisted, SMC Recordings
Murphy Lee, Dat
Bullshit [Single], Universal
O.G. Ron C., Breaking
Sh#t, Vol. 1 [Chopped & Screwed], Oarfin
Paula DeAnda, Paula
DeAnda, Arista
Peggy Scott, She's
Got It All: Rare 70's Soul, Shout
Percy Mayfield, Specialty
Profiles, Specialty
Red Cafe, Diddy
Bop, Universal
Redd Hott, Redd
Hott #1, P-Vine
Rick Ross, Push
It, Def Jam
Ronnie Baker, Ronnie
Baker, BNT/Sharp Objects
Salah, Jesus
101, Five L-Ements
Sam Cooke, Specialty
Profiles, Specialty
Screamin' Jay Hawkins, The
Whamee, Rev-Ola
Tanya Stephens, Rebelution,
VP / Universal
Tego Calderσn, The
Underdog/El Subestimado, Atlantic
Tego Calderσn, The
Underdog/El Subestimado [Clean], Atlantic
The Chordettes, Close
Harmony, El
The Foundations, The
Foundations [Disky], Disky
The Impressions, The
Very Best of the Impressions [Snapper UK], Snapper UK
The Meters, The
Very Best of the Meters [Snapper UK], Snapper UK
The Ohio Players, Trespassin',
Snapper UK
The Roots, Game
Theory, Def Jam
The Spinners, In
Concert [DVD], Cleopatra
Third World, Now
That We've Found Love, Snapper UK
Too Short, Blow
the Whistle, Jive
Uptown, Bonafide
G, BCD Music Group
Various Artists, Dance
Machine 1991-1992 [Bonus CD], Megahit
Various Artists, Old
School, Vol. 4, Thump
Various Artists, Piano
Tribute to Lionel Richie,
Various Artists, Asian
Hip Hop, Sony
Various Artists, Buzz,
Vol. 2, KGB
Various Artists, Chicano
Power, Vol. 2, Imn
Various Artists, H-Town
Underworld, Vol. 1, Oarfin
Various Artists, Roc
4 Roc Documentary and Soundtrack, Oarfin
Various Artists, Showtyme:
H-Town Underworld, Oarfin
Various Artists, Showtyme:
State 2 State, Oarfin
Various Artists, La
Pelicula [CD & DVD], Universal
Latino
Various Artists, Reggaeton
Club Jamz, Sony International
Various Artists, Reggaeton
Squad, Universal Latino
Various Artists, Take
Me to Jamaica: Story of Jamaican Mento, Pressure Sounds
Woodpile, The
Streets Will Never Be the Same, West
Coast Mafia
Young Buck, Case
Dismissed, BCD Music Group
Young Jeezy, Live
at the Seawall, Oarfin
::FILM NEWS::
Hip-Hop Gets Jazzy In 'Idlewild'
Source: Roz Stevenson PR / www.rozstevensonpr.com
(August 17, 2006) Antwan
Patton( Big Boi) and Andrι Benjamin
(Andre 3000) from the multi-platinum and
Grammy winning hip-hop duo, OutKast, lead an all-star cast in Idlewild, an original musical
masterpiece with electrifying choreography set in a speakeasy in the rolling
30s. Benjamin portrays Percival, a shy, but talented pianist and
writer, while Patton plays Rooster, an uninhibited lead singer and club manager
who must elude the notorious gangster-killer Trumpy portrayed by Terrence
Howard. Universal Pictures will release Idlewild on August 25th.
Benjamin is bursting with pride about the film, The movie is pretty much
every genre. It has drama, action, music, comedy, a love story and
gangsters. On top of that, we are styling. It takes place in the
30s, so we are impeccably dressed. The look of the film is moody.
Its really, really dope. Patton adds, Our wardrobe in the film is
fantastic. We have the whole 30s look down to the tee.
My special thanks go out personally to Mr. Giorgio Armani for takin care of me
for ninety percent of the movie, OutKast fans will recognize similarity
between Benjamin and Patton real personalities and the roles they play in the
film. Patton plays Rooster, a family guy who is thrown into a situation
where he has to take on the responsibility of managing the nightclub.
There is a lot of hustling going on, lots of liquor and booze running. It
is a fun place. Then things start to go wrong.
Benjamin tells us, Just like his character Rooster, Big Boi likes to be the
life of the party. He likes to throw the parties and have everybody come
down. Hes the festive guy. So, for him to run the speakeasy in the
movie, thats Big Boi. Just like Rooster, Big Boi is a family man, too.
Percival, on the other hand, is the son of a mortician, who is expected to
take over the family business. After his Mom dies, he and his Dad lead a
sad and lonely life. In the film, Rooster and Percival meet when they are
just six years old and form a lifetime friendship. Patton says, I
met Dre when we were sixteen in high school and we bonded with each other.
Dres character, Percival is kind of reclusive, the only child. Dre is an
only child, too, but I think Percival might be a bit more troubled. The
friendship that we have in the movie is very similar to what we got going on.
Benjamin offers, In the movie, the only way that I let loose is by playing the
piano. Rooster gives me a job down at the club, thats my outlet.
When a new singer, Angel Davenport, comes to the club, we begin working on
music together and eventually fall in love. She turns my life around and
encourages me to leave Idlewild, so my talents can blossom.
Veteran actor Ben Vereen, who plays Percivals miserable father,
generously offered Benjamin acting insights, Ben taught me about being in the
moment and not worrying about if I was good, because if you do, then youre not
in it. And that gave me a lot of freedom and helped me to get to where I
needed to be. I will be eternally grateful to him for sharing his wisdom
with me, Benjamin says. Idlewild is the motion picture debut of
writer/director Bryan Barber, who has had a long affiliation with Benjamin and
Patton as a video director. Benjamin says, Honestly, its full circle,
because I originally met Bryan in Atlanta when I was getting out of high school
and he was in film school. At that point we had only put out one album.
He would come to me with scripts because he wanted to make films.
Eventually we gave him a chance to direct our videos. That was his
training ground. I have seen his growth, because Ive been on the set
with him in videos and you can hide behind the music a lot. Videos are
big commercials for selling music. However, films are more challenging,
and Im proud to say Bryan has shown his ability to deal with hundreds of
people, hundreds of attitudes and hundreds of problems. He does an
amazing job. Highlights of the filming include the lavish dance numbers
choreographed by three-time Tony winner, Hinton Battle. Patton shares,
Hinton pulled together top dancers, who could blend the old dance styles with
days moves, and put together some incredible dance numbers. I came
in and when it was time for me to perform, we had our bits that we did
together. I had a ball doing the song and dance sequences.
Benjamins acting credits include the films Four Brothers, Be Cool and the hit
TV series The Shield. He also plans to launch his own clothing line this
year. Patton most recently starred in the film ATL. He has appeared
on televisions Martin and as a featured voice in the MTV series Volcano High,
about a teenager with special martial arts skills, and in two episodes of
Comedy Centrals Chappelles Show. Idlewilds all-star cast includes Academy
Award nominee Terrence Dashon Howard (Hustle & Flow), Ving Rhames (Don
King: Only in America), singing sensations Macy Gray and Patti LaBelle,
Faizon Love, who has starred opposite Will Ferrell in the blockbuster
Elf. Malinda Williams, who is best known for her television role as Tracy
Bird Van Adams in Soul Food, for which she garnered a NAACP Image Award
nomination. Paula Jai Parkers, whose film credits include Hustle and
Flow, Spike Lees She Hate Me, Phone Booth, High Crimes, Get On the Bus,
Friday, Why Do Fools Fall in Love, and HBOs Always Outnumbered. Newcomer
Paula Patton was first seen in last years smash comedy Hitch, starring Will
Smith. Finally, the legendary Cicely Tyson makes an appearance in the
film, as well. One of the most sought-after directors in the music business,
Barber was recently nominated for his directorial work on the Christina
Aguilera video Aint No Other Man which garnered four MTV Video Music Award
nominations, including Video of the Year. Barber has directed many of
OutKasts videos including Hey Ya, which was Grammy-nominated for Best Short
Form Video last year, and which was previously honoured with four MTV Video
Music Awards for Video of the Year, Best Hip Hop Video, Best Special Effects
and Best Art Direction. His previous collaborations with OutKast include
The Way You Move and Roses from their disc Speakerboxxx/Love Below.
He was honoured by his peers in London in May 2004, when he won three Music
Video Production Awards (MVPA) for Hey Ya, including Video of the Year.
Canadas MuchMusics Awards honoured him with two wins for Hey Ya for Video
of the Year and Best Hip Hop Video. His diverse slate of projects
includes directing videos for Bow Wow, Faith Evans, Destinys Child, Anastacia,
G-Unit, Nelly Furtado, Ludacris, Macy Gray, Kelly Clarkson, Missy Elliott and
JC Chasez. His striking video work has put him in high demand for
commercials, including Victorias Secret and Sunkist. Battle won the Tony
Award for Best Featured Actor in Sophisticated Ladies, Miss Saigon and The Tap Dance
Kid, which was also honoured with an NAACP Image Award and The Fred Astaire
Award. His esteemed career started early in his life when he received a
scholarship to attend The School of American Ballet where he studied under
George Balanchine. At the age of 15, he made his Broadway debut playing
the Scarecrow in The Wiz. His additional stage credits include Ragtime,
Dancin, Dreamgirls and Chicago. He also founded the non-profit
organization Hinton Battle Theatre Laboratory to develop ethnically diverse
theatre projects. His television credits include choreographing the
musical episode of Buffy The Vampire Slayer.
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Stars Set To Shine For Toronto Film Festival
Excerpt from The Globe and Mail -
Guy Dixon
(Aug. 22, 2006) Attention star seekers: Brad Pitt, Jennifer Lopez, Jude Law
and Sean Penn are among the major names confirmed to walk the red carpet and
grace the hotel lobbies in and around Toronto's Yorkville neighbourhood for
next month's film festival, while features by directors Ridley Scott and
Michael Apted were among the last gala films announced yesterday. While the Toronto International Film Festival
doesn't have quite the same non-stop Hollywood star wattage as, say, an event
like the Academy Awards, it nevertheless continues to attract more major names
than it can barely handle as one of the world's biggest and most closely
watched film festivals. Also on the list of those expected to make an
appearance between Sept. 7 and 16 are Sharon Stone, Charlotte Gainsbourg,
Penelope Cruz, Anthony Hopkins, the Dixie Chicks, Carrie-Anne Moss, Dustin
Hoffman, Viggo Mortensen, Liam Neeson and more than 500 other actors, filmmakers
and the simply famous. Even Yoko Ono is scheduled to come. A cynic may think
that some of the festival's films, such as the J-Lo drama El Cantante, might be
chosen to attract the stars and therefore more publicity for the festival.
Fifteen years or twenty years ago, we were probably a bit more calculated,
[thinking] it would be nice to have this particular movie star in the festival,
that it would be really good for us in terms of profile, said festival
co-director Piers Handling.
But now, as the festival has become one of the biggest in the world, Handling
said it doesn't need to program certain films for their star power. The
festival already attracts more than its fair share of major names: To be
honest now, you saw the line-up of people that we announced. Obviously, there's
a certain point where you don't have to run a film because a [major] star is in
it. Far from it. The festival will be showing a total of 352 feature films and
shorts, up from 335 last year, with more than 300,000 movie goers (both film
industry people and the general public) expected to attend the screenings. Most
importantly, the festival emphasized, was that 91 per cent of the feature films
will be premieres of one sort or another. For instance, Pitts' film Babel is a
North American premiere about three interlaced stories, including Pitt and his
character's wife (Cate Blanchett) as tourists facing catastrophe in Morocco.
Meanwhile, Penn and Law star in the world premiere of All the King's Men, a
remake of the classic film and novel about Depression and post-Depression era
politics in Louisiana. Scott's film A Good Year is based on the Peter Mayle
novel and stars Russell Crowe as a self-satisfied financier, with a trail of
dodgy deals and one-night stands in his wake, according to the festival's
description. Apted's Amazing Grace, the festival's closing gala film, is a
period piece about British abolitionist William Wilberforce fighting against
the slave trade.
EUR 'Idlewild Interview: Paula Patton -- Girl Gone Idlewild!
Excerpt from www.eurweb.com - By Kam
Williams
(August 23, 2006) *2006 is probably going to be the breakout year for
Paula Patton. The emerging ingιnue
hails from Los Angeles where she attended Hamilton High for the Performing
Arts. After graduation, she initially enrolled at Berkeley, though the
would-be director returned to her roots to transfer to the prestigious USC Film
School where she would pursue her passion for moviemaking. Despite graduating
magna cum laude and being picked as one of the subjects of a PBS-TV series
focusing on four promising young filmmakers, Paula soon decided to step in
front of the camera to try her hand at acting. Making the most of modest
appearances in Hitch and London last year, she went on to land a couple of
coveted lead roles, one, opposite two-time, Oscar-winner Denzel Washington in
Dιjΰ Vu, which opens in November, the other, in her latest release, Idlewild,
opposite hip-hop artist Andre 3000. Idlewild, a period piece set at a
speakeasy in the South during prohibition, is a musical with an ensemble cast
which includes Terrence Howard, Ving Rhames, Ben Vereen, Macy Gray, Faizon
Love, comedian Bruce Bruce, Patti LaBelle, Cicely Tyson, Paula Jai Parker and
Big Boi (Andres partner in OutKast). As for her private life, Paula is married
to Interscope Records recording artist Robin Thicke, son of
entertainer-of-all-trades Alan Thicke (actor, singer, songwriter, deejay,
emcee, game show host, etcetera). Shes appeared in her hubbys music videos
and was featured butt naked on the cover of his debut CD, A Beautiful World,
where the bronze beautys body provided proof positive that, yes, its a
beautiful world, indeed! Here, she talks about Idlewild, including her
steamy sex scene with Andre.
Kam Williams: Tell me a little about your character?
Paula Patton: My character, Angel Davenport, is a singer who arrives in
Idlewild as a semi-celebrity from St. Louis. And to make a long story short,
without giving anything away, she becomes involved with Percival Jenkins, whos
played by Andre 3000. Hes the piano player in this place called Church, which
is a fabulous club for Idlewild, Georgia, but not too fabulous for me, coming
from St. Louis, Missouri.
KW: Whats the pictures plotline?
PP: Its, basically, kind of our love story, and the love that happens between
us with music. It actually has many different storylines, but I think the
overall theme of the film is really about people trying to achieve their
dreams. Its a simple story about love in terms of friendship.
KW: What was the most challenging aspect of this role?
PP: The real challenge was to become a performer. Im not a singer, Im not a
dancer, but I had to perform on stage. So, that was the biggest challenge,
truly. It was a challenge to get up there, but once I got on that stage, and
they started playing the music, it was like living out your childhood fantasy.
It was amazing stepping into these shoes where you get to pretend to be a rock
star. Even though I was really just a lounge singer, it felt like that, and
that was the most amazing feeling.
KW: Did anyone serve as your inspiration to help you bring Angel to life?
PP: You know what? My inspiration was Lena Horne in a 1930s movie called Cabin
in the Sky. Shes a little bit more mischievous than I am in this movie, but
her energy, the way she was a diva in that film was something I wanted to
emulate. She had this charm, and this great smile, and yet she radiated this
wicked sense that something else was going on there. And my character does have
a secret shes carrying, so I used that as my inspiration. I also listened to
as much Thirties music as possible, Bessie
Smith, Count Basie, Duke Ellington
and I tried to keep in that mind state of
the 1930s. And I watched a lot of old movies to see how the women carried
themselves.
KW: Since this pictures your breakout role, what do you want to share with
people who are suddenly curious about you?
PP: I sort of came to acting later in life, though I always love acting since I
was a little girl. I put on plays in my parents back yard and attended a
performing arts high school where I was always in all the plays. I went to
Berkeley for a semester before deciding that I really wanted to be in film
school. At that point I was getting very shy and introverted, so I was sure I
wanted to be behind the camera. Then I went to USC and after I graduated I did
some work as an assistant. I probably should have known that I was lying to
myself at that time about my true desire to be an actress.
KW: How could you tell?
PP: I just didnt have that passion to be a filmmaker that youre supposed to
have. Something was missing. I remember sitting at my desk thinking I was lying
to myself. I asked myself what I loved to do since I was a little girl. And
that was to act. So, I started taking lessons and classes, and luck brought me
here.
KW: What was it like acting opposite Andre 3000, who plays your love
interest in the movie?
PP: It was a bit intimidating at first, because hes a huge star. But then when
I met him, he was so kind and humble and generous, he really made it feel like
both of us were on this journey together. He became my confidant on the set.
Wed talk about anything, our noses, our excitement; he behaved as though no
one knew his name. No one made me feel like, Who are you kid? Prove yourself.
Then, of course, Id go home and see him on MTV and be like, Who is this
person? Hes so fabulous? So, to be honest with you, it was a really
comfortable experience.
KW: Even the love scene?
PP: Well, you know, you always joke. I mean, there started to be that countdown
to the sex scene. Its like, Okay, five days to sex scene, no more carbs. You
know what I mean?
KW: Yep.
PP: Theres a nervousness about that, but Andre really became my friend on
the movie, and he is just a gentleman through and through. Im not going to lie
to you; of course its nerve-wracking when youre nearly naked. I just had on a
few strategically placed nude items. But Bryan [director Bryan Barber] set up a
good situation in that the lights were low. And he had about five cameras set
up, so that we didnt have to do tons of takes. We just sort of did it, and
they caught pieces. And the end result is these sort of beautiful images that
are pieced together to create something thats not vulgar. Hopefully, my mom
will not die at the screening of it. Im telling her to close her eyes.
KW: Did you get to keep the wardrobe of period outfits you wore in the
movie?
PP: I did not. Actually, some of the clothes were Chers old costumes that Bob
Mackie had designed for her. They were quite tight. I guess I needed one less
rib.
KW: Whats up next for you?
PP: I have a movie called Dιjΰ Vu coming out November 22nd. Its with Denzel
Washington and director Tony Scott. I play Denzels love interest, sort of.
Its a very interesting film, but I cant give away much of the plot.
KW: Thanks for the time.
PP: Thanks so much, I appreciate it.
Paul Giamatti Plays Against Type In The Illusionist
Excerpt from The Toronto Star - Peter
Howell, Movie Critic
(Aug. 18, 2006) Important note on the care and watering of Paul Giamatti,
accidental celebrity: Should you encounter Mr. Giamatti in the wild, please do
not mistake his potbelly, receding hairline and ready smile as indications that
he would make a great drinking buddy. He's actually a really shy guy,
still coming to grips with being an Oscar-nominated somebody. "There
are a lot of people who tell me they want to buy me a beer, and in point of
fact I'm not actually that social," Giamatti says from New York, where
he's on the hustle for The Illusionist, his new movie opening today.
"It actually weirds me out a little bit, that `let me buy you a
beer' thing. It certainly works for Mel Gibson, but it doesn't work for me. You
know, I'm polite and friendly but also diffident. I move away from people. And
I always feel bad, because there's nothing I can do about it. It's just who I
am. I'm just sort of aloof in a lot of ways." This will come as a
surprise to the many people, moviegoers and filmmakers alike, who have come to
think of 39-year-old Giamatti as just a regular schnook, eager for brews and
sympathy. He's forever playing put-upon characters whose plans go awry. He
rarely gets the girl, and when he does he doesn't know what to do with her. Giamatti
plays guys like the wine-guzzling Miles in Sideways, the whiny Harvey
Pekar in American Splendor and the winning Joe Gould in Cinderella
Man. These three recent roles have vaunted him from obscurity into
beer-attracting celebrityhood especially since Cinderella Man earned
him an Oscar nomination this year for Best Supporting Actor. He also has
starring roles in two big movies released this summer, The Ant Bully and
Lady in the Water. Fame came suddenly for Giamatti, after taking
its sweet time to find him. His Internet Movie Database listing shows him with
a whopping 56 movie and TV roles since his 1990 debut on the small screen
playing "Heckler #2" in a forgotten telefilm called She'll Take
Romance. But many of those early roles were bit parts at best for this
Italian-American scion of a Connecticut family. He's the son of the late Bart
Giamatti, whose career included stints as president of Yale University and
commissioner of major league baseball.
Giamatti was flying so far off the radar in his early career that you could
probably win a Trivial Pursuit question identifying him as the speaker of a
famous line from Donnie Brasco, the 1997 gangster mentor movie starring
Al Pacino and Johnny Depp. Giamatti plays the FBI wiretap technician who
asks Depp about the meaning of "Fahgeddaboudit," the mob expletive
that is the verbal equivalent of both a shrug and slap to the head. Everybody
remembers Fahgeddaboudit; few remember Giamatti as the one who first said it.
But previous assessments of Giamatti will likely fall by the wayside
following today's release of The Illusionist, in which he plays a
scheming police inspector named Uhl in 1900 Vienna. He's assigned to track and
unmask the pesky magician Eisenheim the Illusionist (Edward Norton), whom the
Austrian Crown Prince (Rufus Sewell) suspects of having designs on his fiancιe
(Jessica Biel). When the movie premiered at Sundance in January, Giamatti
joked to the audience that he took the role because "I got to smoke a pipe
and wear a cool hat." But the real reason was that it gave him a chance to
play an unlikeable character in a drama, rather than a figure of amusement or
pity in a comedy. Uhl is definitely not the kind of guy you'd want to
have a beer with. He's a bit like Tommy Lee Jones's cynical tracker in The
Fugitive. But now Giamatti is worried Uhl may be too unlikeable. Some
people are never happy. "Did you think he's a nasty guy? I think
there's meant to be certain decency in him, or at least a certain wiliness.
He's definitely a compromised, cynical guy. He was nastier in the way he was
originally shot. "But the audience needs to go with that guy in
order to follow the story along. My nastiest character, I think, is the guy I
played in Private Parts." That would be the uptight radio
boss not-so-affectionately known as Pig Vomit in the 1997 biopic of shock jock
Howard Stern. But Pig Vomit was more fussy than frightening. "It all
depends," Giamatti counters. "I've played lots of dark
characters, some really dark things. Not much on film but on the stage. I was
in a production of The Iceman Cometh where I played the worst drunk and
the worst screwed-up guy in it. And I've just done this movie called Shoot
'Em Up in which I play a psycho. But he's kind of a silly psycho. I kind of
get it on with a dead body in the back of a car. That stuff can be
exhilarating, in a weird way. But it's not that much fun while you're doing
it."
There are a lot of people, women especially, who will never forgive him for
something his character Miles does in Sideways. Miles is the straight
man to Thomas Haden Church's horn dog Jack in the 2004 road movie, a Best
Picture nominee. Miles surprises and shocks the audience early on by stealing
several hundred dollars from a stash his mother keeps hidden in a bedroom
drawer. You can actually hear gasps in the theatre. Giamatti is fascinated by
that reaction. "I've had women, when we did Q&A sessions at
festival screenings, stand up and tell me, `I actually despised your character
from then on when you did that!'" Giamatti recalls, chuckling.
"I thought it was great that the guy steals the money from his
mother. I thought it was funny, and you know the mother probably knows that he
did that. It's a game they probably play. The other guy Jack is running around
on his wife and screwing this fat waitress, and that's okay. But my guy Miles
stealing some money from his mother makes him Satan. It's very interesting. I'm
actually glad it made it hard for people. I like it if somebody is not entirely
sympathetic all the time. I don't want everybody to like me. People need to
think on their own." There was a time, not that long ago, when it
seemed Giamatti would forever be fated to playing buffoons, fusspots and
losers. "I think what I was uncomfortable with was thinking I was
only good for broad comedy roles, which I actually don't think is my strength.
I'm fine with comedy, but I was put in a mould that I didn't feel terribly
comfortable with." He still plays characters like that, but at least
they're in A-list movies instead of the C-list stuff he was so often stuck with
in the past. "I've always felt like a character actor, and there are
some advantages to that. If you're the leading man type, you have to work at
it. The easiest thing to be is a middle-aged light character. "The
fact of the matter is that even when I weighed 30 pounds less I still looked
like kind of round and chubby. It's just how I look on film and there's really
nothing I can do about it. But I don't want to get really fat, if only for my
health." His recent acclaim has certainly added to the number and
variety of roles he's being offered. His busy schedule includes playing Santa
Claus in a comedy titled Fred Claus and Elvis Presley's manager Colonel
Tom Parker in the horror satire Bubba Nosferatu. Just last week, he was
announced as the choice to play Philip K. Dick, a biopic about the late author
of the books behind the movies Blade Runner, Minority Report and A
Scanner Darkly. "I'm turning away stuff now and it's hard for me
to get used to it. Clearly for a long time, I didn't turn anything away because
I didn't have any choice. I'd be offered something and it was the only job, and
I'd do it. "It's crazy, but as long as I keep having choice, it's fine."
You could drink to that, if he'd only let you buy him a beer.
Spike Lee's Katrina Documentary A Milestone
Excerpt from The Globe and Mail -
Associated Press
(Aug. 17, 2006) NEW ORLEANS Several weeks after Hurricane Katrina
drowned New Orleans, HBO documentary executives were stumped. How to respond on
film to something so monumental? We were in a meeting one day and I said, I
guess we'll have to let Katrina go,' said Sheila Nevins, president of HBO
Documentary and Family. Then, literally within the hour, Spike called. It was
like, Eureka!' Spike Lee was quickly signed to chronicle the storm and its aftermath in
New Orleans. The first half of Lee's heartbreaking film, When the Levees Broke: A Requiem in Four Acts, debuts Monday. The four-hour documentary marks a career
milestone for Lee. Twenty years ago this month, his first feature film, She's
Gotta Have It, hit theatres to instant praise from critics. Since then, he
has released an average of one film every year, including this year's Inside
Man, his most profitable with $185-million (U.S.) in global sales. Nearly
all of Lee's films have strong African-American themes and characters. Though
filmmakers have always dabbled in racial topics, Lee, who is black, has been
unique. Steadfastly chipping away at the subject in ever more complex ways, he
has helped make race and ethnicity central to American film. He's made a
tremendous difference in the history of American cinema, said Jacqueline
Stewart, a film professor at Northwestern University in Chicago who teaches a
class on Lee's work. Spike Lee's films get people to talk about what race
means and how race continues to function in our society.
For years, Lee did that with an in-your-face approach characters that yelled
racial slurs at the screen, on-screen brawls between whites and blacks. Lee
himself was often in front of the camera, playing a string of incendiary
sidekick characters. He also often wrote, produced and directed his films,
enlisting family members to contribute music, writing and acting. But in recent
years, he has stepped back. He did not write or appear on-screen in Inside
Man, She Hate Me in 2004 or 2002's 25th Hour. Though he
remains focused on black America, his approach has become quieter, less
self-conscious. Levees reflects that. Using current and historical footage,
music and more than 100 interviews, the film reminds viewers that although
Katrina shattered the entire Gulf Coast, New Orleans and its mostly black
residents got hit especially hard. Thousands fought to survive deadly
floodwaters for days while federal help was slow in coming. Many are left today
with a nearly ruined city and broken hearts. Lee conducted each of the
interviews, and viewers occasionally hear him asking questions, but he never
steps in front of the camera. There is no narrator telling viewers that New
Orleans was abandoned, or that this may have happened because most residents
are black. There is no need. Let the people tell it, the witnesses, said Lee,
49, during an interview this week. People are giving testimonial, sharing all the
rage and anger. What they're doing is sharing their humanity with us. Nevins
said the film is a surrender of the ego of the maker to the people.
Despite heavy media coverage of Katrina, the film pulls together the before,
during and after of the storm in a way that manages to be agonizingly fresh.
One man tells of being forced to abandon his dead mother's body in the city's
Superdome. He pinned a note with his phone number on her shroud. Some spew rage
as they insist that the city's protective levees, which gave way and flooded
most of the city, were bombed. Cameras follow trumpeter Terence Blanchard, the
long-time composer for Lee's films and a New Orleans native, as he and his
mother visit the family home in the Gentilly Woods section of the city for the
first time since the flood. Oh Lord have mercy, weeps Wilhelmina Blanchard,
nearly hysterical. You can rebuild this stuff, Terence murmurs, clutching her
shoulders. That's easier said than done, she says. I knew it was devastation
but I didn't think it was this bad. Blanchard reflects later that day: When
we went into the house, that was really hard because, you know, it's like I
can't go home. He stops, choked up. An ominous drumbeat finishes his thoughts.
The film, Lee said, is ultimately a plea to renew the city, where most of those
forced out have not yet returned, tons of debris remains and there is no
comprehensive rebuilding plan. We want this film to spur action, he said.
Things still aren't right. People are still suffering. Lee has not tried to
hide his anger about New Orleans' devastation by levee breaks and the
government's slow response. He has even gone so far as to call the events
criminal. The devastation here was not brought on solely by Mother Nature,
Lee said. People in charge were not doing their job.
If nothing else, Lee said he hopes his documentary will bring attention back to
the region, where it's needed. People are still in dire straits. We want to
put the focus back here, he said. This is partly why HBO gave it four hours,
making it the channel's longest documentary. Two-hour segments air Monday and
Tuesday at 9 p.m. (EDT). It also will be shown in its entirety Aug. 29, the
one-year anniversary of Katrina's landfall. You never could tell the whole
story because the story's still being told, but you sure couldn't tell it in
two hours, Nevins said. I don't know any other filmmaker who could have been
a better match. I just don't know anyone with that kind of talent. It's a long
way from 1986. Lee, four years out of New York University's film school, was
selling T-shirts outside a midtown Manhattan theatre urging people to see She's
Gotta Have It, about a black woman and her three boyfriends. He was living
in a rented basement apartment in the Fort Greene section of Brooklyn, where he
grew up and still has offices for his production studio, 40 Acres & a Mule
Filmworks. Three years later came Do the Right Thing. It weaves a
sentimental gaze at brownstone Brooklyn with the explosive tensions among
blacks, Italian-Americans and police on a scorching summer day. After the
police kill a black man, a fiery riot erupts and the neighbourhood is ripped
apart. It firmly planted Lee on the culture map, winning him staunch critics
and supporters. Lee is the epitome of the independent auteur of the '90s and
the 21st century, said William J. Palmer, a film professor at Purdue
University who has included Lee's films in his classes for 14 years.
Stewart, the Northwestern professor, said it's hard to imagine a film like last
year's Crash, which explored ethnic clashes in Los Angeles, being made
without Lee's influence. It won the Oscar for best picture. Lee himself says
he's most proud that he helped the careers of some of the nation's most
celebrated actors and filmmakers. Halle Berry's first film role was a crack
addict in 1991's Jungle Fever. Rosie Perez and Martin Lawrence were
first seen on film in Do the Right Thing. Filmmaker John Singleton who
wrote and directed Boyz n the Hood in 1991 and directed Four Brothers
last year was in high school when he sought out Lee and declared that he,
too, would become a filmmaker. Lee says he's considering a follow-up
documentary to Levees, perhaps focusing on how New Orleans' black middle
class has been gutted, and what that may mean to the city. For now, he's
spending little time pondering his 20-year milestone. What I'm trying to do is
just get better, he said. Become a better storyteller. That's what I do.
Studio Cuts Tom Cruise Loose
Excerpt from The Toronto Star - Steve Gorman,
Reuters, with files from star wire services
(Aug. 23, 2006) LOS ANGELESParamount Pictures is ending its 14-year-old
relationship with Tom Cruise's production company because of his off-screen behaviour, the
chairman of the studio's parent company said yesterday in an interview with the
Wall Street Journal. Sumner Redstone, Viacom chairman, said the
behaviour of the star of the Mission: Impossible series and Top Gun was
unacceptable to the company, according to the Journal story emailed to
reporters yesterday. Yesterday's report signalled the end of one of the
most lucrative production deals commanded by any A-list Hollywood star and
followed other signs that Cruise's public stature had been damaged by his
conduct during the past year. Days after his latest film, Mission:
Impossible III, opened to lower-than-expected domestic ticket sales in May,
an online opinion poll seemed to show his star power had dimmed considerably.
The movie, still in theatres, has taken in almost $390 million (U.S.)
worldwide, while Cruise's War of the Worlds (also a Paramount film) made
$591 million at the box office. Last month, the Los Angeles Times reported
that Paramount chairman Brad Grey had informed representatives for Cruise and
his production partner, Paula Wagner, that the studio planned to slash the
amount it spends on their company, Cruise/Wagner Productions.
The studio allowed his deal to lapse and warned Cruise that it would not back
any more of his movies until he agreed to a significant pay cut. The
44-year-old star is said to have earned $70 million for the first Mission
Impossible movie. But months ago, Grey was one of several movie industry
executives who publicly rallied to Cruise's defence, insisting his status and
popularity were undiminished. They were reacting to a USA Today/Gallup
poll in which half of those surveyed registered an "unfavourable"
opinion of the actor. Many cited his off-screen behaviour, including his
outspoken defence of his religion, Scientology, and his blunt criticism of
psychiatry and actress Brooke Shields' treatment for postpartum
depression. Cruise also became the butt of jokes for his manic, couch-hopping
appearance on The Oprah Winfrey Show last May to declare his love for
actress Katie Holmes, who recently gave birth to Cruise's first biological
child, a daughter they named Suri. "As much as we like him
personally, we thought it was wrong to renew his deal," Redstone was
quoted in the Journal report. "His recent conduct has not been
acceptable to Paramount." The Journal story said Paramount
believes Cruise's behaviour hurt the box office of the third Mission
Impossible film. According to Access Hollywood yesterday,
however, Cruise's representatives said that his production company had decided
to set up an independent operation financed by two top hedge funds, which they
declined to name. Paula Wagner, Cruise's partner in the company, said such an
arrangement represented a new business model for top actors prominent enough to
take advantage of the flood of money coming into Hollywood from Wall
Street. "This is a dream of Tom and mine," Wagner reportedly
said. She challenged Redstone's assertion that Cruise's behaviour had
cost the studio ticket sales, pointing out the huge grosses. Cruise/Wagner
Productions has been based on the Paramount lot since 1992. Cruise, one
of the most successful movie stars of all time, also starred in Rain Man,
Born on the Fourth of July, The Last Samurai and Jerry Maguire.
Studio Cuts Tom Cruise Loose
Excerpt from The Toronto Star - Steve
Gorman, Reuters, with files from star wire services
(Aug. 23, 2006) LOS ANGELESParamount Pictures is ending its 14-year-old
relationship with Tom Cruise's production company because of his off-screen behaviour, the
chairman of the studio's parent company said yesterday in an interview with the
Wall Street Journal. Sumner Redstone, Viacom chairman, said the
behaviour of the star of the Mission: Impossible series and Top Gun was
unacceptable to the company, according to the Journal story emailed to
reporters yesterday. Yesterday's report signalled the end of one of the
most lucrative production deals commanded by any A-list Hollywood star and
followed other signs that Cruise's public stature had been damaged by his
conduct during the past year. Days after his latest film, Mission:
Impossible III, opened to lower-than-expected domestic ticket sales in May,
an online opinion poll seemed to show his star power had dimmed considerably.
The movie, still in theatres, has taken in almost $390 million (U.S.) worldwide,
while Cruise's War of the Worlds (also a Paramount film) made $591
million at the box office. Last month, the Los Angeles Times reported
that Paramount chairman Brad Grey had informed representatives for Cruise and
his production partner, Paula Wagner, that the studio planned to slash the
amount it spends on their company, Cruise/Wagner Productions.
The studio allowed his deal to lapse and warned Cruise that it would not back
any more of his movies until he agreed to a significant pay cut. The 44-year-old
star is said to have earned $70 million for the first Mission Impossible
movie. But months ago, Grey was one of several movie industry executives
who publicly rallied to Cruise's defence, insisting his status and popularity
were undiminished. They were reacting to a USA Today/Gallup poll
in which half of those surveyed registered an "unfavourable" opinion
of the actor. Many cited his off-screen behaviour, including his outspoken
defence of his religion, Scientology, and his blunt criticism of psychiatry and
actress Brooke Shields' treatment for postpartum depression. Cruise also
became the butt of jokes for his manic, couch-hopping appearance on The
Oprah Winfrey Show last May to declare his love for actress Katie Holmes,
who recently gave birth to Cruise's first biological child, a daughter they
named Suri. "As much as we like him personally, we thought it was
wrong to renew his deal," Redstone was quoted in the Journal report.
"His recent conduct has not been acceptable to Paramount." The Journal
story said Paramount believes Cruise's behaviour hurt the box office of the
third Mission Impossible film. According to Access Hollywood
yesterday, however, Cruise's representatives said that his production company
had decided to set up an independent operation financed by two top hedge funds,
which they declined to name. Paula Wagner, Cruise's partner in the company,
said such an arrangement represented a new business model for top actors prominent
enough to take advantage of the flood of money coming into Hollywood from Wall
Street. "This is a dream of Tom and mine," Wagner reportedly
said. She challenged Redstone's assertion that Cruise's behaviour had
cost the studio ticket sales, pointing out the huge grosses. Cruise/Wagner
Productions has been based on the Paramount lot since 1992. Cruise, one
of the most successful movie stars of all time, also starred in Rain Man,
Born on the Fourth of July, The Last Samurai and Jerry Maguire.
FILM TIDBITS
Depp To Take Lead In Movie Musical
Excerpt from The Toronto Star
(Aug. 17, 2006) LOS ANGELES (AP) Johnny
Depp is going from woozy
buccaneer to murderous barber. Depp is reuniting with director Tim Burton
(Charlie and the Chocolate Factory) to play the title role in a film
adaptation of Stephen Sondheim's musical Sweeney Todd, about a
19th-century barber seeking bloody revenge over his wrongful
imprisonment. The star of Pirates of the Caribbean: Dead Man's Chest,
this year's biggest hit with a domestic gross of $400 million (U.S.), is expected
to do his own singing, said Marvin Levy, spokesman for DreamWorks, which is
co-producing Sweeney Todd with Warner Bros. Sweeney Todd marks
the sixth collaboration between Depp and Burton, who scored a blockbuster in
summer 2005 with Charlie and the Chocolate Factory, in which the actor
played the reclusive candyman Willy Wonka. Their other films together are
Tim Burton's Corpse Bride, Edward Scissorhands, Ed Wood and Sleepy
Hollow. The filmmakers plan to start shooting Sweeney Todd early in
2007.
Darwin's Nightmare Filmmaker Lashes Out
Excerpt from The Globe and Mail
(Aug. 19, 2006) Paris -- Austrian filmmaker Hubert
Sauper has accused the Tanzanian government of
targeting people who took part in his award-winning documentary Darwin's
Nightmare, an indictment of the pitfalls of globalization in Africa. "The
Tanzanian government has decided to put pressure on everyone who participated
in my film," he said, denouncing "authoritarian methods of another age."
Tanzanian investigative journalist Richard Mgamba, who is interviewed in the
film, was arrested and faces being stripped of his Tanzanian nationality and
expelled from the country, Sauper said. Tanzanian President Jakaya Kiweete
charged this month that the film aimed to tarnish his country's image and
damage the Lake Victoria fishing business. AFP
Will Smith Partners With Bollywood Company
Excerpt from www.eurweb.com
(August 22, 2006) *Indian Entertainment company UTV
has announced it
has signed a deal with Will Smiths Overbrook
Entertainment and Sony Pictures to produce
two films worth a total of $30 million. Under the terms, Overbrook
and UTV will serve as co-producers on the films, while Sony will distribute
them in theatres worldwide, explained UTV chief executive officer Ronnie
Screwvala on Monday. "This deal will see UTV expand its presence
globally," Screwvala said. Details of the two movies were not
made public, though one would be live-action and the other an animated film,
according to AFP. As previously reported, Smith visited Mumbai in
February and toured the citys film production houses. He also met with major
Bollywood actors, such as Indias biggest star, Aishwarya
Rai. "I would love to work with Bollywood queen
Aishwarya Rai and feel a marriage between Bollywood and Hollywood is
required," Smith was quoted as saying then. UTV's group
company UTV Motion Pictures runs a specialized children's channel Hungama TV
and produced the blockbuster movie "Rang De Basanti" (Color Me
Saffron), which has garnered 1.25 billion rupees (27 million dollars) at the
box office to date.
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EUR Film/DVD Review: Flip The Script
Excerpt from www.eurweb.com - B
(August 22, 2006) *The opening scene of this DVD
(available 08-22-06)
features a shocking, full-frontal shot of Lucky (Teck
Holmes) moments before he perishes in a naked,
skydiving accident off the coast of Australia. Unlucky Lucks untimely demise
gives rise to a reunion of sorts, since seven of his college classmates convene
in L.A. to toast his memory while sorting out some unfinished business.
These bourgie, black thirty-somethings have all done fairy well in life,
except, it seems, when it comes to relationships. Rain (Robin Givens) is a popular massage
therapist and proprietor of an establishment called Cheeks & Buns. Jamal
(Randy J. Goodwin) is a chef at an A-list restaurant, while Bruce (Mel Jackson)
is a high-priced attorney. Preston, an M.D., refers to himself as a
vaginologist, because of his obstetrics practice. Then theres Tiffany
(Victoria Gabrielle Platt), an attractive Ph.D. who is also a best-selling
novelist, plus Nikki (Jazsmin Lewis), Nelson (Laz Alonso), and Angel (Bianca
Lawson). The first problem I had with this African-American version of The Big
Chill (which also revolved around seven friends reminiscing at a wake) is not
that it was blatant rip-off, but rather that I couldnt figure out just what
the heck the movie was about. Secondly, though these characters were supposed
to have arrived at a higher station in life, they definitely behave like
lower-class losers. Theyre getting high on weed, cursing, pulling knives on
each other, yelling at the screen in the movie theatre, befuddled by subtitles,
using the N-word, and above all, interrelating male-female wise in a jive
fashion. Patently manipulative lines like When the tears flow, the
panties go, were simply lost on this critic, as was the notion that a
professional would slip his business card into a strippers g-string. I
suspect, regrettably, that theres an audience out there for this sort
modern-day minstrel show, people eager to be entertained by the age-old You
can take the Negro out of the ghetto, but you cant take the ghetto out of the
Negro theme. But pardon me for expecting African-American fare to be far more
sophisticated than the new millenniums equivalent of Amos & Andy, complete
with Kingfish-quality buffoonery and an array of other degenerate coons.
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::TV NEWS::
CBC Spares No Expense For Series On Canada's Game
Excerpt from The Globe and Mail -
William Houston
(Aug. 23, 06) Hockey, A People's
History, started out as a good idea
and has now taken shape as a 10-episode documentary series that will
begin Sept. 17 on the CBC. It's clearly a high-end production. Actor Paul Gross
provides the narration. The content includes expensive re-enactments as well as
commentary from a bevy of persuasive and, for the most part, qualified
observers of the game. But after viewing the first hour, plus additional
minutes from later shows, we'll withhold a final opinion until the whole
package is available. Twice in the first episode, new voices enter the
narrative. The voices seem to be speaking, much as they do in a Ken Burns production,
from entries recorded in a period diary or memoir. The difference is, Burns
applied the precept of good journalism and told us the names of the
people. The CBC doesn't, which means the voices were either made up or
the names sloppily omitted. It's a relatively small point, but speaks to the
authenticity of the work at hand. The truth is, the first episode is closer to
being a slick docudrama than a well-developed report on hockey's early years.
The controversies associated with the game's birthplace are ignored, although
we were impressed by the revelation that a pair of Starr skates from Halifax
was at the top of a young Leon Trotsky's wish list. The series doesn't mention
an important 2002 probe into the game's origin conducted by the Canadian-based
Society For International Hockey Research, although the show uses the SIHR's
conclusion that the game was not invented, but rather evolved. Nor is there a
reference to the discovery in 2003 of correspondence by explorer John Franklin
in which he writes about hockey being played by his men on Great Bear Lake in
1825. That's the earliest recorded mention of hockey on ice. Still, several
colourful stories are told well. They include good accounts of the passion for
the game shown by the family of Governor-General Lord Stanley of Preston, and
the remarkable trek of the Dawson City team to Ottawa to challenge the famous
Silver Seven. Some of the commentary is excellent. Michael McKinley and Erik
Zweig, journalists who have written books on hockey, bring plenty of smarts and
enthusiasm to the narrative. And what would a CBC hockey production be without
Don Cherry and Ron MacLean? But the ruminations of Wayne Gretzky and, in
particular, Ken Dryden, who seems to think every word out of his mouth is a
lightning bolt of insight, seem old, tired and predictable. In the final
minutes of the 10-hour production, the People's History gets dewy-eyed
as it moves into glorification mode. Hockey is about purity, authenticity,
honesty, grace, humility, etc. It's the Canadian way. Hockey's
home is Canada, Dryden says. We're not going to win every tournament,
Gretzky explains. But nobody can take away the fact it's our game. Well,
okay, but here's hoping most of the 10 hours provides an eyes-wide-open, clear-headed
view of the sport's problems as well as its triumphs.
Hockey TV deal
NBC's profit-sharing television agreement with the National Hockey League
will expire at the end of the coming season, but sources say the deal is likely
to be extended two more years through 2009-10. The U.S. network's long-term
strategy, insiders say, is to use NHL programming over the next four years to
promote its coverage of the Vancouver 2010 Olympic hockey tournament, in which
NHL players will participate, but perhaps for the last time. The NHL could
demand a rights fee in a contract renewal, but NBC will be in the driver's seat
because it's unlikely another U.S. broadcaster will compete for rights. Hockey
ratings on NBC last season were down from 2003-04, when ABC aired the games. In
the regular season, NBC had a 1 rating (percentage of U.S. households watching
the telecasts) compared with ABC's 1.1. For the Stanley Cup final, NBC earned
an average rating of 2.3 for five telecasts, down 11.5 per cent from ABC's five
telecasts two years ago. But given that the league shut down for a year and saw
its profile decline on cable television when ESPN was replaced by OLN, the
numbers were viewed as acceptable. As well, NBC's national ratings were
superficially downgraded when some affiliates did not carry the telecasts. For
2006-07, NBC has increased its regular-season schedule to nine weekends from
six last year. The main reason for the increase was the reduction in the
2005-06 schedule because of NBC's commitment to the Turin Winter Games in
February.
Crimes Of Passion Go Better With Bill
Excerpt from The Globe and Mail
(Aug. 18, 2006) No one ever accused Bill
Kurtis of cracking a smile. For nearly
20 years, the A&E fixture has maintained the same dour presence, as befits
the host of such grim TV offerings as American Justice and Cold Case Files. Bill Kurtis dwells in
the dank realm of true-crime television, where you either get serious or go
home. And it's oddly comforting the big guy is still around. Bill Kurtis
is one of the few holdovers from a previous A&E era. He arrived in the
early nineties, in the salad days of Peter Graves, Jack Perkins, Bob Vila and
others long since put to pasture in light of the network's increasing reality
trend. A&E will never allow Bill Kurtis to escape its grasp, because
it knows there are a great many viewers addicted to his true-crime sagas. The
kids may be mad about Dog the Bounty Hunter, or the tattooed skateboard
types on Inked, but a more stable viewership keeps coming back to Bill
Kurtis's sombre dissertations on serial killers and crimes of passion. What's
more, Kurtis owns the company that produces his own specials for A&E. And
he's a cult figure, of sorts. As TV folklore goes, Kurtis's break came when he
was anchor of a local newscast in Topeka, Kan., in the mid-sixties. When he
learned that a tornado was winding toward the city, Kurtis told viewers:
"For God's sake, take cover!" and subsequently remained on air for
the next 24 hours. That's our Bill. And there's the sexy Bill. Apparently there
are fan clubs of women who regard him as a silver-haired sex object. The ladies
simply love that broad-shouldered Bill. There's more than enough of the big man
to go around this evening with a four-episode run of American Justice (A&E,
8 to 12 p.m.), which includes one new episode and three from the vaults. In the
first show, Kurtis tells the story of a middle-aged American man charged with
killing his mail-order Russian bride. The second episode recaps the tragic
abduction and murder of 12-year-old Polly Klass. The third American Justice
episode re-examines the baffling case of Mumia Abu-Jamal, a high-profile
African-American journalist convicted of murdering a police officer.
The fourth show is the most chilling: Titled The California Killing Fields,
it retells the sick partnership between serial killers Leonard Lake and Charles
Ng. When the duo's killing rampage finally ended, police found a property
ridden with human remains, a torture chamber and videotapes. As with the other
cases presented, it involves the retelling of horrific deeds, but somehow it's
made palatable, courtesy of the host's serious approach. Kurtis's calm delivery
has become his TV stock in trade and the 65-year-old isn't likely to change his
style any time soon. And like a real crime reporter, Kurtis occasionally goes
missing from the A&E line-up for extended stretches of time, which he
presumably spends chasing down leads in waterfront bars. And then, like
tonight, he suddenly reappears with new crime stories. The funeral-director
suits may change, but he's still the same old serious Bill..
CBS To Simulcast Katie Couric On-Line
Source: Associated Press
(Aug. 18, 2006) NEW YORK CBS said Thursday it will become the first
network to simulcast its evening news broadcast on-line, starting on the night
of Katie Couric's debut as anchor Sept. 5. All of the broadcast networks have
aggressively pushed onto the Web over the past two years to interest more
people in what they do, particularly at a time the audience for their evening
newscasts is growing smaller and older. ABC streams a World News unique to the
Internet audience in the mid-afternoon. NBC's Brian Williams contributes to
both a video and written Web log during the day. However, NBC doesn't make a
replay of Nightly News available until 10:30 p.m. ET, after it is shown on
television throughout the country. The concern among network affiliates that
Web simulcasts would slice into their TV audiences making their advertising
time less valuable has been a barrier to TV networks doing this. But CBS News
President Sean McManus said the network was able to reach a deal with its
affiliates by arguing that the programs will reach a different audience
on-line. Television ratings for the first few days of the NCAA basketball
tournament went up this year even though CBS showed the games on the Web at the
same time, he said. "It makes sense if you have access to a television,
why would you want to watch it on computer?" he said. People will have to
specifically register on-line to see the Web simulcast, however, in order to
prevent people in later time zones from watching the news before it is
broadcast in their area, CBS said.
McManus envisions the on-line simulcast appealing to people stuck late in the
office or commuting with a laptop who might want to be filled in on the day's
news. "I think it could help us potentially grow our audience," he
said. Advertising for the on-line simulcast will be sold separately, he said.
ABC's afternoon World News averages about two million downloads per week, the
network said. The Webcast, anchored like the TV version by Charles Gibson, is
tailored to the Internet audience, said Jon Banner, World News executive
producer. For example, in addition to the day's top story, it offers a heavier
concentration of technology and pop culture stories, he said. ABC sees its
Webcast less as a way to build its television audience and more as a way to
build loyalty among people who seek news on-line, he said. "We take the
approach and we believe it's the right approach that the Internet audience
is different from the one watching the broadcast and is looking for different
content," Banner said. CBS is offering its simulcast in the face of trends
that show people who watch video on the Web prefer it in shorter bursts. But
CBS said Internet users who prefer this approach will still be able to pick and
choose news video from the network's Web site. The network also said it was
setting up a new Web log, Couric & Company, that will include written and
video contributions about the news from CBS personnel.
T-Bag Actor Playing Hidden Hand
Excerpt from The Toronto Star - Rob Salem
(Aug. 20, 2006) Give this man a hand. Robert
Knepper was as surprised
as anyone when his Prison Break character, Theodore "T-Bag"
Bagwell, violently lost an appendage at the end of last season.
"They don't throw the scripts at me too early," the actor said during
a promotional visit to Toronto. "And I don't really care to know about the
story plot I've got too much to think about as T-Bag in the moment."
Knepper said he only learned about T-Bag's loss just before the scene was shot.
Not much of a TV watcher, he said he sought assurances "this isn't
something that everybody else is doing on every other show. "The
only other thing I said," he grins, pulling down his sleeve to
unconvincingly obscure his hand, "was, `Please, don't make me do
this.'" The sleeve trick was apparently not an option though at
that point, the writers hadn't yet worked out how Knepper's left hand would be
concealed in future scenes. The way Knepper sees it and who knows T-Bag
better? the desperate escapee would do everything in his power to rescue and
re-attach the severed mitt. "I figure he'll be going, `I got my
hand, I gotta put it back on.' So he'll convince somebody to do it, and they'll
probably do it half-assed, and he'll probably think ... my guess is (miming a
shrivelled limb), `Hey, it's working! It's working! ... It's not working. It's
not working!'" Even one-handed, T-Bag remains one scary-ass dude.
Which is a testament to the skills of the thoughtful and well-spoken actor,
whose television credits include the L.A. Law pilot a couple of decades
ago, in which he portrayed a covertly transsexual legal secretary. Not
the first guy that comes to mind when you think vicious, cold-blooded
killer. "The interesting tidbit is, when the part was put on paper,
(T-Bag) was 240 pounds with a gold tooth." Yet "I loved the
part right away," he says. "I loved the charm and the wit of this
guy. He's not playing any of the obvious stuff, like, `Hello, I'm in here for
raping and killing 12 children.'" That T-Bag charm doesn't always
play off-screen. "I had one bad reaction," Knepper says, in a
hotel in Dallas. "I'm waiting for the elevator, and the doors open up, and
this sweet, young, tow-haired, blond couple from Denver are standing there,
just looking at me. And the girl kinda freaked. "But generally,
people just come up and say, `Great job.' They know it's acting."
TV TIDBITS
Rick Fox - Canadian Hoops Star Ready For Prime Time
Excerpt from The Globe and Mail
(Aug. 17, 2006) Los Angeles -- Rick Fox may have given up basketball,
but not the spotlight. The Canadian-born former Los Angeles Laker has scored a
recurring role in the new FX television series Dirt, his spokeswoman,
Lori Jonas, said Tuesday. Production begins this month on the hour-long drama
for the U.S. cable network, which stars Courteney Cox. Fox will play Prince
Tyrese, Jonas said. Fox, 37, has collected a handful of acting credits
over the past 12 years, including Holes, Eddie and He Got
Game. He was married to singer-actress Vanessa Williams for five. The
couple split in 2004 -- the same year he ended his basketball career. AP
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Eriq La Salle Brings Two Projects To TV
Excerpt from www.eurweb.com
(August 21, 2006) *Amidst the hollow absence of
television dramas starring
African Americans in lead roles next season, former ER star Eriq La Salle is hoping to stem the
tide with a new drama from his own production banner, Humble Journey. CBS has
purchased La Salles 25 to Life, a crime drama that will also star the actor
as FBI agent Gabriel Santana. The premise follows federal agents who work
with criminals to solve cases. The show represents the first major development
to come out of La Salle's talent and production deal with CBS Paramount
Network, which was signed last year. In addition, NBC has given a
script commitment to The Four Next Door, a Humble Journey comedy centered on
the Four Horsemen of the Apocalypse. War, Famine, Pestilence and Death as
referenced in Revelations, Chapter 6 of the Bible arrive on earth a decade
too soon for the end of the world and are forced to blend in among humans.
TVOntario veteran Grant finds a new home at CBC
Excerpt from The Globe and Mail -
Guy Dixon
(Aug. 19, 2006) Toronto -- Broadcasting veteran and former TVOntario executive
producer Doug Grant, whose popular current events show Studio 2 was suddenly
cancelled in June as part of a massive overhaul at the provincial public
broadcaster, has found a new home at the CBC. Grant has been named
director of current affairs and weekly programs for CBC-TV and Newsworld and
will help to create new current affairs programs. He replaces Julie
Bristow, who recently took a newly created position heading factual
entertainment programming.
Byron Allen Behind Comics Unleashed
Excerpt from www.eurweb.com
(August 22, 2006) *Imagine The View but with
comedians such as George
Wallace, Dane Cook and Howie Mandel discussing hot topics. The idea has been
snatched by actor-comedian Byron Allen for a new television show entitled, Comics
Unleashed. The new
nationally-syndicated comedy series, Allens latest project from his production
banner Entertainment Studios, will premiere Sept. 25 and mark the first time
stand-up comics sit together in front of a live audience to discuss various topics
thrown out by Allen himself. Stand-up comedy gave me my start in this
business and I've always enjoyed the backstage comedy with other comedians
before and after we took the stage," said Allen. Comics Unleashed will
bring those hilarious conversations to households worldwide and laughter to
viewers each night." In addition to Cook, Mandel and Wallace, the
first comics slated to appear include Jon Lovitz, Carol Leifer, David Brenner,
Pauly Shore and Brad Garrett. Allen, who got his start as
co-host of the TV show Real People, founded Entertainment Studios in 1993 and
launched the celebrity-driven television show "Entertainers with Byron
Allen," a weekly, one hour program profiling the most current stars in
film and television.
::THEATRE NEWS::
EUR Gets Sneak Peek At 'Dreamgirls'
Excerpt from www.eurweb.com
(August 18, 2006) *Monday night EUR was among a
handful of media
outlets and influential persons that were invited by the DuVernay Agency to
attend a special screening of selected scenes from the highly anticipated film
"Dreamgirls."
The event was held at the Pacific Design Center in West Hollywood. In
case you hadn't heard, the movie stars Beyonce, Eddie Murphy, Jamie Foxx, Danny
Glover, Jennifer Hudson and Anika Noni Rose. While we can't confirm the budget,
it's obvious from the look of it that Dreamworks and Paramount spent mega
millions to make the musical. It easily could have cost north of $75 million.
That's unheard of for a movie with a black cast even one this great.
All we can say is when this movie comes out make sure you purchase your
tickets in advance 'cause we have a feeling that this one will pack them in at
the box office and tickets might be scarce opening weekend. If you're wondering,
the singing and stage production is unbelievable and the acting is top notch.
(Yep, Miss B has stepped up her game in that department, too). Several scenes
blew our minds: Eddie Murphy's James Brown-like singing and performing along
with his patented comedic antics. Also, Beyonce's incredible beauty is
highlighted like never before in a photo shoot montage that's breathtaking.
Come to think of it, every scene we saw was mind blowing. Oh yeah, it's a cinch
for multiple Academy Award nominations, too. In particular, there's already
Oscar buzz for Jennifer Hudson's portrayal of Effie. Speaking of
Hudson, after the screening we were directed to an outer room for refreshments
and a special treat from the singer (and now actress).
The now slimmer and trimmer vocalist, who came to prominence on "American
Idol," treated us to three songs accompanied by a pianist. Afterwards,
while meeting and greeting well wishers, Hudson reflected on her performance
and told us her dream has been realized. "I always wanted to do 'Dreamgirls'
on Broadway and I wound up in the movie of 'Dreamgirls' and to sit back and
watch and say I did that? I'm in a movie? It's a dream. It's nothing short of
it," she told us. Hudson also admitted that she always dreamt of
doing Effie as well because she is a huge fan of Jennifer Holliday, who created
the part on Broadway. "I grew up singing 'I'm Changing' and 'I'm Telling
You' just for my performance songs and now it's my music and I'm going to be
singing this for the rest of my life, Hudson said. And ... c'mon
now, Jennifer Holliday ... I think she is one of the greatest vocalists of all
times. To be able to shadow her, to come behind her and do this, are you
serious? I get to be the one?! I think the world of her.
"Dreamgirls," written for the screen and directed by Bill
Condon, will be released on December 22. For more visit www.dreamgirls.dreamworks.com.
Summary/plot of "Dreamgirls" from IMDB.com:
Effie White, Deena Jones, and Lorrell Robinson - three friends from
Chicago - are a promising singing trio called The Dreamettes. Accompanied by
their songwriter C.C. White (Effie's brother), they travel to New York to
compete in a talent show at the Apollo Theatre. Although the girls lose this
first bid for fame, their talent attracts an ambitious manager by the name of
Curtis Taylor, Jr., who uses unscrupulous tactics to move the girls from backup
singers of superstar James "Thunder" Early to superstars of their
own. Curtis reshapes the group to "crossover" from R & B to the
lucrative pop music scene. Lead singer Effie gets replaced by the more
attractive Deena and is eventually dropped from the trio. The group evolves
into a more sophisticated group, The Dreams, with a lighter sound and chic
look. They successfully attract a "whiter" audience and The Dreams
rise to international stardom. The money, fame, and adulation, however, doesn't
bring them happiness. Deena decides to leave The Dreams and pursue a film career,
and when the group finally learns of Curtis' drug problems and payola schemes,
they decide to let it all go. At the final appearance of The Dreams, they
reunite with Effie for one final number. The score includes And I Am Telling
You I'm Not Going, I Am Changing, One Night Only, Fake Your Way to the Top,
When I First Saw You, Dreamgirls, Steppin' to the Bad Side, and Cadillac Car.
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Two Young Actors Skip Class To Play Key Roles In Oliver!
Excerpt from The Globe and Mail -
Kamal Al-Solaylee
(Aug. 19, 2006) One of the more heart-warming performances at the
Stratford Festival this season comes from
an actor who, nine months ago, had never heard of the place or set foot on a
professional live stage. In fact, when he was called for his first-ever
audition at Stratford, Tyler Pearse's entire acting career consisted of one commercial and one movie
role as a walk-on extra. The audition was for the title role in Oliver!,
Lionel Bart's popular 1960 adaptation of the Charles Dickens novel that the
Stratford Festival had already announced as its signature musical for the 2006
season. Director Donna Feore and husband Colm (as master pickpocket Fagin) were
already onboard. The search was on for a child actor who could embody Oliver's
angelic innocence and plucky spirit. It's safe to assume there was some
pressure. Feore had already decided that Oliver was to be played by one actor
for the entire run, eschewing the normal practice of rotating the taxing part
between two (or more) young performers. A miscast Oliver can inflict some
serious damage on the production which, in turn, can handicap its box-office
chances. And the Stratford Festival's budget depends heavily on the revenue
from musicals at the Festival Theatre. . Seven months after landing the part
and five months into the production's run, Pearse, 10, can still recall his
feelings during that first audition in January and the three callbacks that
followed. "It was a little bit nerve-wracking," he said last week in
a interview in Stratford. "It's you with a song that you're going to sing
in front of three people in an empty room. And a piano. So yeah, I was a little
bit nervous."
So nervous perhaps that his mind has blocked the audition details. He can't
remember which song he used in the first audition. It was one of many he
learned as a member of a children's choir in Mississauga, Ont., where he lives
with his parents and his 13-year-old brother. In person, Pearse seems
even smaller, younger and more innocent than he looks on stage. It's hard to
equate this 10-year-old with all that talk about under-12s facing criminal
trials in Canadian courts. He's in the habit of looking at his father, who sat
through the interview, before answering questions, not for approval but
reassurance. The multiple auditions were the first and easy part. Pearse
then had to juggle grade-four schoolwork and a six-days-a-week rehearsal
schedule. To make it as easy as possible, Tyler's parents rented a house in
Stratford and transferred him to a local school. "His teacher would
put away stuff for Tyler to do during the week," says his father, Paul,
who runs a warehouse that distributes personal-hygiene products across the
country. "At the end of the week, Tyler would hand it back and they'll
have the next batch for him to do." Tyler only attended school like a
regular kid on Mondays, his day off from rehearsals. The rest of the week, he
did his homework at night at home and sent it back to the school. It
would be great (in a sensational sort of way) to report that the rehearsal hall
was a Dickensian workhouse of order and discipline, that mistress Feore was
cracking the whip and putting the fear of the theatre gods into Pearse and
other child actors, or that stories of abuse, hunger and Hollywood-style,
studio-era manipulation were heard in the corridors. Not a chance, says Pearse.
The rehearsals were tough, but everybody was "really, really nice."
With more than 50 performances to his name since the show's opening on May 30,
Pearse says he's no longer nervous about going onstage. On performance days, he
doesn't do any strenuous activity, and his pre-show routine is down to an exact
science. (Science, incidentally, is his favourite subject in school.) "We
come here two hours before the show," he explains. "We have makeup
on. We have a vocal warm-up and I'm in the fight warm-up. We get ready and go
on stage."
He hopes to land more acting work in the future, but he'd prefer something
along the lines of an action and adventure film to singing Victorians. He
adores Johnny Depp and has seen the first two instalments of Pirates of the
Caribbean more than once. "Film work is easier than theatre," he
says. "Theatre is live and if you mess up, everyone sees it. But in movies
if you mess up, they can stop and redo it." If Pearse seems a very young
10, his co-star Scott Beaudin is more typical of a 14-year-old showbiz kid.
He's done commercials, voice-overs and considerable TV work, mostly as a guest
star on several miniseries -- "usually the child of a suspect," he
says. He's poised, articulate and in the habit of saying things like,
"I've kept the house in Stratford," or "I stay here when there
are three performances in a row so I don't have to drive back and
forth." What the Hamilton native, who starts grade nine in just over
two weeks, means is that one of his parents stays with him in Stratford or
drives him between the two cities. Such an independent spirit is in keeping with
the character he plays, The Artful Dodger, who invites Oliver to London's
underground of petty criminals and considers himself at home. Like Pearse, he
completed most of his academic work by correspondence last year. Although he
thinks school is a "chore" and is "not too upset" to have
been away most of the last academic year, Beaudin confesses he misses a normal
education -- "to sit down and actually focus, have a teacher sitting over
me and telling me what to do." While his older co-stars were sick with
anxieties as the run approached, and with stage fright before actual
performances, Beaudin barged in fearlessly. "We just knew our stuff so
well that no matter how nervous you got, there was no way of screwing up,"
he explains. "I knew my dance steps inside out." Chances are he won't
sign on for another project that will dominate more or less a year of his life.
"I've done nothing I've had to commit to for this long before," he
says. "I don't think there's anything you have to commit to for an entire
year, unless you're filming The Lord of the Rings or something."
Bridging Reason And Faith
Excerpt from The Toronto Star - Richard
Ouzounian
(Aug. 22, 2006) Bertolt Brecht died 50 years ago this month and no greater
tribute could have been offered to him than the National Theatre's powerfully
chilling production of The Life of Galileo. The story of the famed
Renaissance astronomer, who faced execution at the hands of the Catholic
Church, merely because he insisted the Earth moved around the sun and not vice
versa, now seems more relevant than ever. In a world where truth is ever
elusive and those in power will do anything to hide it from the rest of us,
there is no better company or fitter hero than Galileo Galilei. Self-indulgent,
self-obsessed, mentally sharp and physically flabby, he is in many ways the
least likely of secular saints. In Howard Davies' modern-dress production, he's
played with rare brilliance by Simon Russell Beale. In a rumpled linen suit,
swigging at a bottle of Johnny Walker and dusting himself with a perpetual
shroud of cigarette ash, he seems just one step removed from the gutter. Yet,
even though he lands there occasionally, he is always to echo Oscar Wilde
looking at the stars. And what he finds up there in the heavens is the key to
opening the last locked door of the Middle Ages and allowing the full glow of
enlightenment to shine through. The Catholic Church claimed the Earth stood
still. Galileo insisted it moved. The one who was right would set the course
for the future. This may sound like dry and intellectual stuff, and for some
people the mere mention of the word "Brecht" produces instant
slumber.
But that's without counting on the impressive bench strength that the National
can bring to a production like this. The translator, to begin with, is no
half-baked German scholar writhing through a mass of footnotes, but David Hare,
one of the most dramatically and politically astute minds in our theatre.
Davies, the director, is a man of impeccable credits, who combines the rare
gifts of being able to paint on an epic canvas while still knowing how to
illuminate the smallest personal details. And Beale, of course, is one of the
modern stage's treasures, a crumpled hedgehog of a man, devoid of conventional
physical glamour, who still somehow manages to command our attention the way no
conventional Adonis ever could. What does he do to Galileo? He presents him as
neither sinner nor saint. He's a man who won't hesitate to claim another's
invention as his own if it will help him make a point. He destroys his
daughter's chances for married happiness, risks the lives of all around him and
doesn't think twice about what he's doing. Yet underneath, he is terrified of
many things. When finally faced with the Inquisition, there is no need to apply
torture to get him to recant. "They showed me the instruments," is his
quiet admission of all it took to make him step down from his pedestal. The
play runs over three hours, but you'd never know it, thanks to the tag team of
Hare, Davies and Beale. They make Galileo's story more thrilling than any Da
Vinci Code could ever hope to be.
As usual at the National, the rest of the team is first-rate as well. The
design of Bunny Christie is a marvel of structural beauty and precision, using
the revolving stage as a metaphor for the whirling of the solar system. The
supporting cast is too full of gems to mention them all, but Elizabeth Dermot
Walsh is immensely touching as Galileo's daughter and Bryan Dick has all the
right intensity as his leading disciple. But in the end, it's Beale you will
rightly remember. Even in the final scene, when, nearly blind, he staggers
around the set like a character from Beckett while waiting for a goose dinner,
he still sets an incandescent intellectual fire blazing through the underbrush
of compromise and collusion that surrounds him. "Truth is the child of time,"
he finally proclaims, "and is not the prisoner of authority." It
seems that Brecht indeed had truth on his side even if it took some people 50
years to realize it. This production runs in London until Oct. 31. If you're on
the other side of the Atlantic, do anything you can to see it, even if you have
to try to make the Earth stand still.
::OTHER NEWS::
Chappelle's Fans Have Last Laugh
Excerpt from The Toronto Star - Raju
Mudhar, Staff Reporter
(Aug. 22, 2006) Although the tickets said 7:30, an hour later there was
still no sign of the comedian. It got to the point that the capacity crowd for
the
first of Dave Chappelle's four sold-out shows at Massey Hall began cheering every time it
looked like the warm-up deejay was about to stop, in hopes of bringing the main
man out. But after he blazed through a wicked 75-minute set, no one
remembered the wait. Wearing a grey shirt with "Power, Corruption and
Lies" stencilled on it, blues jeans and white kicks, the man took the
stage at 8:45 to a raucous ovation. Looking fit and trim, he used the night to
make with the funny, but also to tell his side of his own story.
Honestly, it felt like this current tour is a way for the fans to check up on
Chappelle, and he wants them to know he's okay. The man made headlines after
signing a $50 million deal last year with Comedy Central for his hit sketch
program, Chappelle's Show, but in the middle of the third season of
production he abruptly quit fuelling rumours of drug use and mental
instability and eventually left for Durban, South Africa. He walked
away from the contract, although recently Comedy Central released the odds and
sods collection of the third season on DVD. Chappelle has since done
selective high-profile interviews, with the likes of Esquire and Oprah
Winfrey, often saying he left because during one particular skit where he wore
blackface, he heard a crewmember chuckle and he felt "like they were
laughing at me, not with me." After quitting, he returned to his first
love, stand-up, which is why he's in Toronto.
It's not like the mystery has deterred his fans. The shows sold out in four
minutes and, considering some people in the crowd knew a few of the punch
lines, it's obvious some folks are following him around. It's impossible
to tell most of Chappelle's jokes in a family newspaper. Sprinkled with
profanities, mostly motherf---er and bitch, he was everything his fans
expected. He moved through his racially charged humour but also talked about
sex, drugs and politics in his breezy, casual style. Make no mistake, despite
quitting his day gig, his fans are still completely onside, and Chappelle is
smart enough to milk it, making fun of the media sensation but also using the
stage to explain why he did what he did. He chalked much of it up to the
deteriorating state of America, and also praised Canada. "Thank God
for Canada. Otherwise Americans wouldn't have a place to get away to," he
said. "It's a little closer than Africa . . . Your s--- is freer up
here." About the media frenzy that he caused: "They called me a
crackhead in Newsweek. I'm never going to forget that. Even when I read
that I was like, `do I smoke crack?'" Like the shirt he was wearing,
Chappelle who's always been observational with his material was a bit more
overtly political than his previous recorded stand-up. Talking about the
Iraq war and the truths his countrymen can't afford to tell themselves, he
said: "What if the truth is that America is living a lifestyle it can't
afford? America is living like MC Hammer did. He got a $30 million record
contract but bought a $29 million house." Throughout his set he
touched on everything from Mel Gibson ("His career's not over, he made an
action movie about Jesus") to AIDS, Canadian health care, his wife,
masturbation, porn, and even got a SARS shot in ("Everybody looking like
Michael Jackson. It's like there's an outbreak of Ninjutsu in
Canada.") It was a great show, and a good way to check up on the
man. And, although I'm sure he knows it Dave, we're definitely laughing with
you. Keep it coming, however you like.
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Kenyan Novelist, 68, Refuses To Be Silenced
Excerpt from The Toronto Star - John
Freeman, Special To The Star
(Aug. 19, 2006) Forces within Kenya have tried to silence the voice of
Ngugi wa Thiong'o twice. In 1977,
future president Daniel arap Moi threw him into a maximum-security prison
without trial for co-authoring a play critical of the government. Ngugi was
released a year later, and eventually left the country fearing for his own
safety in 1982. For a while it looked like he would never return.
"Moi used to say, `I can forgive anybody but Ngugi,'" says the
68-year-old novelist today at his home in Irvine, Calif. So when Moi
agreed to abide by term limits, and his handpicked successor lost in the
presidential elections, Ngugi realized he had a chance to go home. It was
good timing. He had just completed a six-volume satirical novel called Murogi
wa Kagogo a ribald satire of a fictional African dictator. It was also
the longest novel ever written in his native Gikuyu language, one of 40
languages in Kenya. He decided to turn his homecoming into a book tour
and lecture circuit. He brought his wife and his children. "At the
airport the crowds were there," he remembers, "some weeping, some
holding on to books. All the newspapers headlined my talk."
"Some of the books were covered in dirt," his wife, Njeeri,
remembers. "Because they had to bury them to hide them when his books
were banned." And then things went horribly awry. On Aug. 11, 2004,
intruders broke into the apartment where they were staying. "We felt that
this was no ordinary robbery," Ngugi recalls, "because they didn't
take anything first, they just sort of hung around, waiting for something to
happen.
"Quite frankly, I thought we were going to be eliminated." They
managed to escape that fate, but not without suffering. Ngugi's wife was
stabbed and raped in front of him. When Ngugi tried to intervene he was burned
with cigarettes on his forehead and arms. The couple emerged from the
hospital a day later, and Ngugi issued a profoundly sad but generous statement.
"We have to keep rising up," he said. "The Kenyans who attacked
me do not represent the spirit of the new Kenya." Messengers then
came to the hospital to warn his wife against speaking out: "We do not
speak of that in this country," she remembers being told. Neither
Ngugi nor his wife has complied. While the robbery and rape trial drags on,
Njeeri has spoken about her experience, and Ngugi laboured to translate his
magnum opus from Gikuyu into English, no small feat given that the book runs to
766 pages. It is now being published as Wizard of the Crow (Knopf,
$40). Sitting on his back patio before a garden of mangoes and avocado
trees grown by his wife, water trickling from a fountain, Ngugi explains why he
feels it was essential to write Wizard of the Crow in Gikuyu.
"If I had published this book first," he said, holding up the English
edition, "this book," he says, patting the Kenyan edition,
"would not exist." Set in the fictional African republic of
Aburiria, the novel conjures a ruler who has surrounded himself with comically
sycophantic cabinet ministers. One has surgically enlarged his ears to prove he
always has an ear to the ground, the other has had plastic surgery on his eyes,
to show he has his eyes on the public. For the ruler's birthday, this group
suggests building a tower up to heaven so that the ruler can speak to God
directly.
For funding, Aburiria's majestically self-important ruler turns to the Global
Bank for cash, but he must constantly fight against the mockery of his public.
An underground resistance called Movement for the Voice of the People protests
his ceremonies, while long lines of unemployed workers betray his failure to
provide for his people. At the crux of the resistance are a young beggar
named Kamiti, and a revolutionary he falls in love with named Nyawira. Kamiti
discovers he has the capabilities of a seer when he sets up shop as a fictional
wizard, dispensing advice to people who want to crush their enemies.
Nyawira occasionally sits in for him when he cannot make his engagements.
"The trickster character is very important in this book," says
Ngugi. "All the characters perform themselves; they are inventing
themselves all the time." This is especially true of the ruler, whose
sense of self-importance is so large he literally becomes the body politic.
When the state becomes buoyant with the possibility of improvement, he swells
up like a hot air balloon, causing speculation as to whether a curse has been
put upon him. "The playfulness with language you find in the novel
is very much to do with the language it was written in," says Ngugi.
"Pregnancy is a phrase as well as a term in Gikuyu. So when there are
strange things happening, you say she is pregnant as with possibilities. So
it's a kind of warning. You might say: the situation is pregnant."
Although the leader's westernized suits recall Moi's jackal dapperness, Ngugi
insists this is not just a novel about Kenya and the failures of Western aid.
"I was drawing from lots of Third World dictatorships: I was thinking of
Moi, but also of Mobutu, Idi Amin and Pinochet. They were all on my mind."
"In 1982 when I was exiled I was based in London and I worked on the
committee for the release of political prisoners in Kenya. I worked closely
with people from Chile, from the Philippines. I carried the images of those
people with me." Ngugi lived with Wizard of the Crow for 10
years, but it almost seems that now the book is finally done he is happier
talking about other things. Since 2003, he has been distinguished
professor of the humanities and director of the International Center for
Writing and Translation at the University of California, Irvine. Among his
duties for the latter, he has been running workshops, panels and giving
residencies to writers working in marginalized languages. He also edits a
journal in the Gikuyu language. "What is so devastating in a
dictatorship is the taking away of a voice," he says. And the prevalence
of English in the world, he argues, has only sharpened that blade against the
larynx of indigenous peoples. So Ngugi has been unbending in this arena.
He began writing fiction in Gikuyu while he was in prison 30 years ago,
scribbling out a novel on toilet paper, and has never turned back. This has
made his job a little harder, even as the circumstances of writing Wizard of
the Crow were much cushier than before. "I began it in Orange,
New Jersey, and I finished in Orange County," he says. And yet this book's
flavour is anything but sweet.
John Freeman is president of the National Book Critics Circle in the U.S.
How To Party Like A VIP
Excerpt from The Toronto Star - Alwynne
Gwilt, Entertainment Reporter
(Aug. 19, 2006) We've all been there. It's a hot summer night and the
weekend has arrived. The best antidote to the stressful workweek would be a
strong martini and some sexy tunes. But the last thing you want is to wait 45
minutes in line to get into one of the city's hottest clubs. That's a definite
buzz kill and a certain blood-pressure enhancer. After my own misfortunes
lining up at a certain west-end club that shall remain nameless, I wondered
what it would take to get the VIP treatment and bypass the lineup at one of the
more upscale places on a busy night. On that particular evening, I had gone to
celebrate my birthday with a small group of friends. I walked up to the
jumble of a line shimmying my way to the front, to speak with the bouncer.
"How many?" he asked me. "Only five," I replied. "Wait
two minutes and there should be no problem," he said. Figuring I was in, I
motioned my friends two girls, two guys to the front. We waited. And we
waited. And watched the slinky-dressed divas float by into the club; and the
wrist-banded chicas who apparently were on a guest list. After 15
minutes, my friends and I were frustrated. I motioned to the bouncer and he
coolly strode over, asking, "Is there any particular reason you need me
over here?" I swear I saw a sneer. "You said two minutes; it's
been 15," I replied. "Well, what can you do for me?" he
said nonchalantly, obviously wondering how much I would pay him. Annoyed, my
friends were ready to depart. My boyfriend told me this club wasn't worth our
time. After another 10 minutes of getting crushed by dozens of anorexic bodies,
I finally told the bouncer he wasn't getting anything extra out of us. But my
curiosity was piqued. Like the apple Eve just couldn't have, my temptation to
get into one of these clubs sans hassle was decidedly heightened.
I started in on some research, finding a well-known club manager to chat with.
Mike Chalut has worked at Lobby, at Bloor St. W. near Avenue Rd., and is now
manager and VIP host for Ultra Supper Club on Queen St. W. He's dealt with them
all, from Hollywood superstars to Toronto's big shots. "As simple as
it sounds, coming to the door with self-confidence and the right attitude is a
huge thing," he tells me over the smooth tunes that indicate the club is
gearing up for a steamy night. "It's not about having $55 million in the
bank or $5 in the bank; it's how you carry yourself. "You can easily
go to H&M and get an upscale shirt but not spend the money."
Chalut adds that name-dropping is not the key to a successful line-skip,
because that can often go terribly wrong. "My favourite line is when
I'm outside and they come up to me and say, `I'm friends with Mike
Chalut,'" he says, laughing and adding that people try everything from
dressing up like a celebrity, to bringing rented security guards to get
in. "It's about being nice.... The doorman has to be your friend....
He's the one that controls everything," says Chalut, who still remembers
the difficulty he had trying to get into the Big Easy when he first arrived
from Windsor. I think over what Chalut has told me. Maybe I wasn't
confident enough when I strode up to the doors of that club. Or maybe I just
didn't know the correct way to act. He tells me that large groups of guys are
also a no-no because of the "rowdy" factor. And he adds that people
under 25 can also be a problem because many posh clubs are attempting to be
"Hollywood's hangout." "You don't want to have people who
are going to get really hammered, and fall down and go boom; you want people
who know how to party and look sophisticated," he says. With this in
mind I decide to formulate my own tricks of getting into these places. These
are a few suggestions:
· Guest of Honour. If you call a few days ahead of time you have a
chance of getting on the guest list. This tactic doesn't guarantee a quick
entrance because there's often a line even for the special crowd. And sometimes
the list is just plain ignored.
· By the Bottle: Touted as the hot new thing in this city,
shelling out for bottle service will get you in with plenty of servers ready to
wait on your every move. At $160 for a bottle of champagne, grab seven friends
to split the cost and you'll be guaranteed VIP treatment.
· The Entourage: Get a big group of friends, dress to the nines,
rent a limo for the shortest possible time allotment (to save for drink funds)
and wear big sunglasses. You might just be able to fake being the next big
thing, especially during the film festival. The bouncer will be so stunned by
your presence, he won't even ask for I.D. Of course, nothing would be
more humiliating than to go through all this trouble only to be rejected. It is
at this point you go to the final desperate step.
· The Payoff: If all else fails, slip the doorman a $20. Don't be
rude about it because that could make him angry. Many clubs have no strict
policy on this; some bouncers may turn you down while many others will be more
than happy to pocket some extra bills.
Armed with knowledge, I returned to the scene with a few extra tricks up my
sleeve.
Attempt No. 1: Credentials Friday 11 p.m.: I get out of the taxi a block
away. I'm worried even though I called ahead. The conversation went smoothly
enough. I told the hostess I was working on a story about clubbing for the Star
and that I wanted to make sure there would be no hassles when I got to the
door. With my boyfriend in tow, we make our way to the sexy entrance that is
Lobby. To fit in, I've even put on my pair of Carrie Bradshaw Manolo Blahnik
knockoffs. The bouncer looks at me and says, "Sorry, private party
tonight." I wince, just briefly, but I say, "I'm on the list,"
as confidently as possible. "Go right in ma'am," says the bouncer, lifting
the velvet rope. I try not to smirk. I'm in, and he didn't even ask for any
I.D. Couldn't anyone do this? Theoretically, anyone could pretend to be
someone they're not print up some impressive-looking business cards, perform
your best Keira Knightley accent, assume the air of an exotic visiting
dignitary or a rising media tycoon. The worst that could happen is you get
laughed at and turned away, and your face will soon be forgotten among the
thousands of patrons who visit the club in a night. The best: People believe
your fib and you get the royal treatment all night.
Attempt No. 2: I'm meeting somebody Saturday, 11 p.m.: This time
I'm taking a gal pal who has happily volunteered saying, "I'm just your
sexy accessory ... apply me at will." We decide to conquer Yorkville
first, thinking it will be the toughest. I walk up to Amber nightclub's covered
entrance and the sophisticated doorman asks if we have reservations.
"We're actually meeting someone here for drinks," I say, the words
tumbling out before I can stop them. "Did she make
reservations?" I look to my friend who plays up the puzzled
expression. "I think she did," I say, trying not to go red. "Did
Angie make reservations? She told us to meet her at 10:30. What time is it
now?" "I'll just give her a call," she says. We move to
the side. "We're so not getting in," I think. "There's no
answer," she says, looking sadly at the other doorman. "Don't
worry," says the first. "We'll let you in." "Will
that be for bottle service or just cocktails this evening?" asks the woman
on his right. "Oh just cocktails," I say nonchalantly, my confidence
rising. We're let in and head down the steep stairs, wandering to the far back
of the restaurant and up to the softly lit patio. "That was
excellent," exclaims my friend. We sidle up to the bar, order a
couple of martinis from the sexy bartender and settle in. People are friendly,
not snobby like I anticipated. The only problem: how do we get out?
Attempt No. 3: The celebration 12 p.m.: After a dramatic fake entrance,
yelling on the phone to our imaginary friend "Angie" who had
decided to abandon us for a fight with her boyfriend my now-drunken accessory
and I catch a cab to head over to The Brant House on King. St. W. I had planned
to use the "we know someone inside" line for this club, so I'm a bit
more nervous walking up to the doors. I pretend we're celebrating. My
friend here has just landed a fantabulous interview at Vogue in Paris
and they're paying her way there! With some liquid courage edging me on we
approach the door but are stopped suddenly, only metres away. "Just
the two of you?" a broad and tall man who's obviously important asks
us. "Yes, just the two of us," I say, attempting to use what
I've learned from Chalut about looking confident."See that guy over
there?" he says pointing to a man standing by the front entrance.
"He'll take care of you." I'm puzzled. I haven't even made it
to the door yet and there's a line to the end of the block. We walk to the
front, and the man sure enough lets us in, wishing us a good evening.
That's it? I figure there must be a way to make this more challenging and head
past the throngs of dancers to the VIP section. "Can we come up? It's much
too crowded down there and I want to use my VISA," I say to the six-footer
holding the rope to the off-limits section. "To open up a tab?" he
says. "Of course," I add, throwing in a wink. "Just the two of
you? Come up then." Easy as pie.
Most valuable lesson: Leave the entourage at home. If you want to enter a busy
nightclub hassle-free, your best bet is to be young, female and free of male
company.
Margaret
Atwood - Have you Always Been Funny?
Excerpt from The Globe and Mail
(Aug. 19, 2006) MOOSE JAW, SASK.
Ian Brown: First I want to talk about The Tent, your latest book, and
I'm
gonna start with the dark stuff, if you don't mind. At least six of the stories
in here seem to be about a writer contemplating his or her life's work, not
always in the most positive way, sort of looking back thinking, "What was
all this fuss about?" And I happened to be reading this at the time that I
also read an essay by Alice Munro you know she's not writing any more; it
makes her too anxious and I thought, well, there's these essays in here
about, you know, "Writing! Meh!"
Margaret Atwood: Not yet.
Brown: Good. I'm relieved to hear that. If you don't mind my
asking, has getting older changed the way you write? Does it make it harder?
Atwood: Well, let me just tell you a little story about myself
as a teenager. When I first started writing I was 16, and I started writing all
the things I still write, and among those things is prose fiction.
I wrote a short story about this really, really old, older than old, old woman,
who was no hope, I mean no hope. She was just all kind of dried up and
depressed and wrinkly and just end of the road, and she had this horrible job
teaching high-school students, such as myself, and she was at the unimaginably
old age of 40. So, it's relative. But when you're older, you do know more
of the plot, insofar as the plot relates to yourself. You kind of know how it
came out not the very last chapter, but of 40 chapters, you know up to maybe
chapter 35. That's why people in their 20s are really quite anxious.
Alice might be anxious now about writing, but she's not anxious about how her
life went because she already knows that, okay? But when you're in your
20s, you really don't know, "How is it all gonna turn out?" So you
just know more when you're older, you have a wider range. Although younger
people have no problem making up what it's like to be older. But they are
making it up. It's sort of like writing about a foreign country to which
you've never been.
BROWN: So when you write in this book, "It's begun to
happen," or when the narrator in this book says, "It's begun to
happen."
ATWOOD: This is the piece called Voice.
BROWN: Which is a beautiful piece. They're almost, do you call
them short stories? I call them prayers. They remind me of [Samuel] Beckett in
a way. They're almost incantations.
ATWOOD: Some of them are. I call them mini-fictions, and when
I'm trying to describe the book, I say it's like those boxes of chocolates that
you used to get called a sampler. Each chocolate would be different but what
they had in common was that they were all chocolates, and they were all a
certain size. So they're all different, but they're all fictions and they're
all a certain size.
BROWN: Well, in Voice, you say: "It's begun to
happen. The shrivelling. Only I have noticed it so far." This refers to
the voice?
ATWOOD: Yes. The person speaking in Voice is a singer.
And singers' voices usually go a bit earlier than writers' voices do, although
sometimes, because I read late Tennyson, sometimes you wish that writers had
stopped a little bit earlier. But a singer knows because they can't hit the
high notes any more your voice lets you know that. But it's an analogous
thing. Let me put it this way: I said to my agent, who's about my age:
"When I get like that, you've got to tell me." And she said: "I
won't be able to because I'll be like that myself." And by "like
that," I mean that my dilemma [now] is I could publish the telephone book
and some publisher would buy it.
BROWN: And I personally would read it.
ATWOOD: Yeah, once. You might read it once.
BROWN: So you do think about it, though?
ATWOOD: Oh yes, yeah. Because you don't want to be in the
position, um, in which you start believing your own billboards. You know,
that's quite fatal.
BROWN: I want to ask you a little bit about being famous. In
this book there are gentle, and sometimes not-so-gentle stories about fame and
the way people react to fame. But I was surprised to read that when you
published The Edible Woman, one of your first public appearances was
signing books it can't be true at the men's sock and underwear department
at The Bay?
ATWOOD: In Edmonton.
BROWN: No wonder you have an apocalyptic view.
ATWOOD: Well it was the publicist's first week on the job. But
I don't know why they put us there. I was there with a male Albertan historian,
selling his history book, and I was selling in the men's sock and underwear
department, which was right near the escalator. They must have thought,
"Oh good, right near the escalator, people will see it." So, I'd see
these guys on their lunch hour. I like to think they were oil tycoons they
probably weren't though, they probably worked in the bank coming in to pick
up their jockey shorts, taking one look at The Edible Woman, and
literally running in the other direction. And it was winter, so they all had
their rubbers on their toe rubbers.
BROWN: It could have gone the other way, you know.
ATWOOD: It didn't. It was just too scary, way too scary for
them.
BROWN: You know the other thing that always surprises me every
time I read you. You're a serious writer and you're a serious person and a
serious thinker . . . but you're very funny.
ATWOOD: What can I do? It's an act.
BROWN: Have you always been funny? Were you funny up in
northern Ontario, growing up there?
ATWOOD: I've been pretty funny from time to time. But I wasn't
always funny all the time. In fact I'm not funny all the time. Just ask Graeme
[Gibson]. Um, that's my guy.
BROWN: You've written very beautifully about women trying to
be taken seriously in novels and essays. And you write in this book about being
a woman, a young woman, a woman period, in the fifties and early sixties, late
forties. It's almost become artifactual.
ATWOOD: Oh, this is Winter's Tales, in which the
narrator is in fact trying to astonish and horrify the young, which is what
older people try and do quite a lot of the time. It's like that skit, I think
it was Monty . . . no, it was Beyond the Fringe, about how poor
they were. So the person in the book is doing this about all these things that
happened to you when you were a woman before the audience that she's
addressing, before these people were born.
BROWN: Can you mention a couple of those now? Tell me about,
for instance, I'm not even sure what this garment is, the rubber . . .
ATWOOD: Playtex rubber panty girdle? That one?
BROWN: The thing that makes the sound like marsh gas coming
out when you pull it down?
ATWOOD: That's a different piece. That's a different poem.
That would be the two-way stretch girdle. BROWN: Can you explain the
difference?
ATWOOD: All right, do you really want to know this?
BROWN: I was fascinated. I was reading this thing and I
thought: "My God, it's medieval! Oh wait a minute, it's 1958!"
ATWOOD: Well, all you need to do is go to the reference
library and get some old Eaton's catalogues, and you will know all.
BROWN: You said, famously, that survival and victimhood
constitute the great theme of Canadian literature surviving the climate, et
cetera. In this globalized world, in a technologically sophisticated world, in
a world that seems to happen faster, do you think that's still the great theme
of Canadian writers or do you think it's changing?
ATWOOD: Okay, I published Survival in 1972. But it was
a book which I could write in 1972, because there was so little material to be
examined. You couldn't write it now because there's just too much. But you can
say that some of the things in that book still hold true, and that usually the
chapters go, "Here's what we've done, here's what we might consider doing
in the future." And in many cases we have actually done that. In other
words, we have now done what I said in 1972 that we were going to do. Creepy.
Very creepy.
BROWN: Mm, seer-like almost.
ATWOOD: I'm not too fond of those kinds of things, but in some
instances I'm not sorry that we're doing them. For instance, our attitude
towards nature has changed quite a lot. We no longer see it as this monster to
be fought, but as this treasure to be protected, and you're going to see more
of that in the future because it will become more threatened. As for the
survival theme, there's still a certain amount of it around. It's taken
different forms. I suspect it will be back in yet another form, which is going
to be connected with global warming. I hate to bring that dire subject into
this pleasant auditorium, but I think it may be something like that. Anyway,
you can't tell. You can't really predict the future at all. There's too many
variables.
BROWN: Well, that is my last question. I had so many others,
including, maybe you'll tell them about this anyway, about being the runner-up
in the Consumers Gas Miss Homemaker Contest?
ATWOOD: Yes, I didn't win it. Yes, but you know it was good. I
didn't win the doll's-dress sewing competition in Grade 3 either, but I got
second prize. But it is a good preparation for things like the Governor-General's
Literary Award and the Giller Prize. Consumers Gas Miss Homemaker, you had to
go. I had a partner from my high school. We were the team. Why was I doing it?
Because I made a wrong career choice. I took Home Ec instead of Typing. I shouldn't
have done that. But I didn't know I was going to be a writer.
BROWN: Well, I'm surprised, really . . .
ATWOOD: You had to cook the meatloaf, the peas and the baked
potatoes, you had to iron the shirt, all with gas appliances, and you had to do
a third gas-related thing that I can't remember. And you had to do them all
really quickly. So we didn't win. But nonetheless, I know how to make a
meatloaf, in case you're interested.
BROWN: Well you know I am, but I have to go. And we're all
richer for it. Anyway, thanks very much. It was nice to talk to you.
Teen Choice Awards - Can K-Fed rap? Sadly, yes
Excerpt from The
Toronto Star
(Aug. 21, 2006) UNIVERSAL CITY, Calif. (AP) - Britney Spears' hubby
Kevin Federline capped off the eighth annual Teen
Choice Awards on Sunday with an enthusiastic version of
his single 'Lose Control' his first time performing on network television. It
wasn't genius but it wasn't half bad either. The bigger surprise,
however, came in the form of pregnant presenter Spears, who wore a
cleavage-baring dress and introduced her "man" onstage with a shout
and a giggle. "This show has been very good to me and my
career over the years. And I'm hoping that it will be as good to our next
performer," she said. In a loose white shirt and white hat,
Federline prowled and jumped around the stage, surrounded by young dancers. "I
ain't here to brag," he rapped in a tough-guy style. American
Idol judge Paula Abdul, when asked before the show what advice she would give
the 28-year-old singer and rapper, didn't hesitate. "Do what
you gotta do and have fun," she said. Federline, who married
Spears in 2004, is expected to release his debut hip-hop album Playing With
Fire in August. The tabloid-popular couple have an infant son, Sean Preston and
they are expecting their second child.
With celebrities sweating in the late-summer heat, the show's mood was light
and clothing sparse. Hosts Jessica Simpson and comedian Dane Cook
jump-started the broadcast, aired live on Fox from the Gibson Amphitheater in
Universal City, with riffs on nominees including Pirates of the Caribbean. Votes
were cast by fans on various online sites for the hottest celebrities in
television, music, fashion, sports and film. Reese Witherspoon,
who won best actress in a drama for her role in Walk the Line, said backstage
her surfboard-shaped green and yellow award was going to her daughter. "I
love the younger fans," said Witherspoon, who spent the summer hanging out
with her kids. Keanu Reeves and Sandra Bullock, who won for best
movie liplock for their long smooch in The Lake House, joked backstage about
their first respective kisses. "I started out young. I was
making out at nine years old like a bandit," said Bullock, who added she
"didn't like being a teenager at all." Girlish screams
welcomed the handsome duo Orlando Bloom and Johnny Depp, who each snagged an
award for their swashbuckling parts in Pirates of the Caribbean: Dead Man's
Chest, which picked up seven honours. Even potentially
uncomfortable moments were smudged with humour. "I just want
to start off by saying, awkward, a little bit," said Nick Lachey, who won
choice love song for What's Left of Me, his top-selling number recreating his
publicized breakup with Simpson. Performers other than Federline
included breakout female musician winner Rihanna and V Cast Music winner Nelly
Furtado, who donned snug-fitting jeans and a spangly black top to sing her hit
song Promiscuous with producer Timbaland. "If you truly want
to be hot, be yourself," said choice hottie winner Jessica Alba.
Complete list of 2006 Teen Choice Awards winners
Movies:
Action adventure Pirates of the Caribbean: Dead Man's Chest
Actor, drama/action adventure Johnny Depp, Pirates of the Caribbean:
Dead Man's Chest
Actress, drama/action adventure Reese Witherspoon, Walk the Line
Actor, comedy Johnny Depp, Charlie and the Chocolate Factory
Breakout, female Jessica Simpson, Dukes of Hazzard
Chemistry Jennifer Aniston and Vince Vaughn, The Break-Up
Liplock Keanu Reeves and Sandra Bullock, The Lake House
Rumble Will Turner (Orlando Bloom) v. Commodore (Jack Davenport), Pirates
of the Caribbean: Dead Man's Chest
Summer movie, action/adventure Pirates of the Caribbean: Dead Man's
Chest
Television:
Comedy/musical High School Musical
Reality American Idol
Actress, drama/action adventure Rachel Bilson, The O.C.
Actor, comedy Wilmer Valderrama, That '70s Show
Personality Ashton Kutcher, Punk'd
Actress Mischa Barton, The O.C.
Breakout show So You Think You Can Dance
Breakout star Zac Efron, High School Musical
Chemistry Vanessa Anne Hudgens and Zac Efron, High School Musical
Summer TV series So You Think You Can Dance
Music:
Single Fall Out Boy, Dance, Dance
R&B artist Rihanna
Rock group Fall Out Boy
R&B/hip-hop track Nelly Furtado, feat. Timbaland, Promiscuous
Rock track Fall Out Boy, Dance, Dance
Love song Nick Lachey, What's Left of Me
Breakout, female Rihanna
Song of the summer Nelly Furtado, feat. Timbaland, Promiscuous
V Cast Music artist Nelly Furtado
Other awards:
Hottie female Jessica Alba
Hottie male Orlando Bloom
Comedian Adam Sandler
Red carpet fashion icon, female Jessica Alba
Red carpet fashion icon, male Nick Lachey
Choice grill Brooke Hogan
Action sports athlete, male Shaun White
Former Hef Hutchmate Tells All
Excerpt from The Toronto Star - Colin Hunter, Special To The Star
(Aug. 22, 2006) KITCHENER, Ont.It sounds like the setup to a bawdy
joke: did you hear the one about the female lawyer at the Playboy mansion? Izabella St. James
giggles when she ponders the unusual journey that took her from a quiet
upbringing in Kitchener to a couple of years living at Hugh Hefner's
mansion. "When I finally left the mansion and found myself in the
outside world again, I was like, `Wow, what just happened?'" she said
recently on the phone from her Los Angeles home. What happened was she
became one of a half-dozen live-in "girlfriends" of Hefner. The
details are outlined in her new book, Bunny Tales: Behind Closed Doors at
the Playboy Mansion (Running Press Book Publishers). "I didn't
want to kiss and tell," said 30-year-old St. James, who was born Izabella
Kasprzyk in Krakow, Poland. "But our society is absolutely fascinated
by sex. I'm giving them what they want to hear." St. James hopes her
book will not only titillate readers with juicy details but also overturn
misconceptions. "I'm tired of the stereotypes," she said.
"People see a blond woman with a full figure and they think she's dumb,
but that's not the case. I'm a very strong, independent, opinionated woman. Hef
liked that in me."
St. James was a second-year student at Pepperdine University law school in
Malibu when she met Hefner at a Hollywood nightclub five years ago. Hefner
invited her to one of the frequent garden parties at the mansion, where women
sunbathe, play volleyball and do other things clad only in bikinis that
regularly occur in the imaginations of adolescent boys. Though she expected
a hedonistic sinfest, St. James was surprised by the relative cordiality of it
all. It was only by fluke that she met Hefner again a year later in a Hollywood
nightclub. "He personally asked me to go on a date with him and some
of his girlfriends," she said. (To clarify: "With Hef, there are
always way too many girls around.") "He was just basically
wooing me, the way any boy would woo a girl," St. James said.
"Except he had a couple of other girlfriends already." The
dates were lavish and glitzy, but not X-rated. It would be months before she
was physically intimate with Hefner, and such activities happened on a
voluntary basis, she says. St. James moved into the mansion as an
official "girlfriend" in 2002 after finishing law school. The girlfriends
were pampered with 24-hour room service and access to the mansion's pool, gym
and legendary grotto. "It's like a bubble. It's Hefworld. But when
you've been living on the inside, it's like you get the Stockholm syndrome: you
start to identify with the surroundings and people there." She moved
out of the mansion in 2004 amid infighting between two factions of Hefner's
girlfriends. Writing the book, she says, was a form of
"therapy," a way to re-acclimatize herself to the relative normalcy
of the outside world. She knows Hefner is none too pleased about it. She has
read his comments in the New York Post's Page Six gossip column, in
which he bemoans having "put her through law school" only to have her
write a tell-all exposι. This upsets St. James. "Let me get one
thing straight," she said. "Hef did not contribute a dollar to my
education." St. James's law career is on hold as she pursues modelling and
acting gigs. She's co-starring in Thunder Over Reno, an aviation action
flick "like Days of Thunder with Tom Cruise, but plane
racing."
::SPORTS NEWS::
SPORTS TIDBITS
Tiger Wins
Excerpt from www.eurweb.com
(August 21, 2006) *Tiger
Woods was nearly impeccable en route to
winning his 12th major Sunday at the 88th PGA Championship in Chicago. With a
score of 18 under par, Woods earned his third career PGA Championship victory
and second at the Medina golf course. This is sweet, really sweet, Tiger said
after receiving the tournaments Wannamaker trophy. I was hitting alright, but
I felt if I could just get the ball anywhere on the green, I felt like I could
make anything today. Going into the day tied for first place with Luke Donald
at 14 under par, Tiger birdied the first hole Sunday and went on to birdie five
more times to leave his competition in tatters. Dressed in his traditional
Sunday red shirt, he stayed pretty much in the middle of the fairway off the
tee and bogeyed only once on the 17th (3 times over the whole tournament). When
it was all over, Tiger won by five strokes over Shaun Micheel (-13). Spaniard
Sergio Garcia placed second at 12 under, followed by Adam Scott and Donald tied
at -12.
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Sonys NBA 07 Picks Kobe For The Cover
Excerpt from www.eurweb.com
(August 22, 2006) *Heres more proof that the 2003
scandal involving Los
Angeles Lakers guard Kobe Bryant and a woman accusing him of rape is no longer of concern to
companies hoping to benefit from his star power. Two years after
his sexual assault case ended with the accuser refusing to testify, Bryant has
been chosen by Sony Computer Entertainment America Inc to grace the cover of
its new NBA 07 videogame, due in stores this Fall. "Kobe
Bryant has distinguished himself as one of the truly elite players in the NBA
and we are thrilled to have him represent NBA '07 as our newest cover
athlete," said Sharon Shapiro, senior director, promotions and sports
product marketing, Sony Computer Entertainment America. "With his explosive
game and storied rise to the top of the NBA's ranks, Bryant is a great
ambassador for NBA '07 and its unique gameplay-driven story mode The Life:
Vol. 2. In The Life: Vol. 2, of the acclaimed Life Mode,
players not only continue to experience the ups and downs of life in the NBA
but will also delve further into team politics, press conferences, endorsement
deals, and the contentious relationship between returning characters The Kid
and Big W. The Life Vol. 2 introduces the ability to play from the
perspectives of both The Kid and Big W at various stages, further building the
story of their rivalry and highlighting the glory and anguish of NBA stardom.
Additionally, players can challenge Big W and others for league MVP honours
based on overall skill progression and head-to-head match
ups. NBA '07 also features more than a dozen mini-games
including favourites such as 21, Own the Court, and 3-Point Shootout.
"Showtime Gameplay" returns, providing players the opportunity to
manage and balance a variety of game time elements including temperamental
crowds, eager teammates, and individual basketball skills.
.jpg){kind=link}
::FITNESS::
Tips For Fitness In A
Rush
By By Michael Stefano, Special for eFitness
Today's 9-to-5 means starting your day at 6 a.m. and hobbling home
sometime after 8 p.m. For many people in this modern work force, the precious
weekend remains their only refuge. Here, you will learn:
· Why mental and physical fatigue require recovery
· Why exercising only once a week can be ineffective
· How to perform mid-week active rest workouts
Beat Fatigue
But it's normal to feel exhausted even though you've sat on your butt all day.
We live in a world where our energy requirements are very cerebral, and
sometimes not much energy is left for physical work. Whether you're desk jockey
or ditch digger, mental or physical exertion can create extreme fatigue. Unfortunately,
mental effort doesn't pack the same caloric burn. An article written as far
back as 1930 (on the energy requirements of intense mental effort by American
researchers, Francis and Cornelia Benedict) summed it up nicely. The
doctors reported that "even though a sustained mental effort produces a
noticeable increase in heart rate and volume of air passing through the lungs,
body heat production as a result of intense mental effort is never greater than
3 or 4 percent above normal, not nearly enough to effect overall caloric
burn." When working 60-plus hour weeks, longer workouts will have to
be reserved for the week's end. A couple of mid-week mini-workouts can make a
huge difference, keep your muscles and metabolism revved up
AND still provide adequate recovery. As a weekend athlete (or gym rat),
you typically participate in some type of intense sport or physical exertion
faithfully at every week's end, and then remain completely sedentary for the
next five days.
You build strength, muscle tone and endurance, just to have it wane before your
next strenuous session. There is too much recovery time between bouts, allowing
all your gains to slip back to previous levels. There's pain AND no gain.
There's a simple way to reverse this process. Develop a simple, in-home, progressive routine, with as
little as two or three exercises that don't take too much time or crush
recovery. In other words, utilize an Active Rest approach. Sort of an
oxy-moron, active rest implies training at an intensity level that falls a bit
under your maximum work capacity, but intense enough to maintain levels of
fitness previously reached. You can also break the active rest program down
into two sub categories. Level One (Near Max Effort) will be performed at
full intensity with an extreme effort exerted on every set but volume (total
number of exercises and sets) will be substantially reduced. Level Two (Sub Max
Effort) drops it down a notch to about half to three quarters of the effort
needed at the first level. Reps, sets, and overall effort exerted should be
moderate. For example, at Level One, you do three sets of 12 reps of
exercise A. When working at Level Two, do one or two sets at six to nine reps
(using the same resistance). Below I'll structure a sample routine based on
three classic and highly effective exercises that create a complete
mini-workout routine.
Mid-Week Mini Workout
Exercise List Dumbbell Dead Lift (max goal of eight to 10 reps)
Incline Dumbell Press (max goal of 12 to 15)
One-Legged Leg Raise (max goal of 15 to 20)
Level 1: Near Max Effort
· Select a resistance that allows you to hit muscle
fatigue at suggested rep ranges
· Do three sets of all three exercises (nine total
sets)
· Alternate exercises with one or two minutes of
rest between each set
· Keep moving while resting (walk, step in place,
perform a stretch)
· Increase rest between sets for more strength
development
· Decrease rest between sets for more endurance
gains and toning
Level 2: Sub Max Effort
· Do one or two sets of each exercise (three to six
total sets)
· Work with the same resistance, do only 50 percent
to 75 percent of reps done at Level 1
· Keep rest between sets the same or slightly longer
Alternate workouts performed at Level One with workouts at Level Two. Do as
many workouts per week as your energy levels allow, but no more than three of
each. Refer to the text and illustrations below for detailed exercise
instruction.
Dumbbell Dead Lift
Position your body as shown. Feet are hip-width apart, straight or toed
slightly out. Shins are kept as vertical as possible throughout the exercise.
Back is tight and arched, your butt is way out behind you. Your head looks up.
If your back rounds during the lift, switch to a lighter dumbbell.
Exhale, as you lift with the legs (push the floor away with your heels).
Elbows remain locked out as your knees straighten, first bringing bar to knee
level, then locking out your hips as you come to a full standing position.
Be sure to bring your shoulders back and down, as you completely
straighten your back. Arms remain straight. Pause briefly while standing and
inhale. Exhale and quickly (but with total control) lower the weight to the
floor in exactly the reverse order (be sure the back never rounds).
Incline Press
Lie flat on a properly supported bench that's inclined to about 45 degrees.
Start with two dumbbells you can safely handle at about shoulder level. Exhale,
press both bells to the ceiling (forearms remain vertical with the heel of your
hand under the weight (wrist not bent back). Inhale as you slowly and with
total control lower both bells back to shoulder level.
Leg Raise
Lie in the position shown. Flatten your lower back to the floor as you hold one
leg at 90 degrees (at both the hip and knee) for the entire set. The other leg
kicks out and back to the chest in a very slow and controlled manner, all the
while keeping the lower back pinned to the floor. This will take an intense
abdominal contraction. Exhale as you bring your leg up, and inhale as you
extend.
Your head, neck and shoulders also remain on the floor. To reduce intensity on
this move, fix the knee of the working leg at 90 degrees so that all movement
takes place at the hip joint. Extending the leg with the knee bent will result
in the sole of your foot tapping the floor (versus full extension of the leg)
before bringing knee toward chest.
To increase intensity, hold each extension (kick out) for a few seconds before
returning the knee to the chest.
::MOTIVATION::
Motivational Note - The Secret To Getting Started With Your
Goals
by Jason M. Gracia, http://www.motivation123.com
Someday ... It's a pretty useful word - someday. It gives people the chance to
put everything off until another day. 'It will happen,' they tell themselves,
'but not right now.' Unfortunately, it hardly ever works this way. Millions of
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to do with as they grow older and older, until the day comes when they run out
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It's Time for a Wake-Up Call
The first thing you need is a friendly wake-up call. To put it bluntly, this
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their somedays keep adding up until an entirely new life is planned to take
place somewhere down the road; the happy, successful life they've always
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we get to that, I have a question for you.
Do you know what you want? It's not always an easy thing to figure out. And I
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