Friday, December 19, 2025
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Remembering Peter Kaplan, World Class Editor, Great Friend

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We’re waking up to a sad morning in New York: one of our own is gone. Peter Kaplan died yesterday at age 59. He was best known as the editor of the New York Observer from 1994 to 2009. A lot of writers who he trained and mentored are on Twitter already expressing their grief about his death and gratitude for knowing him.

I met Peter long before his run at the Observer. In fact, it was 30 years ago. He’d been a writer for New Times magazine. But I was at Ballantine Books, starting out as a publicist. Peter, who was getting married, had edited a trade paperback called “Single States.” It was a series of essays, serious and funny, about dating. It was one of the first books I’d been given the task of promoting.

We became fast friends. The book was cheesy but we had fun with it, and I sent Peter off to do a lot of local TV and radio. I remember we made small placards out of the cover and anointed various bars on his tour as the best Single States places to meet people. I’ve got to tell you, it seems like yesterday. It was 1983.

Peter was a character. He’d been roommates at Harvard with Bobby Kennedy Jr. and was plugged into that world. But coming from West Orange, New Jersey he was fascinated with the lore and history of New York. When I told him that I’d met the legendary Kitty Carlisle Hart he lit up like a neon sign on Broadway. His favorite book was Moss Hart’s “Act One.” All he wanted to do was meet Kitty Carlisle and convince her to let him write “Act Two.” I think we actually broached this to her, and her answer was no thanks. But the whole thing was done with Peter’s incredible charm and youthful naivete that anything was possible.

Peter and his wife Audrey lived not far from me, and I used to have breakfast with them sometimes at the famous Joe Jr’s. This was before they decamped from Greenwich Village. Peter was hired at the Times to write culture pieces. His first big ‘get’ was writing a piece about Grant Tinker, who’d become the head of NBC after his amazing run creating MTM and “The Mary Tyler Moore Show.” Tinker was very cool at the moment, and Peter was over the moon, the way a young reporter is when you score a timely subject whom you also admire. It’s a big high. http://www.nytimes.com/1984/09/30/arts/nbc-s-head-says-tv-viewers-spurn-quality-shows.html

For a couple of years in the late 80s, after running the very hip Manhattan Inc. magazine, Peter worked as Charlie Rose’s executive producer in the early days of his PBS show. Charlie loved him, although Peter had his own ideas and really needed to be the captain of his own ship. That was the Observer. I wrote several pieces for him in the mid 90s.

There’s a picture today of Peter in the Times, sitting in his Observer office. That’s the groomed version. When I think of visiting him at the offices in that crazy townhouse on East 64th St. I can see him in those clothes– the blue Oxford shirt, chinos, etc. But he used to emerge from his rabbit hole of an office hair standing straight up, shirt untucked, glasses askew. He looked like Fred MacMurray after a failed experiment in “Flubber.” It was hilarious.

But he was busy running a weekly paper that meant something in New York. The Observer was great– and I mean, great– then. From Charles Bagli and Peter Stevenson on the front page, to Candace Bushnell, and Frank DiGiacomo, Craig Unger and Joe Conason–every week, there was so much to read. And you gobbled it up.

Arthur Carter, publisher of the Observer, loved Peter. But when he sold the paper to Jared Kushner, things weren’t so good. Peter, who always seemed eternally young, was now showing 30 year old Kushner the ropes. He left to become editorial director at Fairchild within Conde Nast. And last year he started M Magazine, for men’s fashions.

You never forget the people you meet when you’re starting out. No matter where we went in life, Peter and I always knew each other from an early time. That kind of relationship is a touchstone in your memory. As various people came and went, we could see each other across the room at a publishing party and reunite with a warm handshake and a real smile. (He was a good smiler.) We were still here.

Last March I saw him at the Observer’s 25th anniversary party. A buzz cut had replaced his usual mop of hair. I thought it was a fashion statement. But it was cancer. And we exchanged emails. I apologized for making a joke about his hair. He let me off the hook with a lovely reply. He wrote:

“Dear Roger
Please do not be silly—it was a completely reasonable thing to say!
And thanks so much I feel pretty well.
You know I have real affection for you and I always will.”
The same here, Peter. I would have so enjoyed us sharing laughs about “Single States” and everything else well into our golden years. A great friend, gone way too soon.

 

photo courtesy of Patrick McMullan

Van Morrison Brings “Glad Tidings” But No Encore and Few Hits to the Beacon

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I do have to laugh: I stopped going to Van Morrison shows a few years ago because they were so frustrating. He rarely sang recognizable songs. He was off in his own world. The whole thing was interesting for about half an hour. And this from a devoted fan who has every album and knows every note. His performances were coloring my love of the records.

So back I went on Tuesday to the Beacon Theater. The place was full. Shana Morrison, Van’s foxy 43 year old daughter, opened the show and sang “And It Stoned Me.” She has a wonderful voice and could have been a star in her own right. But she works in the family store.

Van: He sure is a stout little guy, a fireplug in a tight suit and a big brimmed hat clamped down on his head. To get a good picture of him you have to wait until he turns his cherubic face to the key light above him and shoot fast. Van Morrison does not like too much light.

The band is sweet. They are big too, with a lot of independent horns, not a horn section per se. The players are gifted and soulful. Van plays his own memorable horn pieces, too. And the band swings under his own direction. Jazz and big band are his true source material, and their intersection with country, R&B, Irish traditional music makes for his unique sound.

We were lucky: He sings “Moondance,” or kind of mumbles it. He rushes “Tupelo Honey” into a medley with the less well known “Tupelo Honey.” That’s it for hits. If you’ve come for “Gloria,” “Brown Eyed Girl,” or “Jackie Wilson Said,” you are out of luck.

An hilarious moment: someone has convinced Van to sing “Glad Tidings” from “Moondance.” It was used in a Sopranos episode. “I need the lyrics!” he shouts. “Where are the lyrics.” An assistant hands him a piece of paper, he puts it on a music stand. “Glad Tidings” lives, gloriously.

There are guest stars: 92 year old jazz legend Jon Hendricks, famous for Lambert Hendricks & Ross, comes out with his daughter Aria and talented vocalist Kevin Burke. During the 90 minute show they do a two or three numbers with Van including Hendricks’ famous “Centerpiece.” Van looks thrilled and the results are historic. Beautiful.

I’ve looked back at Van’s set lists since he started out on this set of gigs a couple of weeks ago. It’s catch as catch can. It’s whatever he feels like. And there are no encores. So after he did “In the Garden,” he said Goodnight and left the Beacon stage. The audience, many of whom spent hundreds of bucks to see him, was shocked and disappointed. I just laughed. I knew the way it would end. But it was beautiful for a few moments.

Van, you won’t read this but here’s an idea: you released a new album last year. Why not sing it on tour? Just a thought.

 

Monty Python Now Up to 10 Dates in London, More to Come

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I did tell you that the Monty Python reunion would add up to around 100 shows before it was all done. A few people told me I was crazy, that the Pythons would never pull it off. But here we are: they’ve got 10 shows booked the O2 Arena outside of London after adding five more dates tonight. The shows now run July 1st-5th, and 15th-20th. Will there be more? Absolutely. Then look for dates in New York and Los Angeles for early September. AEG Live is supposedly handling the tour, which will spread out in the U.S. before heading to Europe, Australia, and so on. Python-mania is upon us!

Paris Jackson Not Coming Home for Thanksgiving, Going on Field Trip

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You may be wondering what happened to Paris Jackson, Michael Jackson and Debbie Rowe’s daughter? She was sent to a school for troubled teens last June after a suicide attempt, and that’s where she’s been all this time.

Now I’m told that Paris, who’s had a hard time adjusting to the rules and regulations of the school, has earned enough good behavior points to join her classmates on a field trip. They’re on their way now, and that’s where Paris will be for Thanksgiving. Remember, Katherine Jackson is a Jehovah’s Witness and doesn’t celebrate holidays. So Paris might as well be with her pals.

TMZ ran a story today from a “source” claiming Debbie Rowe and Mrs. Jackson had a meeting at the school today to get an update on Paris. “Debbie is calling these stories in to TMZ,” says an insider. If that’s true, she didn’t tell them about the field trip. I know where the kids are going. I’ll tell you where it was when they return.

According to my source, Paris has missed a few trips in the past because she wasn’t so cooperative. But things are changing. Her behavior, they say, will be watched closely now to determine if she can go home for the Christmas break. We’re rooting for her!

Marvin Gaye’s Son Tells Robin Thicke: “Got to Give it Up” in New Lawsuit

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Marvin Gaye’s son, Marvin Gaye III, has filed his own lawsuit against Robin Thicke over copyright violation. MGIII is suing not only over the similarities between his dad’s song “Got to Give it Up” and Thicke’s hit “Blurred Lines.” He’s added another Gaye song, “After the Dance,” which he says Thicke copied in “Love After War.”

MGIII may have gotten idea from an article I wrote in August. I told you then that there were at least four instances in which Thicke obviously copied or sample Gaye classics. The other two are his “Trouble Man” finding its way into Thicke’s “Million Dolla Baby” and Gaye’s “I Want You” copied into Thicke’s “Make U Love Me.”

There is already a suit against Thicke from two other Gaye children. That suit not only names Thicke but his music publisher, formerly EMI, now Sony ATV, for breaching fiduciary rights in not dealing with this situation. This one leaves Sony ATV out of the mix. He’s also suing over just the “Got to Give it Up” and “After the Dance.” I don’t know why he don’t sue over “Trouble Man.” It’s blatant.

Frankly, I’ve known other similar situations where the music publisher declined to intervene because the culprit was a contemporary hit maker. Witness John Mayer’s “Waiting for the World to Change” which borrows heavily from Curtis Mayfield’s “People Get Ready” and “We’re a Winner.”

This new lawsuit is reported today by Eriq Gardner in The Hollywood Reporter.

Here’s some advice to the Gaye children: combine your cases. That’s a big Thanksgiving pie your dad left behind. Everyone can have a nice slice if you’re smart.

Here’s an interesting 2009 video I found on YouTube. Thicke seems to say “Million Dolla Baby” is based on Marvin Gaye’s music.

 

Broadway: “Spider Man” — Closing Soon– Celebrates 3rd Anniversary Tonight

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Not every show on Broadway will be remembered for something. But tonight “Spider Man: Turn off the Dark” marks three years since its auspicious debut at the Foxwoods Theater. This was the night– November 28, 2010– that became legend. (Since tomorrow is Thanksgiving, the show will celebrate a night early this evening.) It was a freezing cold night, in fact. The scene in front of the Foxwoods on West 42nd St. was out of control. Big crowds, long lines, and so much curiosity about what was going to happen on stage.

Of course, what happened starting that night was legendary. Things fell apart. There were a lot of stops. Poor Arachne, who was supposed to fly around, got stuck in mid air. One of the flying Spider men came in zooming in toward the stage and kept going until a stage hand caught him. There were no actual accidents, but there were many to come.

In the second act, during a five minute break to fix things, a woman in the audience yelled out, “I feel like a guinea pig!” She was booed. Oh, the memories.

It wasn’t all bad. Rick Miramontez, the super hero press agent for the show, points out in a press release today:  “The production has employed a total of 1,100 people and pumped an estimated $870 million into the local economy.  Audience members representing 45 countries from around the globe have seen the production, including approximately 750,000 first time theatergoers.  The show, arguably the most famous in Broadway history, has generated an estimated 200,000 headlines around the world.  It has been enjoyed by everyone from the world’s richest man, Carlos Slim, to Joan Rivers, and has been seen multiple times by its most fervent fans, including one fan who has attended 219 times to date.”

(It’s also lost $60 million.)

Happy Birthday , Spider Man. And if you haven’t seen Julie Taymor’s sets and costumes, her incredible vision, it’s worth taking a peek before the show shuts down on January 4th and heads to Las Vegas, its natural home.

Justin Bieber Releases Pale Version of “Rollercoaster,” the Ohio Players Hit

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Justin Bieber is really a wanker, isn’t he? This week’s single release is called “Rollercoaster.” It’s at number 8 on iTunes. It’s also a pale version of the real “Rollercoaster” by the Ohio Players. How can he listen to these side by side and think he’s making music? It’s an abomination.

Bieber:
 

 

Ohio Players:

Lady Gaga ARTPOP Poops Out: Second Week Drop of 81%

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Lady Gaga‘s ARTPOP dropped 81% in sales for its second week and fell to number 7 from first place. The album sold 50,154 copies, down from first week of almost 260K. ARTPOP will be written about one day as a huge marketing failure, unique in every way. After a long, much ballyhooed build up the finished product simply fizzled.

Lady Gaga– Stefani Germanotta– will learn a lesson about hubris from this experience. Maybe. She directed the entire campaign, went against the advice of others, and wound up losing a ton of money ($25 million seems severe, but lots) for herself and for Universal Music.

This means ARTPOP has sold just 300,000 copies in two weeks. Where are all her fans and ‘monsters’? They certainly didn’t like what they heard. But as I said before, ARTPOP was a gigantic misfire. Gaga tried to shove the art world down the throats of the fans. They didn’t want it, and they were confused by it. What had they related to was Gaga as champion of the underdog, the gay kid, the bullied kid, etc. Jeff Koons was not in their realm.

The flop album may yet affect more things, like a tour. It will be interesting to see if she can sell tickets to concerts with music no one bought. The best solution is get back with producer RedOne, add some songs to an ARTPOP 2.0, and try and revive the CD. It’s been done. But Gaga will have to listen to someone other than herself.

PS Eminem retook the number 1 spot with his Marshall Mathers LP 2. He sold 127.000 copies, about two and a half times as many as Gaga.

MORE MUSIC! DOWNLOAD JULIA FORDHAM ‘S WHITE CHRISTMAS
— All Proceeds from iTunes to aid for the Phillipines. Julia writes: Here’s our lovely and funny video starring the scene stealing, stunning and hilarious actress Jennifer Coolidge. Currently starring in the CBS sitcom “2 Broke Girls” (and much loved for her superb turn as Stifler’s Mom in the movie American Pie & and for her characters in the Christopher Guest movies), Judith and I were thrilled and delighted when Jennifer showed up at our video shoot for “White Christmas” and worked her Voluptuous Goddess Charm on our Producer / Arranger / Pianist Grant Mitchell.
https://itunes.apple.com/us/album/white-christmas-single/id763801738

Meryl Streep (Video) On Her Tour de Force in “August Osage County”

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Last night Meryl Streep and the cast of “August: Osage County” did two Q & As back to back for the film. You can see the public one here. It’s very amusing. Streep admits that playing Violet Westin in the Pulitzer Prize winning drama “was not an easy thing to say yes to.”

Streep is a heavy candidate for Best Actress. Her performance is a tour de force. She is mesmerizing. There are other terrific Oscar possible performances from Margo Martindale, Chris Cooper and Julia Roberts. John Wells has done a masterful job with Tracy Letts’s play and screenplay. And yes, the ending has been tweaked since the version I saw in Toronto. It ends on a clearer note. At last night’s screening I was able to watch things from different angles, that’s the benefit of multiple viewings. Julia Roberts was even better than I thought last time. And Margo Martindale is deep, deep, deep.

Interesting: Meryl had never met Sam Shepard before, which seems hard to believe considering Shepard’s long playwright history off Broadway in New York, his marriage to Streep’s peer Jessica Lange, and so on. “I was so thrilled [he] was cast in this part. And when I met him I was hairless, toothless. And he looked at me just the way he was supposed to, with complete revulsion. It sort of broke my heart and really made me mad. It was fuel for the rest of the thing.

Streep concedes of Violet: “This is a very theatrical person. A person who has no lid on her instinct. There was a great liberation in that character.”

She added: “I have tended toward some bossy characters lately. Maybe that comes with age. I’m noticing a trend…”

 

“60 Minutes” Scandal Apes HBO’s “The Newsroom” With Different Results

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Bad times at “60 Minutes” as Laura Logan and her producer are suspended over their Benghazi episode. The pair was conned and put a source on to reveal secrets of what happened at Benghazi. The source turned out be a liar; he had told the FBI a completely different story of his experience at Benghazi.

This is quite different from the similar story that ran all summer on HBO’s “The Newsroom.” The fictitious network ran what turned out to be the fictitious “Genoa” story thanks to a crazy in house producer. All the top people offered their resignations; they were declined.

But in real life, you don’t get Jane Fonda in a gown high as a kite coming back from a movie premiere and saving your skin. Interesting though that CBS News and “60 Minutes” actually imitated “The Newsroom” in many ways. Here are the reports from CBS and from “60 Minutes”:

 

November 26, 2013

 

SUMMARY OF FINDINGS

My review found that the Benghazi story aired by 60 Minutes on October 27 was deficient in several respects:

–From the start, Lara Logan and her producing team were looking for a different angle to the story of the Benghazi attack.  They believed they found it in the story of Dylan Davies, written under the pseudonym, “Morgan Jones”.  It purported to be the first western eyewitness account of the attack.  But Logan’s report went to air without 60 Minutes knowing what Davies had told the FBI and the State Department about his own activities and location on the night of the attack.

–The fact that the FBI and the State Department had information that differed from the account Davies gave to 60 Minutes was knowable before the piece aired.  But the wider reporting resources of CBS News were not employed in an effort to confirm his account.  It’s possible that reporters and producers with better access to inside FBI sources could have found out that Davies had given varying and conflicting accounts of his story.

–Members of the 60 Minutes reporting team conducted interviews with Davies and other individuals in his book, including the doctor who received and treated Ambassador Stevens at the Benghazi hospital.  They went to Davies’ employer Blue Mountain, the State Department, the FBI (which had interviewed Davies), and other government agencies to ask about their investigations into the attack.  Logan and producer Max McClellan told me they found no reason to doubt Davies’ account and found no holes in his story.   But the team did not sufficiently vet Davies’ account of his own actions and whereabouts that night.

–Davies told 60 Minutes that he had lied to his own employer that night about his location, telling Blue Mountain that he was staying at his villa, as his superior ordered him to do, but telling 60 Minutes that he then defied that order and went to the compound.  This crucial point – his admission that he had not told his employer the truth about his own actions – should have been a red flag in the editorial vetting process.

–After the story aired, the Washington Post reported the existence of a so-called “incident report” that had been prepared by Davies for Blue Mountain in which he reportedly said he spent most of the night at his villa, and had not gone to the hospital or the mission compound. Reached by phone, Davies told the 60 Minutes team that he had not written the incident report, disavowed any knowledge of it, and insisted that the account he gave 60 Minutes was word for word what he had told the FBI.  Based on that information and the strong conviction expressed by the team about their story, Jeff Fager defended the story and the reporting to the press.

–On November 7, the New York Times informed Fager that the FBI’s version of Davies’ story differed from what he had told 60 Minutes. Within hours, CBS News was able to confirm that in the FBI’s account of their interview, Davies was not at the hospital or the mission compound the night of the attack.  60 Minutes announced that a correction would be made, that the broadcast had been misled, and that it was a mistake to include Davies in the story. Later a State Department source also told CBS News that Davies had stayed at his villa that night and had not witnessed the attack.

–Questions have been raised about the recent pictures from the compound which were displayed at the end of the report, including a picture of Ambassador Stevens’ schedule for the day after the attack. Video taken by the producer-cameraman whom the 60 Minutes team sent to the Benghazi compound last month clearly shows that the pictures of the Technical Operations Center were authentic, including the picture of the schedule in the debris.

–Questions have also been raised about the role of Al Qaeda in the attack since Logan declared in the report that Al Qaeda fighters had carried it out.  Al Qaeda’s role is the subject of much disagreement and debate. While Logan had multiple sources and good reasons to have confidence in them, her assertions that Al Qaeda carried out the attack and controlled the hospital were not adequately attributed in her report.

–In October of 2012, one month before starting work on the Benghazi story, Logan made a speech in which she took a strong public position arguing that the US Government was misrepresenting the threat from Al Qaeda, and urging actions that the US should take in response to the Benghazi attack.  From a CBS News Standards perspective, there is a conflict in taking a public position on the government’s handling of Benghazi and Al Qaeda, while continuing to report on the story.

–The book, written by Davies and a co-author, was published by Threshold Editions, an imprint of Simon & Schuster, part of the CBS Corporation.  60 Minutes erred in not disclosing that connection in the segment.

Al Ortiz
Executive Director of Standards and Practices
CBS News
——–

By now most of you have received the report from Al Ortiz about the problems with the 60 Minutes story on Benghazi.

There is a lot to learn from this mistake for the entire organization.  We have rebuilt CBS News in a way that has dramatically improved our reporting abilities. Ironically 60 Minutes, which has been a model for those changes, fell short by broadcasting a now discredited account of an important story, and did not take full advantage of the reporting abilities of CBS News that might have prevented it from happening.

As a result, I have asked Lara Logan, who has distinguished herself and has put herself in harm’s way many times in the course of covering stories for us, to take a leave of absence, which she has agreed to do.  I have asked the same of producer Max McClellan, who also has a distinguished career at CBS News.

As Executive Producer, I am responsible for what gets on the air.  I pride myself in catching almost everything, but this deception got through and it shouldn’t have.

When faced with a such an error, we must use it as an opportunity to make our broadcast even stronger. We are making adjustments at 60 Minutes to reduce the chances of it happening again.

There is a lot of pride at CBS News.  Every broadcast is working hard to live up to the high standard set at CBS News for excellence in reporting. This was a regrettable mistake.  But there are many fine professionals at 60 Minutes who produce some of the very best of broadcast journalism, covering the important and interesting stories of our times, and they will continue to do so each and every Sunday.

Jeff Fager
Chairman, CBS News
Executive Producer, 60 Minutes