Thursday, December 18, 2025
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Chris Christie Gets Muted Applause at Howard Stern Sirius Radio Birthday Gala

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So many headlines from the Howard Stern Sirius Radio 60th birthday gala. First was the appearance of New Jersey Governor Chris Christie. He received muted applause when he entered, and almost nothing when he left the stage at the Hammerstein Ballroom. One insider told me as Christie first came on: “We were afraid he’d be booed.” This was more like indifference. All the rowdy applause and cheering of past public appearances was absent. The mood was vastly different. Christie must have known that.

But that was the only awkward moment in a four hour party that really was a smash hit of an evening. Stern broadcast on his Sirius channel from 6 pm to 10:30pm, doing his radio show with Robin Quivers from the Hammerstein stage. Jimmy Kimmel was sort of an extra master of ceremonies. And the guests were just one after another either very funny or musical stars.

By far the most interesting moment was a 30 minute– yes, half hour– sit down interview live on stage with David Letterman. I’m hopeful Sirius will release the clip. Howard was so impressive, and he got a masterful session done with the usually taciturn Letterman. And the subject seemed more than willing. Not only that, but Kimmel served as sort of a second banana, and Letterman interacted with him nicely.

Dave and Howard covered many topics including Letterman hanging out with Johnny Carson early in his career. They got to politics. Howard asked him if he’d ever voted for a Republican. Letterman replied: “Not that I know of.”

Dave also revealed to Howard that he did not attend Larry “Bud” Mehlman’s funeral. He did say he spoke to Jay Leno once in the last few years– when Jay announced his second departure from the Tonight Show. Dave indicated that he still holds a grudge against Jay from the old days.

This interview alone may be Howard’s finest hour. You could tell he really was invested in being serious, if not Sirius. Letterman rose to the occasion.

Other guests included the musical performer ones– House band Train, plus Rob Zombie, Adam Levine — playing without Maroon 5, John Mayer, Dave Grohl, John Fogerty, Steven Tyler sans Aerosmith but with Slash. Plus there were some terrific parody songs– by Rosie O’Donnell, and by Sarah Silverman with Natalie Maines of the Dixie Chicks. Adam played “Purple Rain” with Train; it was the first time I’ve seen him solo without his group. Jon Bon Jovi got a huge ovation for a spectacular “Wanted Dead or Alive.”

Jimmy Fallon did some dead on impersonations for Howard. Bryan Cranston stopped by, as did Lena Dunham from “Girls.” Cyndi Lauper and husband David Thornton were in the audience, as was Barbara Walters (no idea why), Sandra Bernhard, the great comedy writer Alan Zweibel, Patti Smythe and John McEnroe, plus Katie Couric and Louis CK, Fred Armisen, David Spade, Johnny Knoxville, Zach Braff, and Robert Downey Jr. with wife Susan (and a lot of unpleasant security) among others.

The funniest stuff came from Joan Rivers and Jeffrey Ross, who turned their segment into a Friars Roast. I can’t reprint any of it.

No one seems to know if Sirius will market a DVD of the evening but they should. Kudos to Scott Greenstein for pulling it off.

Tim Tebow Mocks His Lack of NFL Contract in Super Bowl Commercials (Watch Video)

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Tim Tebow has no NFL contract and maybe that’s a good thing. At least in these first time ever T Mobile ads for the Super Bowl. Clever idea– T Mobile has no contracts and will buy out of yours. Tebow is similarly challenged. If only there were some correlation between dropped balls and dropped calls. Or players not receiving signals, and phones not… Well, T Mobile customers, we get the idea.

UPDATE: Carly Rae Jepsen Has Not Lost Plagiarism Law suit

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UPDATE AND CORRECTION: Jason Graham, attorney for Allyson Burnett, tells me: “TMZ’s story is not accurate. The court did not order anything and there is nothing to report about this case at this time.”

Earlier:
So far , Justin Bieber and Carly Rae Jepsen are not the Jackson Browne and Joni Mitchell of this generation. And Scooter Braun is no David Geffen. With Bieber in legal trouble in three separate locales, Braun needs no more trouble. But yesterday his client Carly Rae Jepsen, discovered by Bieber in Canada, lost a major plagiarism law suit.

Jepsen, famous for “Call Me Maybe,” was found guilty of lifting someone else’s song for “Good Times,” a hit she recorded with the group Owl City. Jepsen, the Owl City writers, et al have been ordered to pay Ally Burnett over $800,000 for her song “Ah It’s A Long Song.”

A judge ruled that the two songs were similar enough. The ruling says that Jepsen et al had plenty of access– meaning that Burnett’s 2010 release was known well enough publicly that they could have nicked it.

Other than “Call Me Maybe,” Jepsen’s never managed to land another big hit. She is currently joining the cast of “Cinderella” on Broadway for 12 weeks. That’s what one hit wonder pop stars do when they see their recording careers ending.

For Braun, this news is the latest blow to his teetering empire. He’s now turning his attention to other female pop acts– Tori Kelly and Ariana Grande- and away from Bieber and Jepsen.

The NY Post’s Richard Johnson followed up on my line yesterday, and reported that Bieber is spending $1 million a month.

How long before Bieber — like Michael Jackson– realizes the money is gone and starts asking questions?

And where will Jepsen and her co-defendants get $800K to pay Burnett? This is going to get interesting…

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.