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“Today” Show Beaten By Fox5’s Local “Good Day New York” in Key Age Group

Roger Friedman
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“Today” Show Beaten By Fox5’s Local “Good Day New York” in Key Age Group

More  people in the New York area watched “Good Day New York” on local Fox 5 than they did the “Today” show on national NBC. That seems to be the ratings report. In the 25-54 key demo, “Today” lost significant viewership. Of course, nationally it lost to “Good Morning America.” That’s like Le Cirque being beaten by McDonalds because “GMA” has become a game show posing as news.

“Good Day New York” got a 1.3 rating as opposed to the “Today” 1.2 rating.

But the “Good Day New York” news is troubling. First it’s local. Second, the show actually changed anchors right before sweeps began, swapping out Dave Price, mysteriously, for former host Greg Kelly. Rosanna Scotto, the captain of the ship, remains as Fox’s standard bearer– and thank goodness. because she tells it like it is!

There are rumors that this ratings debacle at “Today” means the end of Matt Lauer, but I don’t think so. If he wants to stay, he’d better wake up and do some image polishing– hire a spin doctor, go on the offensive, and for god’s sake, engineer an apology to Ann Curry. Her absence and poor treatment hangs over the show every day like a black cloud.

From the Fox 5 press release:

Among Adults 25-54, “Good Day New York” had a +10% advantage over “The Today Show,” averaging 112,500 viewers versus “The Today Show’s” 102,700. “Good Day New York” had even a greater advantage (+21%) among Women 25-54, delivering 88,700 Women 25-54 versus “The Today Show’s” 73,600.

n During the February 2013 sweep (1/31/13-2/27/13), among Adults 25-54, “Good Day New York” beat “The Today Show” 14 out of 20 telecasts and has now beaten them five out of the last five days.

“Good Day New York” also experienced year-to-year growth, increasing its Adult 25-54 performance by +14% versus last February 2012 (112,500 this February versus 98,500 last February).

 

David Bowie New Album Streaming on iTunes for Free Right Now!

Roger Friedman
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David Bowie New Album Streaming on iTunes for Free Right Now!

David Bowie‘s first album in ten years, “The Next Day,” is streaming right now on iTunes. You can’t buy it yet. But you can hear it, and it’s great. Sony will leave up the stream for a few days just to whet appetites. The release is significant because audiences have resisted new music by older artists. But everything on “The Next Day” is new new new, no covers or remakes. On the iTunes stream you have to listen to the whole album– there’s no coding and no track list. There are 14 songs on “Next Day.” PS No one has said this yet, but will Bowie’s son Duncan Jones (formerly Zowie Bowie)–who’s made “Moon” and other films– direct a video for his dad?

Here’s the list:

  1. “The Next Day” – (Bowie)
    • David Bowie – Vocals
    • Gerry Leonard – Guitar
    • David Torn – Guitar
    • Gail Ann Dorsey – Bass
    • Zachary Alford – Drums
    • Antoine Silverman, Maxim Moston, Hiroko Taguchi, Anja Wood – Strings
    • David Bowie and Tony Visconti – String arrangement
  2. “Dirty Boys” – (Bowie)
    • David Bowie – Vocals
    • Gerry Leonard – Guitar
    • Earl Slick – Guitar
    • Tony Visconti – Guitar
    • Tony Levin – Bass
    • Zachary Alford – Drums
    • Steve Elson – Baritone Sax
  3. “The Stars (Are Out Tonight)” – (Bowie)
    • David Bowie – Vocals and Acoustic Guitar
    • Gerry Leonard – Guitar
    • David Torn – Guitar
    • Gail Ann Dorsey – Bass
    • Zachary Alford – Drums
    • Steve Elson – Baritone Sax and Contrabass Clarinet
    • Tony Visconti – Recorder
    • Antoine Silverman, Maxim Moston, Hiroko Taguchi, Anja Wood – Strings
    • David Bowie and Tony Visconti – String arrangement
    • Gail Ann Dorsey and Janice Pendarvis – Backing Vocals
  4. “Love Is Lost” – (Bowie)
    • David Bowie – Vocals and Keyboards
    • Gerry Leonard – Guitars
    • Gail Ann Dorsey – Bass
    • Zachary Alford – Drums
  5. “Where Are We Now?” – (Bowie)
    • David Bowie – Vocals and Keyboards
    • Gerry Leonard – Guitar
    • Tony Levin – Bass
    • Zachary Alford – Drums
    • Henry Hey – Piano
    • Tony Visconti – Strings
  6. “Valentine’s Day” – (Bowie)
    • David Bowie – Vocals
    • Earl Slick – Guitars
    • Tony Visconti – Bass
    • Sterling Campbell – Drums
  7. “If You Can See Me” – (Bowie)
    • David Bowie – Vocals and Keyboards
    • Gerry Leonard – Guitar
    • David Torn – Guitar
    • Tony Levin – Bass
    • Zachary Alford – Drums & Percussion
    • Gail Ann Dorsey – Backing Vocals
  8. “I’d Rather Be High” – (Bowie)
    • David Bowie – Vocals
    • Gerry Leonard – Guitars
    • Tony Levin – Bass
    • Zachary Alford – Drums
  9. “Boss of Me” – (Bowie/Leonard)
    • David Bowie – Vocals
    • Gerry Leonard – Guitars
    • Tony Levin – Bass
    • Zachary Alford – Drums
    • Steve Elson – Baritone Sax
    • Tony Visconti – Recorder
    • Gail Ann Dorsey and Janice Pendarvis – Backing Vocals
  10. “Dancing Out In Space” – (Bowie)
    • David Bowie – Vocals and Keyboards
    • Gerry Leonard – Guitar
    • David Torn – Guitar
    • Gail Ann Dorsey – Bass
    • Zachary Alford – Drums
  11. “How Does The Grass Grow?” – (Bowie/Jerry Lordan)
    • David Bowie – Vocals and Keyboards
    • Gerry Leonard – Guitar
    • David Torn – Guitar
    • Gail Ann Dorsey – Bass
    • Zachary Alford – Drums
    • Gail Ann Dorsey – Backing Vocals
    • Contains an interpolation of “Apache” written by Jerry Lordan and published by Regent Music Corp. and Francis, Day and Hunter.
  12. “(You Will) Set The World On Fire” – (Bowie)
    • David Bowie – Vocals
    • Earl Slick – Guitar
    • Gerry Leonard – Guitar
    • Tony Visconti – Bass
    • Sterling Campbell – Drums & Tambourine
    • Gail Ann Dorsey and Janice Pendarvis – Backing Vocals
  13. “You Feel So Lonely You Could Die” – (Bowie)
    • David Bowie – Vocals and Acoustic Guitar
    • Gerry Leonard – Guitar
    • David Torn – Guitar
    • Tony Visconti – Guitar
    • Gail Ann Dorsey – Bass
    • Zachary Alford – Drums
    • Henry Hey – Piano
    • Antoine Silverman, Maxim Moston, Hiroko Taguchi, Anja Wood – Strings
    • Tony Visconti – String Arrangement
    • Gail Ann Dorsey and Janice Pendarvis – Backing Vocals
  14. “Heat” – (Bowie)
    • David Bowie – Vocals and Acoustic Guitar
    • Gerry Leonard – Guitar
    • David Torn – Guitar
    • Gail Ann Dorsey – Bass
    • Zachary Alford – Drums
    • Antoine Silverman, Maxim Moston, Hiroko Taguchi, Anja Wood – Strings
    • Tony Visconti – String arrangement

The Next Oscars: Nicole vs. Naomi vs. Julia, with Meryl in Supporting and Leo Returning

Roger Friedman
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The Next Oscars: Nicole vs. Naomi vs. Julia, with Meryl in Supporting and Leo Returning

The next Oscars? The new season begins, like, now, with “The Sapphires” opening on March 22nd. Pencil it in for Golden Globe Comedy/Musical, and if it takes, off, well, who knows what else? Mainly next winter we will be looking hard at Julia Roberts and Meryl Streep in “August: Osage County” and Nicole Kidman in “Grace of Monaco.” Streep will probably go into Supporting. Kidman is said to on track to win. Naomi Watts will be back as Princess Diana, and Leonardo DiCaprio will make a bid for Best Actor in Martin Scorsese’s “The Wolf of Wall Street.”

The Weinstein Company has 14 films for 2013, with lots of potential nominees. But Tarantino is off duty this year, so don’t count on him. The Coen Brothers’ “Inside Llewyn Davis” could bring gold for the bros, plus Oscar Isaac and John Goodman. There’s a new Woody Allen movie said to be “one of his greats” like “Midnight in Paris.” Pedro Almodovar is back in form with a comedy. Robert Redford directed “The Company You Keep” and stars in JC Chandor’s new film. Bradley Cooper and Ryan Gosling are superb in Derek Cianfrance’s “Place Beyond the Pines,” which was screened in Toronto.

Then there’s Kristen Wiig in the very funny retitled “Imogene” now called “Girl Most Likely.” Wait til you see Matt Dillon steal that show. Sundance will contribute “Ain’t Them Bodies Saints” with Casey Affleck. There’s Terrence Malick’s “To the Wonder” (forget it) and maybe a better one called “Knight of Cups.” George Clooney acts in “Gravity” with Sandra Bullock and directs “Monuments Men.” Luc Besson could have a good film with Robert DeNiro, Tommy Lee Jones, and Michelle Pfeiffer. Cross your fingers.

And then there are so many unknowns: something lurking at Cannes, Venice or Toronto. A surprise indie entry. A find in Tribeca. We could be seeing a masterwork in a two part film called “The Disappearance of Eleanor Rigby” with Jessica Chastain, James McAvoy, and Viola Davis. And then of course there is “The Great Gatsby.” Plus I’m hoping for Paul Haggis’s “The Third Person” to score big time.

Here we come,, 2014, ready or not!

Roger Daltrey Turns 69, Rocks MSG with the Who for Cancer Funding Like He’s 39

Roger Friedman
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Roger Daltrey Turns 69, Rocks MSG with the Who for Cancer Funding Like He’s 39

I think the combined ages of all the rockers I saw last night was well over 2,000. So the lesson we learn is, the older the better. Elvis Costello and the Imposters, followed by The Who, rocked the 5,000 sear Theater at Madison Square Garden last for Memorial Sloan Kettering’s Teen Cancer Fund. The Who’s eternally youthful Roger Daltrey is very involved with this charity, and spoke eloquently about it at the end of the evening. What he didn’t say: it was the eve of his 69th birthday. God bless!

But let’s cut to the chase: everyone else spoke eloquently with guitars, drums, and keyboards. Pete Townshend was simply remarkable as he, Daltrey, and the current model of The Who (which includes Townshend’s brother Simon and Ringo Starr’s on Zack Starkey) demolished the stage with a greatest hits show. From “Behind Blue Eyes” to the soaring double finale of “Baba O’Reilly” and “Won’t Get Fooled Again,” these guys were earth shaking. And to see them in such a small theater was the great treat.

I had missed The Who last fall on tour, and then at that 12-12-12 mega thing at MSG. They were worth the wait. Daltrey looks 50 tops up close. He still can’t keep a shirt quite on, but he knows what shape he’s in. He could sell millions of fitness and diet books. Townshend also looks swell. He swings his axe like it’s 1970. This iteration of The Who is as supple as ever. Digging way back for “The Kids Are Alright” and “Pinball Wizard,” the group keeps it tight. There’s no excess. And Daltrey gets to shine ever more on “Love, Reign O’er Me.” It gave me chills.

Costello and the Imposters are just four people– the star, plus Steve Nieve, Davey Faragher, and Pete Thomas. They also played a greatest hits set, blazing through 45 minutes like a heat seeking missile. How well the hits hold up– from “Alison” to “High Fidelity,” “Lipstick Vogue,” “Pump it Up,” “Watching the Detectives,” “Everyday I Write the Book,” to “What’s So Funny (‘Bout Peace, Love and Understanding),” and a terrific nod to The Who on “Substitute.”

EC and co. don’t even stop–it’s just an old fashioned punk rock attack that is vital as it was in 1981. And when Costello sings “Radio Radio” from 1978, warning of the destruction of rock radio and the record business, you can only admire how prescient he was. And no one listened. Radio is still in the hands of such a lot of fools trying to anesthetize the way that we feel.

I’m told Cablevision threw in the theater for free, and that with ticket sales, around $2 million was raised to help teens 13-23 with cancer.

 

Cyndi Lauper Unveils Her “Kinky” Broadway Musical

Roger Friedman
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Cyndi Lauper Unveils Her “Kinky” Broadway Musical

And now, at last, Cyndi Lauper and company–including Broadway heavyweight Harvey Fierstein–have unveiled their musical. “Kinky Boots,” based on the 2005 movie, begins previews this weekend at the Hirschfeld Theater on 45th St. and Eighth Avenue (the Mark Hellinger to us old New Yorkers). Today, “Kinky Boots” was introduced to the press with two numbers– the cast, costumes and lighting but no orchestra. A disco number called “Sex is in the Heel” and a very hot gospel song “Everybody Say Yeah” came off pretty soundly. The songs are great, and so are the performers. Of course you can’t tell about a whole musical from two numbers.But things look very promising.

The creators had a little onstage Q&A between numbers. Cyndi was very warm and funny despite being pretty tired from tweaking “Kinky Boots.” Fierstein calls her “Christina Crawford” and she calls him “Mommy.” They all talked about how director Jerry Mitchell asked Cyndi for a couple of specific songs. “And I wrote them,” she said, “I do what I’m told.” She also wrote from the heart, as Cyndi does, as the characters’ back stories were deepened and fleshed out. She sang — a capella– a little of one called “I’m Not My Father”– which sounds wonderful.

You know, Cyndi Lauper is a great songwriter, so can expect some surprising and smart stuff when the rest of the material debuts this weekend. Here’s a song of of hers I’ve always liked:

 

Anne Hathaway: Leave Her Alone, She’s Great

Roger Friedman
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Anne Hathaway: Leave Her Alone, She’s Great

Everyone is picking on Anne Hathaway. I’m a little over it. Aren’t you? She won the Oscar and all the other awards for her role as Fantine in “Les Miserables.” Was she the best of all supporting actresses? Let’s put it this way: the dye was cast. Anne had already been superb in “Rachel Getting Married” and had gotten an Oscar nomination. She and Amy Adams represent the youth of the Academy. They each came out of the gate fast. Along with Jennifer Lawrence and Jessica Chastain, Hathaway and Adams represent the immediate future. We’re lucky to have all of them.

What is it that irks people about Hathaway seems to be what drove them crazy about Gywneth Paltrow: she seems to have it all. And she flaunts it. Great family, husband, great looks, loads of talent. She can sing like a bird. She looks good in everything. She’s smart. She’s quick. Sometime she gets ahead of herself, forgets to thank her director (Tom Hooper) or goes all schoolteacher on the Broadcast Critics for not spelling her name right (there’s an ‘e’ on Anne).

Personally, I don’t care if she wore Prada or Valentino or Sears. When Hathaway arrived at the entrance to the red carpet, I thought she was clever: her dress was simple and elegant. She knew she was going to win. She didn’t have to compete. Other than omitting Hooper from her thank you’s, her speech was very, very lovely. At the Governor’s Ball, I could tell she was relieved it was all over at last. And I’ll tell you what: her terrific family is always all around, and she is very respectful and there is a lot of love. This won’t be one of those deals where the star stops speaking to the mother.

So, really, let’s get over it. Anne Hathaway is here to stay. And it’s a good thing. She’s not Taylor Swift–she hasn”t forced her personal life in our faces or capitalized on sadness or scandal. You may recall she had a little scandal when she dated a man who was a conman. He went to jail. She never spoke about it. If she had, there would be criticism. Now she hasn’t, and the internet wags say people “hate” her. This is utterly ridiculous. Get over it. I’m excited to know what she’ll do next– although I think broke that story. http://www.showbiz411.com/2013/02/22/exclusive-anne-hathaways-next-film-a-rock-music-indie-but-she-wont-sing

So everyone, cool it.

“American Idol” Wednesday Woes: Down Again in Ratings Decline

Roger Friedman
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“American Idol” Wednesday Woes: Down Again in Ratings Decline

“American Idol” is still a powerhouse, winning its timeslot on Wednesday with a 3.8 rating and 13.5 million viewers. But for the night it was beaten by “Modern Family.” And for some reason, “AI” continues a downward trend week-by-week. Last Wednesday, it had a 4.1 rating. Where did everyone go? As the show moves into real competitions, the rating should be going up, not down. If the trend continues, tonight’s “AI” could be around 3.5. Someone had better do something quickly!

But TV is suffering. No one in America really watched anything on the broadcast networks last night at 10pm. “CSI,” “Chicago Fire,” and “Nashville” all came in with 1.6 ratings respectively for CBS, NBC, and ABC. A test pattern or shopping show could have done better.

My money is still on Zoanette Johnson:

 

Exclusive: Chris Rock Sends Up Comedians Who Want to Be Serious Actors

Roger Friedman
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Exclusive: Chris Rock Sends Up Comedians Who Want to Be Serious Actors

Chris Rock is a blazingly talented comedian. But last year he went to Broadway so he’d be taken “seriously” in “The Mother-F with the Hat.” So many comics try this sort of thing, especially Jim Carrey, who’s confused his audience over the years by occasionally making terrible thrillers and dramas that are out of his wheelhouse. So now Rock will rock us with a comedy about a comedian who only wants to be taken seriously. A casting call has gone out for an unannounced Scott Rudin-produced project called “Finally Famous.” Rock wrote the script and will direct, while Rudin — who produced “Mother-F” quite successfully– will wave his magic wand. The movie is looking for Rock’s love interest, in the age range of late 20s to early 30s. Chris is 48, but hey–a 40 year old actress would be too old? Anyway, my suggestions are Joy Bryant or . Filming begins in June.

STORY LINE: ANDRE ALLEN is a comedian turned film star who, despite the expectations of his
millions of fans, is determined to reinvent himself as a “serious” actor. Although his latest
pretentiously historical film project is tanking, his upcoming television wedding to pretty, popular
reality star, ERICA LONG, is the biggest media event of the year. In the midst of all the frenzy
leading up to his televised nuptials, Andre agrees to be interviewed for the New Yorker by
CHELSEA BROWN, a gorgeous but no-frills young woman with a sharp intelligence that matches
his own. It’s a feisty, funny, no-holds-barred interaction that may well change the course of both
their lives…
[CHELSEA BROWN] Late 20s to early 30s, this attractive woman is “vintage, downtown N.Y.C.
funky,” with a lacerating intelligence and humor that is disarming. Chelsea has been assigned to
interview Andre Allen for a prestigious New York magazine, but she’s a journeyman journalist
who makes her living writing for a variety of publications. Pregnant as a teen, and now a single
mother, Chelsea has had a wild past, but is now in the “program” and hoping for a stable
relationship with her current boyfriend. Chelsea’s initially fractious interaction with Andre soon
flares into a passionate tryst. Any ethnicity…LEAD
[ERICA LONG] Late 20s to 40, she’s beautiful, glamorous and “expensive.” A popular reality TV
star, she helped Andre get clean — and he’s  forever grateful for her assistance. Erica is a
camera-hungry celebrity who is completely comfortable in the spotlight. When she persuades
Andre to get married on her show in the biggest media event of the year, her stardom is all set to
go stratospheric. Any ethnicity…LEAD
[SILK] 30s, Andre’s “security guard-slash-assistant,” who is never far from Andre’s side. A burly,
very big and imposing African American guy. A real character, he has a thing for big
women…SUPPORTING LEAD

Steven Spielberg, With Time Free, Will Head Up the New Cannes Jury

Roger Friedman
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Steven Spielberg, With Time Free, Will Head Up the New Cannes Jury

The head of the new Cannes jury this May is…Steven Spielberg. It’s sort of amazing after four decades of blockbusters, Oscar nominees, and “Schindler’s List,” Spielberg is finally coming to the Croisette.  In announcing the appointment, Thierry Fremaux says the director of “Lincoln” actually accepted two years ago. But he’s always so busy! So what happened? “Robopocalypse” got pulled off its schedule for a new script. Spielberg has time on his hands. So we lucked out. Now a jury must be organized. It will be interesting to see who Spielberg picks to help him look at all those movies.

From the press release:

“Steven Spielberg accepted in principle two years ago”, declared Thierry Frémaux, General Delegate of the Festival. “He was able to make himself available this year to be the new Jury President and when meeting him these last few weeks it has been obvious he’s excited about the job. Because of his films, and the many causes he holds dear, he’s year-in year-out the equal of the very greatest Hollywood filmmakers. We are very proud to count him among us.”

“The memory of my first Cannes Film Festival, nearly 31 years ago with the debut of E.T., is still one of the most vibrant memories of my career, Spielberg goes on. For over six decades, Cannes has served as a platform for extraordinary films to be discovered and introduced to the world for the first time. It is an honor and a privilege to preside over the jury of a festival that proves, again and again, that cinema is the language of the world.”

Will Smith Hedges All Bets with Charitable Giving: Holocaust (Spielberg), Scientology (Cruise), and an Evangelical Ministry

Roger Friedman
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1
Will Smith Hedges All Bets with Charitable Giving: Holocaust (Spielberg), Scientology (Cruise), and an Evangelical Ministry

I like Will and Jada Pinkett Smith, but their personal foundation has always bewildered me. It’s hard to say what the purpose of it is, especially since they started a school in Calabasas, California that teaches, among other things, Scientology curriculum. Their personal foundation gives nothing to the school.

But every year they  give a lot of money to Yesha Ministries of Philadelphia, an evangelical Christian church with strong ties to the black community.

Altogether, they gave away $411,020 in 2011. The Smiths’ biggest donee was Yesha, for $100,000. But then, strategically, they still manage to spread around a few dollars to Hollywood leaders’ favorite charities and funds. For example, Will and Jada gave $25,000 to the Simon Wiesenthal Center and $10,000 to Steven Spielberg’s Shoah Foundation. They even gave a nod to The Friends of Yitzak Rabin ($250).

The Smiths gave $1,000 to a Scientology fund, thus taking care of Tom Cruise. It’s a steep drop from their initial checks to the cult back in the mid 2000s.

I give a lot of credit to the Smiths for how they spread the money around. The total is a lot of money. And even thought we think of movie stars as having zillions of dollars, Will hasn’t released a blockbuster in several years. Not that the Smiths are hurting for funds. But that they thought this out so carefully speaks volumes about them- -even if you don’t agree with all their choices.

They are loyal to charities in the Baltimore-Philadelphia area. They support black causes, and those in the arts–like $25,000 to Debbie Allen’s vital dance academy and $10,000 to the Tyler Perry Foundation. And they are really into education: money to Harvard Foundation and a bunch of smaller groups.

There’s also no bloat. The Smiths pay Jada’s aunt, Karen Evans, $68,000 as administrator–and the sole employee. Evans suffers from Lupus, so donations are made to fight that disease. But otherwise expenses are small– they only paid $400 in legal fees in 2011.

 

 

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