Barbra Streisand has a new song, and it’s aimed at Donald Trump. “Don’t Lie to Me” is the first single from a new album called “Walls,” coming November 2nd. The song is written by Swedish hitmaker Jonas Myrin and Streisand’s producer, Jay Landers.

In an interview with Billboard, Streisand calls Trump “The Liar in Chief, the Groper in Chief.”

Other songwriters and producers on the album include Mariah Carey’s old collaborator, Walter Afansieff, as well as Streisand’s award winning pals Alan and Marilyn Bergman, and Nashville heavyweight Steve Dorff, father of actor Steven Dorff.

Barbra doesn’t miss a beat: the remake of “A Star is Born” is coming on October 5th. She’s giving it exactly one month on its own, then she’s coming in to reclaim her crown and her publicity. Just wait and see if she turns up on the Grammys singing a duet with Lady Gaga. I like her style!

Sting and Shaggy made it rain last night– literally and figuratively. They made it rain first with a hot (again literally and figuratively) show of hits, then the skies opened up and drenched 3,000 on Sting’s command: “I dream of rain.”

Last night at the beautiful new Pier 17 Rooftop in the South Street Seaport: It had been a terrific show, despite humid breezes blowing through the stale air. The forecast called for rain, but just light rain, and not til the end of the show.

And then, Sting and his band whipped up a ferocious version of his Arab tinged “Desert Rose.” The sold out crowd pushed forward to the stage, hands above their heads, bodies gyrating, and Sting sang the song’s refrain, “I dream of rain.”

And oh yes, the skies burst forth. I do not mean a little sprinkle. It was if the heavens were being wrung of all the water they’d ever held, God himself turned a bucket over water over onto the South Street Seaport. Torrents, not Bob Dylan’s buckets, came splashing down on the audience.

Somehow it seemed appropriate. You should get a little wet at a rock concert.We got a lotta wet.

Before the deluge, Sting and Shaggy put on a show of non stop hits, perfectly executed, exquisitely musical, in front of a devoted crowd that included trumpet man Chris Botti, Mrs. Sting, Trudie Styler, and our favorite local rocker, Patty Smyth.  No one had an umbrella, but everyone danced to the songs from the eminently catchy Sting & Shaggy album. “44/876.” They played their new hit, “Gotta Get Back My Baby,” the very hit-like “Dreaming in the USA,” and even my personal favorite, “If You Can’t Find Love.”

Of course, there were Sting and Police hits like “Message in a Bottle,” “Roxanne,” “Every Breath You Take,” and “Walking on the Moon.” Shaggy contributed his signature song, “It Wasn’t Me.” Sting also sang “Fields of Gold,” which I now refer to as the song Paul McCartney Says He Wishes He’d Written.

The Sting and Shaggy collaboration turned out to be an inspired idea. Sting’s early music was reggae tinged, and his sense of rhythm is so extraordinarily tuned that he’s a natural partner for Shaggy. Shaggy, so popular in Jamaica, is a great foil for Sting, and his music gives Sting’s shadings and extra depth.  Sting loves summer tours, and has done them with Peter Gabriel and Paul Simon. This one, which also had a soundtrack, was a winner.

Donald Trump clearly loves Elton John, which the rock star artist probably is not thrilled about. Just now he compared ending a press conference to going out on a high note “like an Elton John concert.” Trump also previously dubbed Kim Jong Un “Rocket Man” from Elton’s song.

The president of the United States said, ” “Ya ever see Elton John he said if the song is good get out of there but then they come back for an encore and it’s not as good. People leave and say that wasn’t a very good concert. But lets take another one.”

Well, someone had better save our lives tonight. Trump’s 90 minute press conference was utter lunacy. And I used to watch Richard Nixon announce the bombing of Cambodia or insist he wasn’t a crook. This Trump operetta beats Nixon hands down.

One Twitter user wrote: “Urgent text from my dad, who is watching this Trump presser (and who, for context, used to edit Elton John‘s fan magazine, and never uses exclamation points): “Elton never said that!!! His concerts are very structured.”

True, Elton knows exactly what his encores are going to be, and they are planned. It is hoped Trump will have no encore, if he even makes it to the third part of his show. Much of the audience has already left.

Trump ending his news conference. #Trump #trumpspeech #EltonJohn pic.twitter.com/sNK9JezKC1

— willie wonka (@GoT0223) September 26, 2018

In the middle of Paul McCartney celebrating a new album and Ringo Starr on the road, their shared history follows them around. But it’s not a cloud, just rays of sunlight as the Beatles’ variously progressing 50th anniversaries show them more and more to be geniuses way before their time.

Today, the 50th anniversary remix and package of “The White Album” from November 1968 was presented by Giles Martin, of the Beatles’ late producer George Martin, himself a studio whiz and begruding Beatles expert. He says he’s not one, but he is. Years ago, he told us, he informed a producer friend that he was reluctant to produce the Beatles’ Cirque du Soleil soundtrack in Las Vegas, aka “Love.”

Who would want to do that? Giles ask. The friend said, “If you don’t, I will.” Nature abhors a vacuum.

The self-effacing Giles went on to produce “Love” and then remix “Sgt Pepper” last year for its 50th anniversary. He took on “The White Album” with more apprehension because it’s 30 tracks– thirty– with hundreds of outtakes and tapes to be perused.

He also rediscovered what are called the “Esher” demos– pronounced “Eeesher”– recorded at George Harrison’s home of that name. He played several for us. They are– for me and for all Beatles fans–stunning. “They’re like MTV Unplugged,” Martin said, with a laugh,  “that’s my generational reference.”

The Esher tapes are utterly amazing because they’re acoustic one off versions of “White Album” era songs, played by the Fab Four with humor and incredible professionalism. The Beatles could release the “Esher” album as its own standalone, frankly, and it would sell millions. We heard “OblaDi, Obla Da,” in the Power Plant recording studio with about 50 journalists, and there was applause at the end.

Someone asked if, when he listened to Martin’s remixes, if Paul McCartney remembered specific takes or things they’d done in the studio. “Paul McCartney is like Forrest Gump,” Martin said, meaning in a good way. “He’s done everything, you can’t imagine what his life is like, and he just keeps moving forward. He doesn’t look back.”

There are so many gifts in this 107 track package. I commented that for some reason Ringo Starr’s drumming just keeps getting better and better. “It’s the same drumming,” Giles said. “We haven’t changed it.” But new technology keeps opening up the dimensions of the recordings– and Ringo– particularly on “Happiness is a Warm Gun”– is a revelation. “He noticed that, too,” Martin said. (Note to fans– find the most recently remastered “Ticket to Ride” from 2009.)

There’s some Beatles revisionist history going on, too, maybe for the best. After the group broke up, John Lennon gave a lot of bitter interviews. At one point he described “The White Album” as the sound of a group breaking up. Over the years, Beatles common history noted the album as one put together by four separate band members. But Martin did not find that when he listened to conversations from the studio. Despite financial differences, and Ringo briefly quitting– “The White Album” comes off as a “band album,” with the guys working together happily.

“My father went to see John in 1980,” Giles said, “they hadn’t seen each other in about 8 years. He asked him, Why did you say these things? At one point John had said he’d like to re-record all the albums.” This clearly hurt George Martin. Giles said, “And John replied, I was stoned.”

So we’ll take that for what it is. A lot of “Lennon Remembers” by Jann Wenner may be inaccurate and designed to wound after a divorce. What we heard today from “The White Album”– due November 9– is going to be a revolution of sorts.

Sharon Osbourne is probably known to most as a TV personality. But in the real world, she is a formidable, savvy rock manager who guided her husband, Ozzy Osbourne, and Black Sabbath, to incredible fame and wealth. She’s the power, really.

Sharon objected to being told which venues Ozzy had to play in– that’s the rock promoter game, if you didn’t know, and always has been. The competing companies– Live Nation, AEG, and Azoff/MSG– prevent artists from playing in competitor’s stadiums, arenas, and theaters.

Sharon wanted Ozzy to play London’s O2 Arena, which is run by AEG. She also wanted Ozzy not to play AEG’s Staples Center in Los Angeles, but Azoff/MSG’s Forum. That caused a commotion in the promoter universe. Most managers just go with the flow, but not Sharon. She is really great. She won’t let anyone tell her what to do. Read her statement below. The “Mr. Anshultz” she refers to Philip Anschutz, the A in AEG, a very nice man who I once watched the Oscars with when he owned the Kodak Theater. I doubt he knows what’s going on here. But kudos to Sharon!

Sharon Osbourne Statement re AEG Lawsuit

We know Mr. Anshultz (aka “Daddy Big Bucks”) is living in his billionaire bubble, but the fact is that Ozzy sued AEG for the right to perform at the O2 in London. We won the case and Ozzy’s show at the O2 went on sale on September 5 for a show next year (February 11, 2019)–so in my world that means we won the case. Ozzy is playing the O2 without having to play the Staples Center, which is all that mattered to us. From the start of this dialogue in February, this has been a battle about respect for the artists and their personal preferences. It wasn’t then and isn’t now a battle between promoters, which is how this is being portrayed by the recent statement from AEG claiming this as a “victory.”

To say that this “suit was instigated by Azoff and paid for by MSG and Live Nation,” and that “it was hatched on the back of an artist who we believe had no idea what he was biting off,” is untrue and disrespectful to Ozzy, myself and the entire team working on this tour. Whatever differences you have with Irving Azoff, don’t presume you know who instigated the lawsuit or you know anything about Ozzy Osbourne, because you obviously don’t know anything about Ozzy’s history or mine. So stop with your hubbildy, bubbuldy BULLSHIT and your little pissing contest with Live Nation and MSG.

Regarding the allegations in the AEG statement that this “suit was a transparent public relations ploy,” if that was indeed the case, why then did AEG rush out a statement of victory? While we, throughout this process, until now have only made one statement around the initial filing.

Ozzy’s preference was to perform at The Forum, a venue that has been a part of his music history for more than 46 years. From the start, this was not a battle solely for Ozzy, as much as one for other artists who were being forced to abide by these rules and regulations. Let’s not all forget why you’re here…the artists.

The only thing remotely interesting in your statement was your pitiful attempt at humor with your quote that Ozzy “had no idea what he was biting off.” If you’re interested, Ozzy and I have got something nice for you bite on…our assholes…see ya loser!