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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

Has Indie Spirit Nomination Hurt Oscar Chances for “12 Years a Slave”?

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The 2014 Indie Spirit Award nominees have been announced. They will overlap once again with the Oscars, with many of the same names turning up in both places. Three of the Best Feature nominees– 12 Years a Slave, Nebraska and Inside Llewyn Davis– could very well be Oscar nominees.

Certainly the five Best Actor nominees could be the five for the Academy Awards.

Many of the nominations are scattershot. For example, Woody Allen has nominations for Best Director and Screenplay and Cate Blanchett for Best Actress. But “Blue Jasmine” isn’t nominated for Best Feature.

“Fruitvale Station” was the best indie feature of the year, but it’s only up for Best First Feature. Somehow “Frances Ha” was nominated for Best Feature, but not its actresses, director, writer, etc. They should call it Frances Huh?

Does this minimize “12 Years a Slave”? You bet. Only once in the last dozen years has a movie– “The Artist”– gotten Best Indie and Best Picture the next night at the Oscars. Not so sure FoxSearchlight should have included it in this rodeo.

BEST FEATURE
(Award given to the producer) * Executive Producers are not listed.

12 YEARS A SLAVE
PRODUCERS: Dede Gardner, Anthony Katagas, Jeremy Kleiner, Steve McQueen, Arnon Milchan, Brad Pitt, Bill Pohlad

ALL IS LOST
PRODUCERS: Neal Dodson, Anna Gerb

FRANCES HA
PRODUCERS: Noah Baumbach, Scott Rudin, Rodrigo Teixeira, Lila Yacoub

INSIDE LLEWYN DAVIS
PRODUCERS: Ethan Coen, Joel Coen, Scott Rudin

NEBRASKA
PRODUCERS: Albert Berger, Ron Yerxa

 

BEST FIRST FEATURE
(Award given to the director and producer)

BLUE CAPRICE
DIRECTOR/PRODUCER: Alexandre Moors
PRODUCERS: Kim Jackson, Brian O’Carroll, Isen Robbins, Will Rowbotham, Ron Simons, Aimee Schoof, Stephen Tedeschi

CONCUSSION
DIRECTOR: Stacie Passon
PRODUCER: Rose Troche

FRUITVALE STATION
DIRECTOR: Ryan Coogler
PRODUCERS: Nina Yang Bongiovi, Forest Whitaker

UNA NOCHE
DIRECTOR/PRODUCER: Lucy Mulloy
PRODUCERS: Sandy Pérez Aguila, Maite Artieda, Daniel Mulloy, Yunior Santiago

WADJDA
DIRECTOR: Haifaa Al Mansour
PRODUCERS: Gerhard Meixner, Roman Paul

 

JOHN CASSAVETES AWARD
(Award given to the best feature made for under $500,000; award given to the writer, director, and producer)
* Executive Producers are not listed.

COMPUTER CHESS
WRITER/DIRECTOR: Andrew Bujalski
PRODUCERS: Houston King, Alex Lipschultz

CRYSTAL FAIRY
WRITER/DIRECTOR: Sebastián Silva
PRODUCERS: Juan de Dios Larraín, Pablo Larraín

MUSEUM HOURS
WRITER/DIRECTOR/PRODUCER: Jem Cohen
PRODUCERS: Paolo Calamita, Gabriele Kranzelbinder

PIT STOP
WRITER/DIRECTOR: Yen Tan
WRITER: David Lowery
PRODUCERS: Jonathan Duffy, James M. Johnston, Eric Steele, Kelly Williams

THIS IS MARTIN BONNER
WRITER/DIRECTOR: Chad Hartigan
PRODUCER: Cherie Saulter

 

BEST DIRECTOR

SHANE CARRUTH – Upstream Color

J.C. CHANDOR – All Is Lost

STEVE McQUEEN -12 Years A Slave

JEFF NICHOLS – Mud

ALEXANDER PAYNE – Nebraska

 

BEST SCREENPLAY

WOODY ALLEN – Blue Jasmine

JULIE DELPY, ETHAN HAWKE, RICHARD LINKLATER – Before Midnight

NICOLE HOLOFCENER –Enough Said

SCOTT NEUSTADTER & MICHAEL H. WEBER – The Spectacular Now

JOHN RIDLEY – 12 Years A Slave

 

BEST FIRST SCREENPLAY

LAKE BELL – In A World

JOSEPH GORDON-LEVITT – Don Jon

BOB NELSON – Nebraska

JILL SOLOWAY – Afternoon Delight

MICHAEL STARRBURY – The Inevitable Defeat of Mister and Pete

 

BEST CINEMATOGRAPHY

SEAN BOBBITT – 12 Years A Slave

BENOIT DEBIE – Spring Breakers

BRUNO DELBONNEL – Inside Llewyn Davis

FRANK G. DEMARCO – All Is Lost

MATTHIAS GRUNSKY – Computer Chess

 

BEST EDITING

SHANE CARRUTH, DAVID LOWERY -Upstream Color

JEM COHEN, MARC VIVES – Museum Hours

JENNIFER LAME – Frances Ha

CINDY LEE – Una Noche

NAT SANDERS – Short Term 12

 

BEST MALE LEAD

BRUCE DERN -Nebraska

CHIWETEL EJIOFOR – 12 Years A Slave

OSCAR ISAAC – Inside Llewyn Davis

MICHAEL B. JORDAN –Fruitvale Station

MATTHEW McCONAUGHEY – Dallas Buyers Club

ROBERT REDFORD – All Is Lost

 

BEST FEMALE LEAD

CATE BLANCHETT – Blue Jasmine

JULIE DELPY – Before Midnight

GABY HOFFMANN –Crystal Fairy

BRIE LARSON – Short Term 12

SHAILENE WOODLEY – The Spectacular Now

 

BEST SUPPORTING MALE

MICHAEL FASSBENDER – 12 Years A Slave

WILL FORTE –Nebraska

JAMES GANDOLFINI – Enough Said

JARED LETO – Dallas Buyers Club

KEITH STANFIELD – Short Term 12

 

BEST SUPPORTING FEMALE

MELONIE DIAZ – Fruitvale Station

SALLY HAWKINS – Blue Jasmine

LUPITA NYONG’O –12 Years A Slave

YOLONDA ROSS – Go For Sisters

JUNE SQUIBB – Nebraska

 

BEST INTERNATIONAL FILM

A TOUCH OF SIN (China)
DIRECTOR: Jia Zhang-Ke

BLUE IS THE WARMEST COLOR (France)
DIRECTOR: Abdellatif Kechiche

GLORIA (Chile)
DIRECTOR: Sebastián Lelio

THE GREAT BEAUTY (Italy)
DIRECTOR: Paola Sorrentino

THE HUNT (Denmark)
DIRECTOR: Thomas Vinterberg

 

BEST DOCUMENTARY
(Award given to the director and producer)

20 FEET FROM STARDOM
DIRECTOR/PRODUCER: Morgan Neville
PRODUCERS: Gil Friesen, Caitrin Rogers

AFTER TILLER
DIRECTORS/PRODUCERS: Martha Shane and Lana Wilson

GIDEON’S ARMY
DIRECTOR/PRODUCER: Dawn Porter
PRODUCER: Julie Goldman

THE ACT OF KILLING
DIRECTOR/PRODUCER: Joshua Oppenheimer
PRODUCERS: Joram Ten Brink, Christine Cynn, Anne Köhncke, Signe Byrge Sørensen, Michael Uwemedimo

THE SQUARE
DIRECTOR: Jehane Noujaim
PRODUCER: Karim Amer

ROBERT ALTMAN AWARD
(Award given to one film’s director, casting director, and its ensemble cast)

MUD
DIRECTOR: Jeff Nichols
CASTING DIRECTOR: Francine Maisler
ENSEMBLE CAST: Joe Don Baker, Jacob Lofland, Matthew McConaughey, Ray McKinnon, Sarah Paulson, Michael Shannon, Sam Shepard, Tye Sheridan, Paul Sparks, Bonnie Sturdivant, Reese Witherspoon

 

17th ANNUAL PIAGET PRODUCERS AWARD
The 17th annual Producers Award, sponsored by Piaget, honors emerging producers who, despite highly limited resources demonstrate the creativity, tenacity, and vision required to produce quality, independent films.  The award includes a $25,000 unrestricted grant funded by Piaget.

TOBY HALBROOKS & JAMES M. JOHNSTON

JACOB JAFFKE

ANDREA ROA

FREDERICK THORNTON

 


20th ANNUAL SOMEONE TO WATCH AWARD
The 20th annual Someone to Watch Award recognizes a talented filmmaker of singular vision who has not yet received appropriate recognition.

AARON DOUGLAS JOHNSTON, director of MY SISTER’S QUINCEAÑERA

SHAKA KING, director of NEWLYWEEDS

MADELINE OLNEK, director of THE FOXY MERKINS

 

19th ANNUAL STELLA ARTOIS TRUER THAN FICTION AWARD
The 19th annual Truer Than Fiction Award, sponsored by Stella Artois, is presented to an emerging director of non-fiction features who has not yet received significant recognition.  The award includes a $25,000 unrestricted grant.

KALYANEE MAM, director of A RIVER CHANGES COURSE

JASON OSDER, director of LET THE FIRE BURN

STEPHANIE SPRAY & PACHO VALEZ, directors of MANAKAMANA

News from “Mandela” Premiere: New U2 Album Coming in March 2014 (See Bono Video Here)

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The new U2 album is on its way. I told you a few weeks ago that the album would make the first quarter of 2014, that the video work had commenced as well as the marketing materials. Now comes “Ordinary Love,” the first single, written for the soundtrack of “Mandela: Long Walk to Freedom” which premiered last night at the Ziegfeld.

I hung out on the red carpet with U2’s two managers, the famed and brilliant Paul McGuinness who’s been with U2 since Day 1, and Guy Oseary, who’s coming in to work with Paul after his tireless guidance of Madonna over the years.

No, Guy told me, there will be no Madonna-U2 duet on the new album.

Paul did tell me that the album will come in March, maybe right after the group wins an Oscar for their “Mandela” song. They should.

Milling about with us on the red carpet: Oscar buzzed “Mandela” stars Idris Elba and Noamie Harris, plus Vogue editor Anna Wintour, who co-hosted the screening. No sunglasses, no aides or assistants running about. No Devil Wears Prada. Anna and McGuinness have been friends for literally eons. She was very comfortable.

Also on hand: the great beauty Iman, without David Bowie, very low key also.

Harvey Weinstein is passionate about “Mandela,” Justin Chadwick’s comphrensive and absorbing take on the life of a historic, great leader. Harvey introduced the film and the filmmakers and Bono, who himself was introduced by Nelson Mandela’s daughter, Zenani. She sang his praises.

Keep an eye on “Mandela,” especially Idris Elba and Noamie Harris. They are very much in the Oscar game. Elba is kind of a rock star because of his TV work in the UK. He is a towering presence as Nelson Mandela. SAG voters in particular are loving his performance.

Randy Phillips Survives Michael Jackson Saga, Leaves AEG For Greener Pastures

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When Randy Phillips got the idea to bring Michael Jackson back to his fans he never would have guessed it would end this way: Michael is dead, and Phillips has been “exited” — in corporate speak– from his job as founding chief of AEG Live. Yesterday the company announced simply that Phillips was gone, and there was a new corporate hierarchy to replace him. It wasn’t very gracious, but that’s corporate America.

Phillips started AEGLive in 2002 and put it on the map. He and Tim Leiweke — who left last March — literally created AEG to compete with what became Live Nation (formerly Clear Channel Entertainment). They made the O2 Arena outside of London their beach head. Among their triumphs was the actual Led Zeppelin reunion in memory of Ahmet Ertegun.

Under Leiweke and Phillips, the whole L.A. Live center in downtown Los Angeles blossomed. What was a wasteland is now a thriving culture center in a city where culture is usually mentioned in conjunction with strep throat. In New York AEG set up shop with the Nokia Theater in Times Square.

It was at the Ertegun concert that Randy told me he’d made an offer to Michael Jackson to do 10 shows at the Arena. The offer was rejected. But a year later Michael’s finances were in worse shape than ever. The offer was re-examined. The deal was made. Phillips never conceived of the depth or range of Michael’s problems. On the car ride to the O2 Arena, Jackson was literally a mess. And things went downhill from there.

There were plenty of successes, big tours, and even the triumph of the Jackson documentary “This Is It.” From Paul McCartney to Justin Bieber, AEG held its own with behemoth Live Nation. Phillips leaves a well-armed organization for popular Jay Marciano, the guy he brought in from Madison Square Garden hand picked. Maybe Phillips will get back into management, where he was a rock star. His first client could be Lady Gaga. If anyone could straighten out that mess, it’s Randy.

 

Oscars: “American Hustle” Screens, and Some Awards Questions Are Answered

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I’ve just gotten back from a long day of movie marathons concerning the Oscars. The biggest deal was the first screening of David O. Russell’s “American Hustle.” We’re not supposed to ‘review’ it until next week. But the voting for various awards, and drawing up of lists is upon us. So this isn’t a review. Just some observations.

Russell has taken his two best films, “The Fighter” and “Silver Linings Playbook,” mixed them in a Cuisinart and added a touch of Scorsese. There’s also a slight hint of “Argo.” But really, he’s made a great movie. All four of his principle actors are superb. But I dare say that Amy Adams is the consistent standout and a definite Best Actress nominee. She’s a knockout. So is Christian Bale, who joins a long list of potential Best Actor nominees.

The irony is that Bradley Cooper and Jennifer Lawrence, leads from “Silver Linings” and Oscar nominees (she won) return here in supporting roles. They’re big supporting roles–almost leads. They each deserve their own nominations. I don’t get how Jennifer Lawrence is doing what she does. She’s what, 23? She ‘gets it.’ She ‘gets’ everything. She’s playing older here, from the 1970s, and still she nails it in the most disarming ways. Is she reincarnated? Is she channeling someone? Throw this in with “Catching Fire,” and you’ve really got a situation here. Imagine what she’ll be like at 30!

“American Hustle” is one of 17 (by my count) possible Best Picture nominees. There are only 10 slots. I’d have to think it goes in the top 10. You know it’s good from the get go because they use the Columbia Pictures logo from the ’70s right at the start. Plus, the music is phenomenal. It’s all ’70s hits. There’s one sequence with Lawrence involving “Live and Let Die” that’s just LOL brilliant.

“American Hustle” is a so called big film. I do think we’re in danger of losing the ‘little’ films from the top 10. We need a second Oscar night! All the ‘big’ films have to be nominated: 12 Years a Slave, Gravity, The Butler, August Osage County, American Hustle, Lone Survivor, Saving Mr Banks, Captain Phillips. Then maybe comes Nebraska. That’s 9. One more? “Wolf of Wall Street” remains a question mark.

By the way there are some game changer smaller roles in “American Hustle” for the performers. Alessandro Nivola in particular stands out as an ambitious prosecutor. Elisabeth Rohm, from “Law & Order,” is a revelation. More next week…

Bruce Springsteen: New Single, Video, Album “High Hopes”

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Bruce Springsteen has a new single and video out today called “High Hopes.” The album is out January 14th. It includes the cover of Suicide’s Dream Baby Dream which Bruce played at a fundraiser earlier this month. The album has a lot of Tom Morello playing guitar. The sound is a little different from Steve van Zandt, who was tied up at the time with his own projects.

The track listing for High Hopes is as follows:

1. High Hopes
2. Harry’s Place
3. American Skin (41 Shots)
4. Just Like Fire Would
5. Down In The Hole
6. Heaven’s Wall
7. Frankie Fell In Love
8. This Is Your Sword
9. Hunter Of Invisible Game
10. The Ghost of Tom Joad
11. The Wall
12. Dream Baby Dream

Read Springsteen’s unedited liner notes below:

I was working on a record of some of our best unreleased material from the past decade when Tom Morello (sitting in for Steve during the Australian leg of our tour) suggested we ought to add “High Hopes” to our live set. I had cut “High Hopes,” a song by Tim Scott McConnell of the LA based Havalinas, in the 90’s. We worked it up in our Aussie rehearsals and Tom then proceeded to burn the house down with it. We re-cut it mid tour at Studios 301 in Sydney along with “Just Like Fire Would,” a song from one of my favorite early Australian punk bands, The Saints (check out “I’m Stranded”). Tom and his guitar became my muse, pushing the rest of this project to another level. Thanks for the inspiration Tom.

Some of these songs, “American Skin” and “Ghost of Tom Joad,” you’ll be familiar with from our live versions. I felt they were among the best of my writing and deserved a proper studio recording. “The Wall” is something I’d played on stage a few times and remains very close to my heart. The title and idea were Joe Grushecky’s, then the song appeared after Patti and I made a visit to the Vietnam Veterans Memorial in Washington. It was inspired by my memories of Walter Cichon. Walter was one of the great early Jersey Shore rockers, who along with his brother Ray (one of my early guitar mentors) led the “Motifs”. The Motifs were a local rock band who were always a head above everybody else. Raw, sexy and rebellious, they were the heroes you aspired to be. But these were heroes you could touch, speak to, and go to with your musical inquiries. Cool, but always accessible, they were an inspiration to me, and many young working musicians in 1960’s central New Jersey. Though my character in “The Wall” is a Marine, Walter was actually in the Army, A Company, 3rd Battalion, 8th Infantry. He was the first person I ever stood in the presence of who was filled with the mystique of the true rock star. Walter went missing in action in Vietnam in March 1968. He still performs somewhat regularly in my mind, the way he stood, dressed, held the tambourine, the casual cool, the freeness. The man who by his attitude, his walk said “you can defy all this, all of what’s here, all of what you’ve been taught, taught to fear, to love and you’ll still be alright.” His was a terrible loss to us, his loved ones and the local music scene. I still miss him.

This is music I always felt needed to be released. From the gangsters of “Harry’s Place,” the ill-prepared roomies on “Frankie Fell In Love” (shades of Steve and I bumming together in our Asbury Park apartment) the travelers in the wasteland of “Hunter Of Invisible Game,” to the soldier and his visiting friend in “The Wall”, I felt they all deserved a home and a hearing. Hope you enjoy it,

Bruce Springsteen

“General Hospital” — Resuscitated– May Hit 3 Million Viewers This Week

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Soaps are booming. Three years ago, ABC and CBS each killed two long running shows because they said the genre was dead. ABC was getting ready to pull the plug on “General Hospital.” But last week “GH” scored 2,979,000 total viewers, the most people watching the show since Ronald Reagan was president.

This week, “GH” will cross the 3 million mark– most likely this afternoon when a continuation of  a major cliffhanger will continue and play out for the next three days. Wherever former ABC Daytime chief Brian Frons is, he must be choking on a turkey bone.

No, soaps don’t make sense. They don’t obey any rules of consistency or logic. It’s daytime and nighttime in the same segment. Legal and medical “facts” are simply created. I saw two minutes of a courtroom scene on “GH” last week and did a spit-take it was so hilarious. Brian surgery patients keep their hair and wear Bandaids post-op.

But no one cares. It’s all in good fun. And it’s a relief from the reality crap on MTV and Bravo. My favorite thing about “General Hospital” is that they’ve named the local mental hospital “Miscavige Clinic” after the controversial head of Scientology in real life, David Miscavige. It seems like a signal to a couple of Scientologist actors (in soaps, not Tom Cruise obviously) that they’re not welcome in Port Charles.

ABC is in the middle of crazy lawsuits with Prospect Park over the licensing of their cancelled soaps. But soaps may be what ABC needs when Katie Couric exits later this year from her talk show.