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Mary Kennedy Suicide Saga: Who Really Found Her

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Who really found Mary Richardson Kennedy hanging from a noose in her barn on May 16th? It wasn’t Bobby Kennedy Jr and the housekeeper, as had previously had been said. According to an autopsy report, it was Shannon White, Mary’s long time friend and spiritual adviser. The story broke yesterday at t local Gannett newspaper– http://tinyurl.com/7lsl7ev.

The New York Daily News has also been covering the suicide and consequent treatment of Mary Richardson Kennedy, late wife of Robert Kennedy Jr. Here’s today’s link: http://tinyurl.com/cdewfvc. First they revealed that Richardson’s grave was moved after her funeral to another spot in the Hyannis, Mass. cemetery–far from the Kennedys. Her family had previously gone to court to have Mary buried in their own plot.

Bobby Kennedy, even though he was divorcing his wife and was having a very public affair with a TV star, Cheryl Hines, wanted Richardson buried with the Kennedys–but not so much. Then it was scooped that the exhumation was improper, and that no papers were applied for or filed. Bobby just had her moved, period.

Some of this is now taking on the aspects of Teddy Kennedy’s Chappaquiddick story: lots of lies and half truths about what really went on with Mary Kennedy. It’s kind of shocking, and you can’t imagine what Kennedy’s older children must be thinking as these revelations appear.

Meantime, legal papers filed after Richardson’s death by her divorce lawyers are extremely shocking. The firm of Hennessey and Bienstock claims several things including that they’re owed almost $300,000 by Kennedy for work they did on his not-yet finalized divorce from Richardson. The firm is telling the Surrogate Court that Kennedy should not be “permitted  to serve  as Administrator of the estate because  of the significant  conflict  of interest between his interests, as distributee of and, most significantly, as debtor, to his estranged wife’s estate, and as adversary of the estate’s creditors.”

More about the papers in the next story….

Photo c2012 Ann Lawlor/Showbiz411

 

Madonna Sued over 1990 Hit “Vogue”–Producer/Writer Will Know the Answer

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Poor Madonna! What a year she’s having. Madonna is being sued 22 years after her hit song, “Vogue,” came out. Apparently new computer programs can detect samples hidden in records. Both “Vogue” and a 1977 disco record by the Salsoul Orchestra were each written and produced by Richard “Shep” Pettibone. (Madonna helies heavily, let’s say, on collaborators.)  If that name sounds familiar it’s because in addition to working with Madonna, Pettibone remixed almost all the records of the late 80s and early 90s. That’s why so many of them sound the same. But early in his career he worked with Salsoul Records and the self named group.

Salsoul Orchestra was the kind of thing that disco haters really hated in the late 70s. It was like soft funk mixed with soft jazz and then whipped into a smooth frappe that made you gag while you desperately hunted out the Clash, the Jam or Elvis Costello. Anyway, I digress. Seems Pettibone is accused of pulling some old horns and strings off of a Salsoul hit called “Ooh (I Love It)” and burying them in “Vogue” to give it its propulsion. Frankly, the original record by SalSoul sounds like it borrowed from Van McCoy’s “The Hustle.” Now everyone who worked with Pettibone — and the list is long, long long– should go back and see what he hid in their records. He remixed a lot of Janet Jackson’s and the Pet Shop Boys’  hit records. But I’d start by analyzing Pettibone’s Madonna contributions:

Madonna – Where’s the Party (1986)
Madonna – Into the Groove (1985)
Madonna – Causing a Commotion (1987)
Madonna – Like a Prayer (1989)
Madonna – Express Yourself (1989)
Madonna – Keep it Together (1990)
Madonna – Vogue (1990)
Madonna – Justify My Love (1990)
Madonna – Rescue Me (1991)
Madonna – Erotica (1992)
Madonna – Deeper and Deeper (1992)
Madonna – This Used to Be my Playground (1992)
Madonna – Bad Girl (1993)
Madonna – Fever (1993)
Madonna – Rain (1993)

Exclusive: On Money ‘American Idol’ Is Low Balling Everyone

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Steven Tyler, a inside source tells me, was low-balled out of his job at “American Idol.” “They’re low balling everyone with offers,” says the source. “With Steven, they didn’t care if he left. In his second year, they didn’t think he added anything.” So Tyler returns to Aerosmith, and he’ll be huge again. With Jennifer Lopez–my source says that “she’s ambivalent” about the offer that’s been made. Hence her comments on the “Today” show. She’s ready to walk away. “But she does love the show. It surprised her. It’s hard work, but she loves it. I think if they made her a reasonable offer, she’d consider staying.”

Randy Jackson–also got a lower than expected offer and is waiting for something from Fox that sounds better. I’m told he’s considering his options. Randy could leave “American Idol” now and do 100 things. He’s already doing 200 other things–producing, managing, working with Mariah Carey. Says my source: “Fox doesn’t realize the audience forms a relationship to the people, not the format. They love Randy and Jennifer.” And NBC’s “The Voice” is gaining on “AI.” What could “AI” do? Keep Randy and JLO, and bring back Paula Abdul. No kidding.

http://www.showbiz411.com/2012/07/12/american-idol-randy-jackson-out-adam-lambert-in-dawg-no

Harvey Weinstein Wants Bill Murray to Play Him in the Movies

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Have you noticed that Harvey Weinstein has been more public this year than ever before? The co-chairman of the Weinstein Company has won back to back Best Picture Oscars with “The King’s Speech” and “The Artist.” His company’s debt is settled and he’s in a good place for this fall with four potential hits: “The Master,” “Django Unchained,” “Lawless,” “Killing Them Softly.” He has also the leading foreign film, “The Intouchables,” which has won raves and brought in lots of people to theaters. Everyone loves this movie. Plus this fall he’ll also release “The Sapphires” featuring music by Sam & Dave. In this new interview in Fandango online, he says he will only make a movie in which he’s a character if Bill Murray plays him. It’s not a bad idea. http://www.fandango.com/movieblog/exclusive-interview-harvey-weinstein-on-intouchables-his-career-and-what-comes-next-718168.html

Denise Rich May Have Feared Exposure from New US-Swiss Tax Treaty Amendments

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Everyone’s wondering why Denise Rich took the drastic step of renouncing her US citizenship? (Everyone of course except the New York Times, which hasn’t reported this story at all.) Was it tax evasion? Was it simply to avoid paying U.S. taxes? Denise—who received $500 million in her divorced from her exiled husband Marc in their 1996 divorce– had been paying taxes right along without any problem. So that’s not it. But Denise did have an issue last March over off shore holdings and taxes. And new amendments to the Swiss-American tax treaty may have persuaded her to escape the US and potential scrutiny.

After all the scrutiny she had in 2000-2001 over Bill Clinton’s shocking presidential pardon of Rich, Denise didn’t need anyone else looking into her finances. But it’s no much about the taxes but about her holdings abroad, and how laws are changing quickly right now. In March the United States and Switzerland amended their tax treaty significantly. The amendment is supposed to make it easier for the IRS and the Treasury Department to see into Swiss bank accounts held by Americans—especially those with tax issues.

According to the Wall Street Journal: “Under the new treaty, U.S. authorities will be able to ask the Swiss to disclose names of U.S. taxpayers at a bank who exhibit certain “behavioral patterns” indicating tax evasion under U.S. law, such as trying to conceal the ownership of the account through a trust. The U.S. also will be able to request information even from small cantonal banks that, unlike UBS and Credit Suisse Group, don’t do business in the U.S.”

If anything besides family convinced Denise to get out of Dodge quickly, so to speak, that would be it. Nothing else makes sense. Rich has been a very vocal public figure, an entertaining socialite who loves big parties in her home and everywhere else. She’ll be missed on the circuit. But the threat of exposure—especially if it revealed any more from her dealings with Marc Rich—may have been the straw that broke the camel’s back.

And the renewed friendship with Rich, who’s said to have been unwell in the last couple of years, could be part of it, too. Although they were once enemies, time, and grandchildren, have given them a truce. They’ve socialized together and have been at family functions. Rich may have warned her about the treaty changes.

According to the New York Times as recently as June 21st, the amendments to the treaty—although Rand Paul attempted to block them in Congress—are going through.

The Times notes: “While the details are still being discussed, the deal calls for Swiss banks to transfer American client data directly to the I.R.S. in a way that allows the banks to honor the spirit of Switzerland’s banking laws. The agency will be able to combine that data with information gleaned through the use of the countries’ existing bilateral tax treaty, as necessary.” Denise Rich might not be the only person we know fleeing the U.S. before the end of the year.

But here’s one thing to remember: once you give up your U.S. passport, there’s no coming home. To visit her home in Aspen, or to see her friends in the U.S.. or throw her annual Gabrielle’s Angel Ball, Denise will now be regarded as a foreigner.

By the way, one other famous name renounced his citizenship in May: Philip Radziwill, stepson of Lee Radziwill, who’s the sister of the late Jackie Kennedy Onassis. Radziwill married a Vogue editor in 2010, so he can probably stay in the U.S. as long as she’s an American.

UPDATE: “American Idol”: Steven Tyler Leaves, Randy Jackson Considering Options

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UPDATE THURSDAY AFTERNOON: Steven Tyler has left “American Idol” to rejoin Aerosmith (See below– I thought that would happen.) After I ran this story this morning, a couple of sources say that Randy Jackson may want to leave anyway. And JLO told the “Today” show she’s up in the air. Changes are afoot…

ALSO READ: http://www.showbiz411.com/2012/07/12/exclusive-on-money-american-idol-is-low-balling-everyone

It’s negotiating time for “American Idol” judges. Who will stay and who will go? This morning Jennifer Lopez said on the “Today” that she might move on, who knows? Yesterday there was talk that Randy Jackson — the only original judge from Day 1– could get pushed out in favor of Adam Lambert. There’s no word yet from Steven Tyler.

But Aerosmith is launching a new album in early November, just as “Idol” is in the middle of its ramp up to a January launch. There are two sides to that–if Tyler remains on “Idol,” the album gets a huge promotional push. On the other hand, in order to really promote the album, Aerosmith has to tour on a heavy schedule that would coincide with the “Idol” season.

As for Lopez and Jackson: No judge has done better from “Idol” than Lopez. Her recording career was dead before she came on the show. In her two seasons, she’s revived it, with big singles that she debuted on the show. Plus she made millions of dollars in other deals. For a girl who can’t really sing, she’s done alright. And Randy? There’s no “American Idol” without him, frankly. If Tyler and Lopez leave, they and Fox and Simon Fuller all have the excuse that their prior careers interfered with the show’s schedule.

But Randy? Dawg! He’s the glue. Yesterday “Idol”  — in a misbegotten contract negotiation–planted items that they might switch out Randy for Lambert, a minor talent and former contestant. Hello! Jackson actually comes from the business as well as the artistic side of the music industry. Plus, the fans and the audience love him and rely on him  for stability.

Jackson is coming to New York next week to launch a new line wristwatches for Home Shopping Network–they look pretty cool. There should be a better idea by then what’s going on. But replacing Randy just to see if someone else can get higher ratings? Fuller and Nigel Lythgoe need only look at the “Today” show situation to see that replacing one beloved long standing “anchor” with a newer younger model doesn’t mean much.

Stephen King-John Mellencamp Musical — Panned Already–Persists to NYC

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Did you know that Stephen King and John Mellencamp teamed up for a musical recently? It’s called “Ghost Brothers of Darkland County,” and it opened last spring in Atlanta to very poor reviews.

Variety wrote:  “The pairing of roots rocker John Mellencamp and horror scribe Stephen King for a Southern Gothic musical may sound irresistible. But it takes more than a groove and gore to make this tedious tale of brotherly bile work on stage. Sketchy character development, awkward staging and unclear storytelling make prospects for future life iffy beyond this world preem at Atlanta’s Alliance Theater… the principal weakness is King’s unfocused storytelling. The pairs of brothers are ill-defined beyond a few broad strokes and the dialogue is clunky and crude. (“It’s the heaven that’s got lost and that’s the hell of it.”)”

Well, that’s not stopping this crowd from trying to bring the show to New York.

Director Susan V. Booth– who was cited as the cause of much of the trouble–has scheduled presentations in New York in late September for ten days. T. Bone Burnett is the musical director. A casting notice has gone out for a Zydeco cowboy. But if the show hasn’t changed since its Atlanta run. it’s doubtful money people will clamor to invest in it. But you never know. Last year we saw the terrible “Rebecca” in a backers workshop and it’s coming to Broadway no matter what anyone says.

Casting Call for Tom and Katie Short Comedy Satire Film

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I’m surprised it took this long. Jest.com, which is sort of like Funny or Die, has sent out a casting call for Katie Holmes and Tom Cruise lookalikes. They’re planning a short film parody of the Cruise-Holmes divorce story, tentatively titled “Suri.” The listed casting director is Dan Siegel. Jest is owned by College Humor was started by Ricky van Veen and Josh Abramson in 1999, and sold to Barry Diller’s IAC a few years ago. There’s no word yet on the script or the director. And so far, Suri herself has not been cast. Neither have any of the other potential characters but you can only imagine who else these funny folks will throw into the mix– maybe even Rupert Murdoch, as he Tweets his anti-Scientology messages! By the way, the movie is non-union. Each actor will get a rate of $110. The shoot is set for Friday. Expect to see it go viral on Jest.com by next week.

Whitney Houston’s Family Making “Sparkle” Premiere Difficult

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We’re all looking forward to seeing “Sparkle,” featuring the final work of Whitney Houston. The movie opens from Tri-Star/Sony on Friday, August 17th. It’s all finished, which means it could be screening for critics. And it should have premieres in New York and Los Angeles well before the opening day. But it won’t. So far “Sparkle” has one premiere very tentatively set for Thursday, August 16th in Los Angeles. And “tentatively” is the key word here. According to two sources who don’t even know each other, Whitney Houston’s family has made having a premiere a night mare. The Houstons objected to any date near Whitney’s 49th birthday–August 9th. And that’s just the beginning.

Then there’s the question of who’s coming from the family– will they let Bobbi Kristina bring the so called boyfriend/stepbrother? And will Whitney’s brother Michael and sister in law Donna continue to get short shrift? Will Cissy Houston attend? It’s all still very much up in the air. “I’m surprised they’re having it in Los Angeles, where Whitney died,” says one source. “They should be having it in New York.”

It’s nice to know that nothing has changed in this group. But having a premiere a few days before the opening allows press to circulate through the country. This way, the “Sparkle” red carpet photos, etc, will get lost in the weekend after the movie opens.  If this group is smart, they’ll reconsider and have their premiere on the Monday of that week. Lost in all this, of course, are the living stars of the movie like Jordin Sparks and Derek Luke. They might like some attention and a premiere which they can enjoy.

Tom Cruise Before Katie: From the 2004 “Collateral” Premiere

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From 2004, and the premiere of “Collateral” in Harlem, this was pre Katie Holmes:

Maybe you had to be there early yesterday evening on 124th St. and Frederick Douglass Boulevard to believe it: Tom Cruise, Hollywood’s boy-wonder superstar, lost in a crowd of black fans, signing autographs like he was Reverend Al Sharpton.

Of course, what makes Cruise such a big movie star is that his popularity cuts across racial and class lines.

This could not have been clearer than on the block behind the Magic Johnson Theater, where DreamWorks had set up a long red carpet and Oscar ceremony-style bleachers for the premiere of Cruise’s new movie, “Collateral.”

Why Harlem? “Collateral” was the opening-night film at the UrbanWorld Festival, which is mainly for black filmmakers. Michael Mann — who created “Miami Vice,” directed “Ali,” “The Insider” and “Heat” — is not black, but the other stars of “Collateral” are Jamie Foxx and Jada Pinkett Smith. Thus, the qualification.

For a solid 90 minutes at dusk in Harlem, Cruise worked that crowd, signing everything that was put in front of him: old magazine covers, movie posters, even a dollar bill.

When he was pulled away to do press on the red carpet, the scorned crowd would shout, “Tommy! Tommy!” And then Cruise, accompanied by his sister/publicist Lee Ann Mapother, would go right back and pick up where he left off.

If he’d been running for office, he would have won.

Not to be outdone, petite Pinkett Smith, in a slinky dress, did the same thing, rushing to greet fans and giving less attention to the media on the carpet. At one point she ran over to a group in the bleachers, without her famously attentive publicist or even a security guard in tow, and dove right in. The fans went wild.

Meanwhile, director Mann gave his red-carpet interviews accompanied by a sunny-looking older woman with blond hair and a big grin.

This was legendary publicist Pat Kingsley, who recently dropped Cruise as a client after 14 years, and no longer has to run after him or keep a watchful eye over him. The result is that she looks a decade younger. She even removed her jacket in the humid summer air, a Kingsley first.

But “Collateral,” even with Tom Cruise at its command, belongs to Jamie Foxx. This is the year of the Foxx, you know.

He stars in the upcoming “Ray,” about Ray Charles, and will likely get a Best Actor nomination for it. There’s a good chance he’ll also be in the Best Supporting Actor category for “Collateral,” in which he plays a nerdy cabdriver who gets pressed into service as getaway driver for a hit man (Cruise). Foxx nails every bit of this role, holding on even when the movie itself gets a little sketchy.

Happily, I can report that Foxx’s biggest fan at last night’s screening — which started an hour and 10 minutes late and was followed by a rat-cluster of a party that yours truly skipped for fear of being trampled — was … Jamie Foxx.

He sat through the whole film, clapped, laughed, shouted out and had a grand time watching himself on screen. He has good taste.

Most actors don’t like to watch themselves on screen, but Foxx seems to have no such inhibition. Only a few times did he check his cell phone for messages while the film wound along.

HBO is a sponsor of UrbanWorld, and right before the screening it treated us to a promotional clip for the network, featuring every black actor on their shows, as well as James Gandolfini and Edie Falco from “The Sopranos.”

I don’t know if this was a contractual thing or if the marketing department says “The Sopranos” has a black audience, but it was interesting from a cultural perspective to see how the cable studio pitches itself to a “niche” audience.

What of “Collateral”? Michael Mann returns to his “Miami Vice” moodiness in this one, with gorgeous cinematography, a moody soundtrack and an overall stylish, edgy feel that should make the film a hit.

All the acting is good — Cruise is underrated as the robotic, existential hit man. (The movie is essentially a two-character play.)

Ironically, “Collateral” winds up on a commuter train, bringing Cruise’s career full circle from the ending of “Risky Business” in 1982. Maybe that’s a good thing, because he’s got to go to another level next or risk getting stale. Something tells me he won’t let that happen.

Read more: http://www.foxnews.com/story/0,2933,128082,00.html#ixzz20L4ZpK9Z