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Beatles: Today is the 45th Anniversary of the Rooftop Concert, Final Live Performance

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January 30, 1969– today is the 45th anniversary of the Beatles’ famous ‘rooftop concert’– their final performance together. The concert, so to speak, happened on the roof of Apple Records at 3 Savile Row in London. It was a surprise show and it lasted 42 minutes until the London police shut it down. You used to be able to see all of it in the “Let it Be” movie, which has never been released on video tape or DVD. Apple’s Jonathan Clyde told me over last weekend that “Let it Be” will be released one day, but that it’s “taking time.”

The rooftop concert was notable also because the only keyboard player was Billy Preston. Paul, John and George all played guitars. Ringo was on drums. On the five tracks — “One after 909,” “Dig a Pony,” “I’ve Got a Feeling,” “Two of Us”– it was only Billy on keyboards. He also famously played on “Get Back.” On the single and the album Billy was credited — so it was “The Beatles with Billy Preston.” That’s the only time in the Beatles history that another musician was identified on their record.

It’s unclear if Billy was ever paid for his work at the time. But he was a clear presence on both “Abbey Road” and “Let it Be,” playing organ and keyboards.

Kevin Spacey to Receive Museum of Moving Image Award

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Kevin Spacey is hot again. The two time Oscar winner will receive the annual lifetime achievement honor from the Museum of the Moving Image on April 9th in New York. Spacey, star of Netflix’s “House of Cards,” follows a long list of luminaries from Clint Eastwood, Tom Hanks and Tom Cruise to Robert DeNiro, Goldie Hawn, Alec Baldwin, Dustin Hoffman, Hugh Jackman, Steve Martin, Al Pacino, Sidney Poitier, Jimmy Stewart, Julia Roberts, Martin Scorsese, and Steven Spielberg.

The MMI dinner is a little like a clean Friars’ Roast, with many friends of the honoree getting up to give funny toasts. When the star is relaxed, this can be a lot of fun. When Tom Cruise did it, the toasters were constrained and the speeches were a little mechanical. The Spacey dinner should bring out the cast of “House of Cards,” and maybe some previous co-stars from movies like Annette Bening and Peter Gallagher (“American Beauty”) and from Broadway (Mercedes Ruehl, etc). If we’re lucky maybe Spacey will do his Johnny Carson imitation. It’s dead on and hilarious.

Adele, Jennifer Hudson, Taylor Swift Working on New Albums Maybe for This Year

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Adele’s first two albums were called “19” and “21.” Taylor Swift wrote a song on her “Red” album called “22.” They were all related to age. But will either or both of these singers come up with new albums in time to make numerical logic of their titles? Adele, “23”? Swift, “24”? We’ll see.

Sources tell me that Adele is back to work on a new album to follow the mind blowing sales of “21.” She’s been writing songs with Diane Warren, who could craft a tune out of a cereal box. Warren would be a good collaborator for Adele, helping her structure ideas. For this new album, Adele has to come up with a single as big as her two key hits, “Chasing Pavements” and “Rolling in the Deep.” A source tells me “Adele is working with a lot of writers, not just Diane.” Sony is hoping for a new album at least by the fall if not sooner.

Taylor Swift left the Grammys without statues on Sunday. But her “Red” album was a major hit and spawned many singles including “I’m Never Breaking Up with You Again.” Swift is also back to work now, with an eye on the fourth quarter. She’s likely partnered up again with Max Martin, the songwriting and producing machine from Sweden who can also concoct a top 10 hit out of thin air.

Meanwhile Jennifer Hudson’s new album will arrive in mid May, not mid March as previously thought. Jennifer just released a video and new single for “I Can’t Describe.” She told me the album is a little retro, with heavy emphasis on songs (remember them?) with melodies and hooks. She actually sang some of a potential hit called “Pretty Years” to me during a lull in the rehearsals Saturday for Clive Davis’s show. Wow. I do think JHud has still not had her biggest records. They’re coming. She has the best voice of her generation, hands down.

 

Academy Pulls Nomination for Song Written and Promoted by Music Branch Committee Member

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Score another improvement as the Motion Picture Academy struggles into a new generation. Today they pulled that weird nomination for a song no one ever heard from a movie no one knew existed.

The song, called “Alone Yet Not Alone,” came from the movie of the same name. But no one ever heard of either of then because the film was never released. It was “four -walled,” i.e. the producers paid to play the film in a small L.A. indie movie house for an Oscar qualifying week. They took no ads, which is required by the Academy rules. The theater simply published its name and schedule– one performance a day, late at night.

It turns out the culprit is composer Bruce Broughton, who wrote the song and is also a member of the Executive Committee of the Music Branch. He emailed members of the branch asking them to vote for him.

The result is that there are now only four nominees. A real fifth nominee has been cheated out of a spot because of this mini scandal. Too bad. There were a lot of good songs that deserved a nomination, from people like Diane Warren and Kings of Leon and Lenny Kravitz.

Here’s the press release. I do give high marks to Cheryl Boone Isaacs and Dawn Hudson for having the guts to rescind the nomination.

On Tuesday night, the Academy’s Board of Governors voted to rescind the Original Song nomination for “Alone Yet Not Alone,” music by Bruce Broughton and lyric by Dennis Spiegel. The decision was prompted by the discovery that Broughton, a former Governor and current Music Branch executive committee member, had emailed members of the branch to make them aware of his submission during the nominations voting period.

“No matter how well-intentioned the communication, using one’s position as a former governor and current executive committee member to personally promote one’s own Oscar submission creates the appearance of an unfair advantage,” said Cheryl Boone Isaacs, Academy President.

The Board determined that Broughton’s actions were inconsistent with the Academy’s promotional regulations, which provide, among other terms, that “it is the Academy’s goal to ensure that the Awards competition is conducted in a fair and ethical manner. If any campaign activity is determined by the Board of Governors to work in opposition to that goal, whether or not anticipated by these regulations, the Board of Governors may take any corrective actions or assess any penalties that in its discretion it deems necessary to protect the reputation and integrity of the awards process.”

An additional nominee in the Original Song category will not be named. The remaining nominees in the category are:

“Happy” from “Despicable Me 2”
Music and Lyric by Pharrell Williams

“Let It Go” from “Frozen”
Music and Lyric by Kristen Anderson-Lopez and Robert Lopez

“The Moon Song” from “Her”
Music by Karen O; Lyric by Karen O and Spike Jonze

“Ordinary Love” from “Mandela: Long Walk to Freedom”
Music by Paul Hewson, Dave Evans, Adam Clayton and Larry Mullen; Lyric by Paul Hewson

The members from each of the Academy’s branches vote to determine the nominees in their respective categories – actors nominate actors, film editors nominate film editors, musicians and composers nominate song and score.

During the nominations process, all 240 voting members of the Music Branch received a Reminder List of works submitted in the Original Song category and a DVD copy of the song clips with film and song title only (additional information including composer and lyricist is not provided).  Members were asked to watch the clips and then vote in the order of their preference for not more than five nominees in the category. A maximum of two songs may be nominated from any one film.

Zac Efron Narrowly Missed a Real “Awkward Moment” in NYC Last Week

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Zac Efron may have narrowly avoided a real awkward moment last week in New York. He was in town promoting his new movie, “That Awkward Moment,” a fluffy comedy with Michael B. Jordan and Miles Teller. Coincidentally Vanessa Hudgens, Efron’s ex-girlfriend and “High School Musical” co-star, was set to promote her new film, “Gimme Shelter,” two hours later on a separate floor at the same hotel, the Waldorf Astoria in midtown. They missed each other, however.

Efron’s co-stars Miles Teller (“The Spectacular Now,” “Divergent” and “Whiplash,” which won top honors at Sundance), Michael J. Jordan (“Fruitvale Station”), and British actress Imogen Poots (“Need for Speed,” Peter Bogdanovich’s “Squirrels to the Nuts”), participated in the press conference. Also there was first-time director Tom Gormican, a funny guy who also wrote the script.

The questions from the press got intimate. But the actors handled it all with equal parts goofiness, humor and grace. They have an easy-going relationship with each other and horsed around for the next 45 minutes but also got across the message that they worked really, really hard on the film.

Efron has been working double time because he is also the executive producer. And that would have been hard enough considering he reportedly did at least one stint in rehab in the last year. Efron is always fodder for the tabloids. He made headlines in the rags for falling in his house. The tabs suggested it was due to some kind of substance problem. Efron says he really fell, however.

“I slipped and hit my face on the fountain in my house,” Efron said. “ The cool part to that is there is a fountain in my house.”

Did he mean like a birdbath fountain? In Manhattan you don’t often see fountains indoors.

“It’s a fountain that sprays water and trickles water, and it’s inside the house. Yeah, yeah. It’s cool. It’s pretty cool, but I did slip and did hit my face. I guess if you leave your fountain on  and then leave the house for a week – which you’re not supposed to do – it splashes, gets water on the floor, so I’m a klutz. And, yeah, I slipped and smashed my face onto it. It was very awkward. What was more awkward was telling everyone about it.”

“This was the first film I was actually a producer on, so I was able to actually help facilitate who was in the film. I got to meet these guys. I felt like I was instrumental in putting it together so I took a lot of pride in how this film was made.”

The most obvious question was how did Efron relate to his character? He plays Jason, a 26 year-old womanizer, whose most meaningful relationships are with his pals.

“I mean, in what ways don’t I relate to my character? I loved him a lot. At the core of it he’s a good person that’s kind of getting through, finding love, and that’s really what I’m doing right now in my life.”

“The Paperboy” actor added that from the moment he met Gormican, he knew the director understood his character.

“That’s why guys can relate to this movie,” Efron said. “We wanted a careful balance between being good guys deep down and caring and sort of waking up the next day and feeling sort of guilty for kind of our commitment issues but at the same time we have to live our lives. This is the first look, really into what, I think it’s like to be a guy dating at our sort of age.”

Gormican added, “You should want to slap this character.”

“I wanted to slap myself,” Efron cracked.

“You should also hope he gets his comeuppance, and I think he does,” the director went further.

Gormican said his other goal was to revitalize the romantic comedy genre, which has gotten a bad rap. “I wanted to put a different spin on it and have the movie take place from a guy’s perspective because I felt like that’s something we haven’t seen before. Also I think girls want to peek behind the curtain and for guys, my hope is that they would actually see something from their own lives and from their relationships in it.”

And for a change it’s the guys who get naked.

“I want to apologize for my nakedness in the movie. I want to publically say I’m sorry,” Teller said sheepishly.

“It’s my fault. I forgot to tell Miles to work out,” Gormican replied, referring to the fact that Teller was the only one of the trio who didn’t have six-pack abs.

There’s a scene in the film that everyone will be talking about. It involves some naked acrobatics, or planking, with the guys hanging over their toilets after a Viagra overdose. (This is too complicated to explain.)

“You read it in the script that Daniel (Teller) planks the toilet,” Miles said, “and so, l show up and I didn’t know how naked I was going to be. I was on antibiotics. I felt pretty disgusting and bloated and fat, and I get to the bathroom and it’s a very small bathroom. I literally said I don’t think I’m going to fit.”

“All I could think was that in real life I wouldn’t use that technique,” Efron said. “Mine was touching the water…”

“How deep was the toilet? Was it deep?” Jordan asked.

“It was really awkward with everybody watching,” Efron said. “I’ve been there.” A pause. “I shouldn’t have said that.”

Was there anything the guys wouldn’t do onscreen?

“If it’s authentic and helps the story and is necessary than absolutely, there’s nothing I wouldn’t try,” Efron replied.

“In Zac’s defense he was absolutely game for anything. It’s very difficult for him to take things off because he’s in terrible shape,” Gormican cracked.

“I just need a heads up,” Teller replied to the question, meaning he needed time to work out.

“He just needs to know a camera is near him and he’ll do absolutely anything,” the director countered.

When asked about casting, the director said he was looking for a specific quality the trio of actors possessed.

“I think one of the things that’s important in a movie with there are guys in the 20’s making often time terrible decisions and things that make you not like them, is that they need to be incredibly likable as people and not just as actors that embody roles.”

You also had to believe they would be friends in real life, which they became. They hung out together and spent a weekend hiking in the Adirondacks Jordan explained.

Poots plays the brainy, complicated woman Efron’s character falls for. Efron said that was one of his favorite moments in movie.

“That’s an awkward moment when for the first time he’s flustered. He’s never had this feeling before. He doesn’t quite know what it is and he’s caught off guard. That moment of authenticity, that awkward moment of a guy who’s so smooth and handles himself so well usually, and for the first time he’s forced to be authentic.”

“And that was just really acting because Zac’s never actually been in that position before. That’s all acting,” Gormican deadpanned.

Teller was the first to notice the unusual little plastic cocktail mixers in front of each of their water glasses.  “I just noticed these are shaped like penises.”

“Awesome. That’s so great!” Poots laughed as she looked at the plastic objects.

“They are! For cocktails,” Efron said.

A journalist then remarked Efron seemed happy. How was life going?  It was a way to bring up rehab, which the actor completed in the fall.

“I’m so happy. I feel like I’m in a great place and I’m glad that I’m here to share this moment with everybody and be present for all of it because it was an interesting year,” Efron said.

“I learned so many things, so much, but the best part of it was being able to reflect upon this experience and realize how much I had learned about myself and the kind of man I want to be and this movie, these guys, coming back to it, coming to New York and just being here in this moment,” he said. “It exemplifies what it’s all about. I’m so happy to be here. I couldn’t be happier. I’m in a great place.”

 

Michele Lee Never Twerked, But She Was Miley Cyrus for A Minute

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TV and Broadway star Michele Lee never Twerked, per se. But in her day, long before her 14 year run on “Knots Landing,” Michele was Miley Cyrus for a minute.

That’s right. Or maybe, shall we say, a young Streisand, or a future Taylor Dane. In between her hit musical (and movie)  “How to Succeed in Business Without Really Trying,” and “Seesaw,” Michele had a pop hit. The song was called “L. David Sloane,” and it went to number 52 on Billboard and Cashbox. Here it is:

 

Michele– who has a sold out three night run starting tomorrow (Thursday) at 54 Below– says she recorded about 20 singles. “Sloane” was the biggest hit. She also had a couple of albums. But pop star was not in the cards. Instead, she had a massive hit with “Seesaw” and then went on to “Knots Landing,” where she was Karen MacKenzie, the nighttime soap’s central character and voice of reason while everyone else was kidnapped, impregnated, blackmailed, and adulterated.

She’ll sing “Sloane” at 54 Below, as well as the many Broadway show tunes she introduced for composers like Cy Coleman. And she’ll tell some tales about growing up in Hollywood. Her dad, Jack Dusick, was Clint Eastwood’s make up guy during Clint’s long run of early hits.

(Yes, there was a Clint Eastwood before “Unforgiven”!)

And no, Michele is not planning on writing a memoir despite many requests. I wish she would. She knows where a lot of the bodies are buried in Hollywood and on Broadway. But she’ll only tell the stories live so far. That may be why 54 Below is down to just a few seats.

 

 

Beatles Reunite Without Julian Lennon or Band’s Famed Recording Engineer

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When it’s all edited and ready for broadcast, CBS’s Beatles reunion show on February 9th will have interviews with some of the people who worked for Ed Sullivan on his show. And there are references to John Lennon and George Harrison. John’s son with Yoko Ono, Sean Lennon, is in the audience. Dhani Harrison, son of George and Olivia, plays on one track with little fanfare.

But plenty of people are MIA and never mentioned in the special. The most glaring omission is Julian Lennon, John’s eldest son, a well known musician and photographer. “Hey Jude”– which is sung at the end of the show– was written by Paul McCartney for him when Julian was a little boy. Last November Julian released a very good new album and documentary that some press attention but quietly faded away. An appearance on the show would have been a nice way to support him.

Also missing was Geoff Emerick, the Beatles recording engineer who worked on all of their sessions. Emerick worked for producer George Martin and is credited with a lot of the interesting bits and pieces that made Beatles records so wonderful. Emerick lives in Los Angeles, has worked with Paul McCartney on many of his solo albums.

But sources say Emerick’s 2006 memoir– a really good read– was too candid for some of the inner circle. He dismissed a lot of George and Ringo’s work, and had unkind recollections of Yoko as she sat in on Beatles sessions. The price Emerick paid for his candid observations: no invite to the CBS taping on Sunday.

 

Grammy’s Don’t Help Sales, Exactly, But Music Streaming– Stevie Wonder In Particular

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The Grammys didn’t give any albums or tracks a particular sales bounce. On iTunes, things have remained pretty quiet with no surprise jumps on the charts of anything.

Audio streaming is a different story, however. Spotify says its most streamed song from the Grammys was Stevie Wonder’s “Another Star.” It jumped 635 percent. Stevie played “Another Star” during the Daft Punk segment with Pharrell Williams and Nile Rodgers. People who’d never heard it before probably thought, What’s that? Real music? Maybe they’ll dig into “Songs in the Key of Life” and Stevie’s many other classic albums. We can only hope.

Here’s some other info from Spotify:

Beyonce’s sexy show-opener drove a 52 percent increase in streams of “Drunk in Love” on Spotify from Sunday to Monday
Streams of Chicago’s “Does Anybody Really Know What Time It Is?,” performed with Robin Thicke, increased by more than 150 percent from Sunday to Monday
Streams of “One,” performed by Metallica & Lang Lang, increased by 125 percent
Whether or not they walked away with a Grammy, the following nominees and performers had the biggest wins on Spotify (according to increases in streamed tracks from Sunday to Monday):
Daft Punk: 205 percent increase
Paul McCartney: 126 percent increase
Kendrick Lamar: 99 percent increase
Taylor Swift: 67 percent increase
Macklemore and Ryan Lewis: 65 percent increase
Metallica: 63 percent increase
Keith Urban: 60 percent increase
Pharrell: 54 percent increase
Lorde: 46 percent
Spotify’s streaming data correctly predicted three of the top five categories:
Best New Artist: Macklemore & Ryan Lewis
Best Pop Solo Performance: “Royals” / Lorde
Best Pop Duo/Group Performance: “Get Lucky” / Daft Punk Feat. Pharrell Williams & Nile Rodgers

Justin Bieber: Grammy Weekend Show He’s Not Part of Music Biz

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Grammy Weekend is hereby declared over. What a week! Count the events and the players who remind us the music business is still alive. From Clive Davis’s maybe best party and show ever to the MusiCares tribute to Carole King to the Beatles tribute on Monday night– whew! And that’s not even mentioning Thursday night’s Legacy concert with Bonnie Raitt, Gavin DeGraw and Valerie Simpson among others.

Of course there were the Grammys themselves and the after parties. Quincy Jones and Lang Lang at AEGLive’s celebration in the Staples Center. Multiple winner Pharrell Williams, legendary Stevie Nicks, and next years’ winners– A Great Big World– were just some who poured into the Palm for Sony Music.

Over at Sunset Tower, we ran into a ton more players for Warner Music. And Universal Music took over a hot nightclun converted from a theater downtown.

Paul McCartney entertained his Beatles family and a few others including Johnny Depp at an Italian restaurant on Spring Street in downtown Los Angeles.

And where was Justin Bieber? Panama. Studying his tattoos. This farce of a music business act is over. Mostly what you heard all weekend is “That’s it.” His records are not played on the radio, no one knows what his album sales were. He’s got an arrest to deal with in Miami, and legal problems in California. There are reports that his manager, Scooter Braun, went to Panama with Usher for an intervention. Scooter is already back in L.A., Tweeting away about sunsets. He’s made his money with Bieber. Watch “The Elephant Man” to see what happens next. It isn’t pretty.

The only thing worse than Bieber is Madonna’s attempt to sing on stage at the Grammys during the Macklemore wedding procession. It was like listening to three cats screeching in a bag. What was she thinking? She needs a full production around her to hide vocal flaws. I don’t how it played on TV but in the Staples Center, holy moley! The sound guys turned her volume down after a few seconds. Ouch!

But the business lives. I heard so many live performers, unaugmented, for better or worse. Pharrell really did the best. I hope he will take off now. Annie Lennox must make a new record. Her voice is better than ever. Joe Walsh, between the Eagles and the Beatles, is having a Renaissance. Steven Tyler singing “You Really Got a Hold on Me” acapella from the Grammy stage, with Smokey Robinson standing right there! Bingo! Fantasia on Clive Davis’s stage, same thing.

I think I ran into Olivia Harrison about 12 times this weekend. She is just super. No one has done a better job preserving a legacy. And I like Alicia Keys singing in a lower register. She and John Legend really nailed “Let it Be” last night.

More to come. We’re back in New York after almost three excruciating weeks in LaLa Land. No one knows how to drive, everything moves like molasses, and darkness falls early every night. Yeah, the weather was good. As I said to someone who remarked about the cold back East, “I have sweaters, thanks.”

Beatles Celebrate 50th Anniversary with Star Studded TV Taping

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The Beatles were celebrated tonight on the occasion of their 50th anniversary of coming to America with an all star concert in Los Angeles. The concert will be edited down to a two hour special airing February 9th on CBS. But I do think the full version will emerge on DVD. It would be a shame to lose any of it.

Paul McCartney, wife Nancy, Ringo Starr and his wife Barbara Bach, her sister Marjorie with guitarist Joe Walsh plus Olivia Harrison and her son Dhani and Yoko Ono and Sean Lennon comprised the Beatles ‘family’ section of the 3000 seat makeshift theater in the LA Convention Center. It was the same room used for the MusiCares Person of the Year dinner on Friday night.

And just as I told you exclusively, Stevie Wonder led a group of stars including the Eurythmics, Jeff Lynne, Walsh, Katy Perry, John Legend and Alicia Keys,  Keith Urban and John Mayer, Ed Sheeran Maroon 5, Imagine Dragons, Dave Grohl, Brad Paisley  and Pharrell Williams.

Tom Hanks and Rita Wilson were in the audience and didn’t participate. But a few actors were used t to introduce segments: Sean Penn, Johnny Depp, Anna Kendrick, and Kate Beckinsale. They were all just sort of random.

Many of the clips we saw in the live show may not make it into the special. But I wish they would be used. There were lots of home movie clips, unseen footage of rehearsals circa 1968-69 during the recording of “Let it Be,” “Abbey Road,” and “The White Album.” There was also footage from the real “Let it Be” sessions called “Get Back” and the Beatles famous rooftop concert.

I Tweeted some of the proceedings @showbiz411. But the highlights, I think were Stevie performing his 1968 hit single We Can Work it Out- and twice, just to get it right. He told the audience he’d first heard the Beatles when he went to Paris as a teen on tour.

Standouts: Keys and Legend in partner pianos playing “Let it Be” and Annie Lennox singing “The Fool on the Hill.” Sheeran does a nice job on “In My Life.” Dave Grohl and Jeff Lynne rocked out on “Hey Bulldog.” Urban and Mayer were great on “Don’t Let Me Down.” Dhani Harrison joined Jeff Lynne and Joe Walsh on a haunting version of George Harrison’s “Something.”

But everyone came to see Paul and Ringo. After Ringo– the greatest rock and roll drummer ever– performed “Matchbox” and “Boys,” and led a singalong in “Yellow Submarine,” McCartney spoke to the audience.

“Tonight,” he said, “we’re remembering our beautiful friends John and George.” What followed was the magic moment of the night– Paul leading “Sergeant Pepper’s Lonely Hearts Club” band into Ringo as Billy Shears on “With a Little Help from My Friends.” That was it, frankly. Gorgeous. Ringo joined Paul on drums for “Hey Jude” to end the show.

McCartney did tell the audience he’d had some reluctance about participating in a tribute to himself. But then he said Americans told him how much that Ed Sullivan show in 1964 had changed their lives. And that convinced him.

There was a great buzz of excitement in the room. Yoko danced a lot, and the whole gang of extended Beatle family were clearly loving the show. They sing along through the guest artists. Paul and Ringo genuinely enjoyed the night. There was a sense of camaraderie. Producer Ken Ehrlich integrated live bits from the Beatles “Cirque du Soleil” show “Love,” as well. The whole thing is going to look wonderful. CBS should just make it three hours.

PS The band was exceptional, led by Don Was, Steve Lukather, and Peter Frampton. Also, in the clips we saw in the theater, there were rare glimpses of the real “Fifth Beatle,” the late Billy Preston, the only musician ever credited on a Beatles record other than the Fab Four.