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Motown Great Suzanne de Passe Scores $1 Billion Development Deal with Hot Finance Partners for New Media Company

Roger Friedman
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Motown Great Suzanne de Passe Scores $1 Billion Development Deal with Hot Finance Partners for New Media Company

Suzanne de Passe is a name we don’t see often enough in success stories.

Suzanne literally ran Motown and was Berry Gordy’s head of state for a long, long time. She’s much younger than the 95 year old legend, trust me!

Suzanne has 2 Emmy Awards, 30 Emmy Nominations, 1 Golden Globe, an Oscar nomination, 3 Peabody Awards for Excellence in Television, 5 NAACP Image Awards, and was a Rock and Roll Hall of Fame Inductee in 2024.

Now she’s gone into business with heavy finance partners and scored $1 billion in credit for a new company called Immortal. They are backed by a landmark strategic alliance with Vobile and Yangbin Wang, Chairman and CEO of Vobile. She’ll be guiding it with Madison Jones, who already works with at DePasse Jones Entertainment, and leading entertainment attorney Corey Martin, Esq., Managing Partner of Granderson Des Rochers law firm.

Immortal Studio enters the market with a bold strategic mandate: to fully finance the
development of complete seasons of premium television, streamlining the path from story
conception to global screen. The studio combines financial firepower with traditional storytelling expertise and cutting-edge technology to meet the demands of a rapidly evolving entertainment industry.

The main story is Suzanne, who can do anything — and again, doesn’t get enough credit for being the top female executive in movies, TV, and music. We’re going to see big things from Immortal — like maybe the real Marvin Gaye movie — one that shows his genius. Only she can do it!

PS One day Suzanne will write her book and we’ll find out everything — probably more than we can take — about Diana, Michael, Smokey, Stevie, and Berry. I’m ready to read it now!

Matt Damon Kills It Leading All Star Reading of Kenneth Lonergan Play to Support NYC Landmark, with Alec Baldwin, J Smith Cameron, Gretchen Mol

Roger Friedman
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Matt Damon Kills It Leading All Star Reading of Kenneth Lonergan Play to Support NYC Landmark, with Alec Baldwin, J Smith Cameron, Gretchen Mol

It’s hard to know why Matt Damon hasn’t done more work in theater.

Last night, he absolutely killed it as the lead of an all star cast in a reading to raise money to save a NYC Landmark.

Damon, Alec Baldwin, J Smith Cameron, Gretchen Mol, Lucas Hedges, and Peter Friedman stood at microphones in a drafty Upper West Side church and performed Kenneth Lonergan’s “Hold On to Me Darling” as if it was going to Broadway.

Neil Pepe directed the group after his original off Broadway production with Adam Driver earlier this year.

The reason for all this was to raise money for the campaign to save another NYC landmark, a former church on Amsterdam Ave and West 86th St. now known as the Center at West Park.

The Center’s removal for a big glass tower of expensive condos is the latest insult to a neighborhood trying to hold on its history and architecture. But of course, developers are bearing down on local committees and the Landmarks Commission to level the building for reason other than greed.

Just a short time ago, the group trying to preserve the Center at West Park held a staged reading of “All the President’s Men” at Guild Hall in East Hampton. They have another one, of “All About Eve,” coming up with Scarlett Johansson and J Smith-Cameron, in November.

This team of actors last night, including Charles Everett reading stage instructions, was sensational. Of course, Lonergan’s writing sang through the room as the almost three hour play about a country singer returning to his hometown to bury his mother unfolds.

Most of the people in the room had never read or heard this play, so it fell to Damon to guide them through it, and he did it with aplomb. Damon captured the singer, Strings McCrane, as if he’d played him for years. Indeed the actors just had a short rehearsal time. Each one of them helped convey Strings’ saga decisively. By the time they were done, you really felt like you’d spent time in Tennessee dealing with the funeral of a difficult woman.

I was particularly happy to see Gretchen Mol, a fine actress who was once touted for A list stardom she never asked for. She should be leading a peak TV show on Netflix or Apple. My favorite moment of the night was when Peter Friedman, from “Succession,” took the stage at the end. Cameron, his “Succcession” cast mate, was just beaming with pride from her seat.

And how nice to see Lucas Hedges again. He should be working more.

Read more at the campaign to save the Center at West Park here. They need help with people attending meetings to stop the developer cold in their tracks.

And someone find a play for Matt Damon to do on Broadway — fast. He should have won an Oscar for “The Martian.” He could easily win a Tony Award with the right material. (Maybe bring “Darling” to Broadway with him in it!)

Gotham Awards Pit $150 Mil “One Battle,” $60 Mil Bugonia Against Indie Films, Give Noms to Father-Son Skarsgards

Roger Friedman
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Gotham Awards Pit $150 Mil “One Battle,” $60 Mil Bugonia Against Indie Films, Give Noms to Father-Son Skarsgards

The Gotham Awards nominations have been announced and they don’t make such sense.

But what does?

For some reason, two expensive major studio movies — “One Battle After Another” and “Bugonia” — are in Best Feature competing with indie movies like “Familiar Touch” and “East of Wall.”

Why? Who knows?

The acting categories are genderless, which means fewer awards — only one each for lead and supporting. This should come to an end. How can you choose between Ethan Hawke and Jessie Buckley, each of whom deserves to win? Makes no sense.

Also father and son tag team Stellan Skarsgard and Alexander Skarsgard are each nomination for Supporting Performance. That has to be a first!

Breakout performer: Chase Infiniti should win, from “One Battle After Another.”

The Gothams are spread around among a lot of movies and studios, and whatever happens they’re a great way to kick off awards season!

Best Feature
Bugonia
Ari Aster, Ed Guiney, Lars Knudsen, Jerry Kyoungboum Ko, Yorgos Lanthimos, Miky Lee, Andrew Lowe, Emma Stone, producers (Focus Features)

East of Wall
Kate Beecroft, Shannon Moss, Melanie Ramsayer, Lila Yacoub, producers (Sony Pictures Classics)

Familiar Touch
Alexandra Byer, Sarah Friedland, Matthew Thurm, producers (Music Box Films)

Hamnet
Nicolas Gonda, Pippa Harris, Liza Marshall, Sam Mendes, Steven Spielberg, producers (Focus Features)

If I Had Legs I’d Kick You
Ronald Bronstein, Eli Bush, Richie Doyle, Conor Hannon, Sara Murphy, Josh Safdie, Ryan Zacarias, producers (A24)

Lurker
Galen Core, Archie Madekwe, Marc Marrie, Charlie McDowell, Francesco Melzi d’Eril, Duncan Montgomery, Alex Orlovsky, Olmo Schnabel, Jack Selby, producers (MUBI)

One Battle After Another
Paul Thomas Anderson, Sara Murphy, Adam Somner, producers (Warner Bros. Pictures)

Sorry, Baby
Mark Ceryak, Barry Jenkins, Adele Romanski, producers (A24)

The Testament of Ann Lee
Brady Corbet, Mona Fastvold, Joshua Horsfield, Gregory Jankilevitsch, Mark Lampert, Lillian LaSalle, Andrew Morrison, Viktória Petrányi, Klaudia Smieja-Rostworowska, producers (Searchlight Pictures)

Train Dreams
Michael Heimler, Will Janowitz, Marissa McMahon, Ashley Schlaifer, Teddy Schwarzman (producers) (Netflix)

Best International Feature
It Was Just an Accident
Philippe Martin, Jafar Panahi, producers (NEON)

No Other Choice
Park Chan-Wook, Alexandre Gavras, Michèle Ray Gavras, Back Jisun, producers (NEON)

Nouvelle Vague
Laurent Pétin, Michèle Pétin, producers (Netflix)

Resurrection
Charles Gillibert, Yang Lele, Shan Zuolong, producers (Janus Films)

Sound of Falling
Lucas Schmidt, Maren Schmitt, producers (MUBI)

Best Documentary Feature
2000 Meters to Andriivka
Mstyslav Chernov, director; Raney Aronson-Rath, Mstyslav Chernov, Michelle Mizner, producers (PBS)

BLKNWS: Terms & Conditions
Kahlil Joseph, director; Onye Anyanwu, Kahlil Joseph, David Linde, Anikah McLaren, James Shani, Steven Soderbergh, producers (Rich Spirit)

My Undesirable Friends: Part I – Last Air in Moscow
Julia Loktev, director; Julia Loktev, producer (self-distributed)

The Perfect Neighbor
Geeta Gandbhir, director; Sam Bisbee, Geeta Gandbhir, Nikon Kwantu, Alisa Payne, producers (Netflix)

Put Your Soul on Your Hand and Walk
Sepideh Farsi, director; Javad Djavahery, Sepideh Farsi, producers (Kino Lorber)

Best Director
Mary Bronstein, If I Had Legs I’d Kick You (A24)
Jafar Panahi, It Was Just an Accident (NEON)
Kelly Reichardt, The Mastermind (MUBI)
Paul Thomas Anderson, One Battle After Another (Warner Bros. Pictures)
Oliver Laxe, Sirât (NEON)

Breakthrough Director
Constance Tsang, Blue Sun Palace (Dekanalog)
Carson Lund, Eephus (Music Box Films)
Sarah Friedland, Familiar Touch (Music Box Films)
Akinola Davies Jr., My Father’s Shadow (MUBI)
Harris Dickinson, Urchin (1-2 Special)

Best Original Screenplay
If I Had Legs I’d Kick You, Mary Bronstein (A24)
It Was Just an Accident, Jafar Panahi (NEON)
The Secret Agent, Kleber Mendonça Filho (NEON)
Sorry, Baby, Eva Victor (A24)
Sound of Falling, Louise Peter, Mascha Schilinski (MUBI)

Best Adapted Screenplay
No Other Choice, Park Chan-wook, Lee Kyoung-Mi, Jahye Lee, Don McKellar (NEON)
One Battle After Another, Paul Thomas Anderson (Warner Bros. Pictures)
Pillion, Harry Lighton (A24)
Preparation for the Next Life, Martyna Majok (Orion Pictures/Amazon MGM Studios)
Train Dreams, Clint Bentley, Greg Kwedar (Netflix)

Outstanding Lead Performance
Jessie Buckley, Hamnet (Focus Features)
Lee Byung-hun, No Other Choice (NEON)
Rose Byrne, If I Had Legs I’d Kick You (A24)
Sopé Dìrísù, My Father’s Shadow (MUBI)
Ethan Hawke, Blue Moon (Sony Pictures Classics)
Jennifer Lawrence, Die My Love (MUBI)
Wagner Moura, The Secret Agent (NEON)
Josh O’Connor, The Mastermind (MUBI)
Amanda Seyfried, The Testament of Ann Lee (Searchlight Pictures)
Tessa Thompson, Hedda (Orion Pictures/Amazon/MGM Studios)

Outstanding Supporting Performance
Benicio Del Toro, One Battle After Another (Warner Bros. Pictures)
Jacob Elordi, Frankenstein (Netflix)
Inga Ibsdotter Lilleaas, Sentimental Value (NEON)
Indya Moore, Father Mother Sister Brother (MUBI)
Wunmi Mosaku, Sinners (Warner Bros. Pictures)
Adam Sandler, Jay Kelly (Netflix)
Andrew Scott, Blue Moon (Sony Pictures Classics)
Alexander Skarsgård, Pillion (A24)
Stellan Skarsgård, Sentimental Value (NEON)
Teyana Taylor, One Battle After Another (Warner Bros. Pictures)

Breakthrough Performer
A$AP Rocky, Highest 2 Lowest (A24)
Sebiye Behtiyar, Preparation for the Next Life (Orion Pictures/Amazon MGM Studios)
Chase Infiniti, One Battle After Another (Warner Bros. Pictures)
Abou Sangaré, Souleymane’s Story (Kino Lorber)
Tonatiuh, Kiss of the Spider Woman (Roadside Attractions, Lionsgate, LD Entertainment)

Paul McCartney Amazon Doc “Man on the Run” Feb 26 Release (Watch Teaser Trailer), Book Coming November 4th About Wings

Roger Friedman
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Paul McCartney Amazon Doc “Man on the Run” Feb 26 Release (Watch Teaser Trailer), Book Coming November 4th About Wings

Circle November 4th. It’s a going to be a big day for Paul McCartney.

The book, “Wings: Story of a Band on the Run” will be published by Norton/Liveright. See the promo below.

Then in February 2026 we’ll have the Morgan Neville documentary called “Man on the Run.”

Wings — as you know — was Paul’s group that he formed after the Beatles and his solo albums, “McCartney” and “Ram.” Wings had a run of hits through the 70s until Paul returned to solo work. Wings toured several times, played for millions, and left a top notch legacy.

Paul has a deal with Amazon for the doc and other merchandise, there will be releases through Universal Music (which owns Capitol, the label he’s been on most of his life).

And don’t forget November 21st, the Beatles Anthology 4 project is released.

PS If you’re into all this — as I am — pick up a copy of Wings “One Hand Clapping” the very good live album of Wings studio outtakes. Some of the best versions of their songs are included.


John Dickerson Says He’s Leaving CBS News At the End of the Year: Show Will Be Revamped by Bari Weiss in Right Turn

Roger Friedman
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John Dickerson Says He’s Leaving CBS News At the End of the Year: Show Will Be Revamped by Bari Weiss in Right Turn

The first head under Bari Weiss has rolled.

John Dickerson says he’s leaving CBS News after 16 years at the end of the year.

Dickerson has been co-anchoring The CBS Evening News with Maurice DuBois since taking it over from Norah O’Donnell.

Dickerson once hosted “Face the Nation” and has been a utility player at CBS. The fact that he’s leaving the company altogether is a bad sign. Blogger Bari Weiss is to going to remake the news division in a right turn. There are already rumors she’s bringing Bret Baier over from Fox News.

DuBois is next, although maybe he can return to Channel 2 in New York, where he’d be most welcome. Years ago, Chris Wragge did something similar.

Weiss, a conservative lesbian, was hired by the new owners of Paramount to destroy the network. It’s a little like Trump and the East Wing.

Will things get worse? Yes, very quickly.

Dickerson writes on Instagram: “Local news: At the end of this year, I will leave CBS, sixteen years after I sat in as Face the Nation anchor for the first time. I am extremely grateful for all that CBS gave me— the work, the audience’s attention and the honor of being a part of the network’s history— and I am grateful for my dear colleagues who’ve made me a better journalist and a better human. I will miss you.”

Robert Pattinson Registers 7 Songs with ASCAP: Will He Be the First Batman Since Adam West to Release an Album?

Roger Friedman
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Robert Pattinson Registers 7 Songs with ASCAP: Will He Be the First Batman Since Adam West to Release an Album?

Robert Pattinson has been a vampire and a super hero.

Is he adding pop star to his list of achievements?

Pattinson has registered 7 songs with ASCAP, the music licensing agent. They include “Bent Out That Midnight Day,” “Best Friend,” “Fascinate,” “Fell Off,” “Green Light,” “Waiting on Me,” and “Witness (You See Me).”

The actor is listed as performer and writer, the latter with his pal Marcus Foster.

Pattinson has been known to sing in the past as you can see below:

If he’s getting an album ready, Pattinson would be the first Batman to warble publicly since Adam West, the original.

Here he was, in all his glory:

Review: Kate Hudson Fulfills the Promise of Her 2000 Oscar Nomination in Sudsy Musical “Song Sung Blue” About Neil Diamond Performers

Roger Friedman
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Review: Kate Hudson Fulfills the Promise of Her 2000 Oscar Nomination in Sudsy Musical “Song Sung Blue” About Neil Diamond Performers

Waaaay back in 2000, Kate Hudson received an Oscar nomination for her intuitive performance as band muse Penny Lane in Cameron Crowe’s “Almost Famous.”

What followed for the next 25 years was a seesaw of roles mostly in romcoms that came and went. Nothing ever stuck. In the meantime, she became a successful entrepreneur with the Fabletics active wear.

But then Hudson released a very good record album in May 2024 that I reviewed in this column. She turned out to be a terrific singer and performer. So when I heard she’d be in a movie about a couple who perform Neil Diamond songs professionally I had a feeling it would work out.

My feeling turned out be right. In Craig Brewer’s “Song Sung Blue,” Hudson plays real Claire Sardina who — circle 1987 — has been singing around Milwaukee as country great Patsy Cline. No wallflower, Claire has a voice and the looks so she can make a little money from the impersonation.

Into her life comes Mike, also on the circuit in Milwaukee, playing his guitar and doing tributes to lots of rock stars. The pair meet, team up and becoming “Lightning and Thunder.” They marry, blend their families, and get so popular locally that Eddie Vedder asks them to open for Pearl Jam.

All of this was reported in a 2008 documentary including real life health and living issues that would fill any soap opera. Along the way, Claire hit by an out of control car that careens into their front lawn. I won’t tell you what happens next. Mike has significant heart trouble from years of booze and drugs. So you know, things are going to go sideways.

You know bad times are coming because the first half of the film — full of music and laughs– is too much fun. All the characters get along, the main duo are very talented, and seem to be gaining local stardom.

Then the bottom drops out. Let’s stop here for the moment.

Craig Brewer directed “Hustle and Flow,” and he knows how to make a music movie. Hugh Jackman is a Broadway star when he’s not playing “Wolverine.” We know he can sing. So you’ve got two big building blocks. Also Neil Diamond has a huge catalog of hits including what’s become a dreaded overused singalong in “Sweet Caroline.”

But Jackman’s Mike — thanks to smart turns in the screenplay — doesn’t like “Sweet Caroline.” He says Neil Diamond’s music is more than that. So even though it’s heard, it’s not rammed down our throats. Mike likes songs like “Song Sung Blue” and “Play Me,” and sings the heck of them. (The only song really missing is one of my favorites, “Solitary Man.”)

Nothing prepares you for Kate Hudson, though. She’s charming and understated. She has a Milwaukee accent that sounds like it’s sawing through trees but doesn’t come out in her vibrant singing. When tragedy befalls Claire, Hudson handles it without too much mishegos. Brewer won’t let her, because the movie is about the music and how it sustains these people through bad times.

There’s plenty of very good supporting characters. Mike and Claire each have a daughter played, respectively, by King Princess and Ella Anderson. Michael Imperioli, of “Sopranos” fame, plays a guitarist and Buddy Holly imitator. He’s very good. Fisher Stevens and James Belushi are likeable managers of Mike and Claire. Mustafa Shakir doesn’t get enough time to do his James Brown impressions.

But in the end it’s all about Jackman and Hudson. They have lots of chemistry, and make lovely music together. With Jackman, it’s not a big surprise. Didn’t you see “The Music Man”? But Hudson — daughter of Goldie Hawn — finally gets a spotlight and uses it with grace and wit. Why didn’t we know she was such a good singer before last year? I predict at the very least Critics Choice and Golden Globe nominations, and who knows what else.

I do hope there’s a soundtrack album. “Song Sung Blue” opens Christmas Day, and you know? You can take the whole family.

Box Office: Does Colleen Hoover End with This? Also, Springsteen Movie Doesn’t Deliver Yet, “Chainsaw” Cuts Through Audience

Roger Friedman
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Box Office: Does Colleen Hoover End with This? Also, Springsteen Movie Doesn’t Deliver Yet, “Chainsaw” Cuts Through Audience

Weekend box office:

The number 1 movie was the anime feature “Chainsaw,” which cut through the audience and made $17 million. That’s very animated! You and I will never see it, but apparently a fan base has been tapped into. Good for Sony. They’ve had a tough year.

The Bruce Springsteen movie “Deliver Me from Nowhere” didn’t deliver for Disney/20th. A paltry $9.1 million doesn’t bode well. I do say ‘yet’ because awards action may save it, but that would mean coming back in mid December to theaters. At this rate “Deliver Me” will have a shaky 30 day window. Disney Plus should start showing “Deliver” sooner rather than later.

Paramount — already in a rocky land — struck out with “Regretting You.” Based on a Colleen Hoover book, this may be the end of us. The teen melodrama scored 12.5 million over the weekend, which means Paramount Plus is in the near future. Why didn’t it play like “The End of Us”? I guess it was just bad. A 30% critics rating isn’t enough to make someone drive over to the mall.

Smaller stuff: “Blue Moon” expanded to 668 screens and did some business. This week — during the week — go see Ethan Hawke in a performance that should land him Best Actor noms everywhere. If you like movies for adults, “Blue Moon” — like all Richard Linklater movies — is what you want. Maybe Hawke’s fans from “Black Phone 2” will give it a try!

Washington Post Editorial Supports Trump Ballroom on Front Page as Owner Bezos is a Donor, Follows CBS, TIME Media Manipulation

Roger Friedman
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Washington Post Editorial Supports Trump Ballroom on Front Page as Owner Bezos is a Donor, Follows CBS, TIME Media Manipulation

The Washington Post walls of editorial conflict have been breached.

The one great newspaper today endorses Donald Trump’s destruction of the White House in favor of a $300 million ballroom.

There are no such thing as coincidences. Amazon’s Jeff Bezos is one of the donors to the ballroom project.

He also owns The Washington Post.

The editorial is on the front page of the Post website this morning.

It’s another rotten moment for the Post, which is circling the drain as top writers and editors have left, only to be replaced by toadies.

The editorial, unsigned, reads:

“Trump joins a long list of presidents who have left their imprint on the White House. Theodore Roosevelt replaced greenhouses to construct the West Wing. William Howard Taft constructed the first Oval Office in 1909. Richard M. Nixon converted a swimming pool into the press briefing room in 1970. The modern East Wing wasn’t even built until World War II to cover up an underground bunker. Harry S. Truman gutted the White House interior and added the balcony that bears his name. Purists decried it. Now it’s a hallmark.”

And:

“The White House cannot simply be a museum to the past. Like America, it must evolve with the times to maintain its greatness. Strong leaders reject calcification. In that way, Trump’s undertaking is a shot across the bow at NIMBYs everywhere.”

It’s beyond alarming. But what the Post has done in stepping in line with Trump is similar to what’s happened at TIME Magazine and CBS.

At Time, Trump didn’t like the photograph of his louvered neck on the cover. So TIME changed the picture and the headline to make him feel better.

CBS was the only network that didn’t cover Trump’s pardon of former Binance CEO Changpeng Zhao — who was found guilty of money laundering — on Thursday, October 24, 2025.

This is just the beginning. It’s bad enough that Trump cronies David and Larry Ellison now own Paramount Pictures and all its subsidiaries. If the Ellisons buy Warner Bros — including CNN — we are doomed.

How the Classic “Ringo!” Album Came About and Reunited the Beatles Thanks to Famed Late Record Producer Richard Perry (Exclusive)

Roger Friedman
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How the Classic “Ringo!” Album Came About and Reunited the Beatles Thanks to Famed Late Record Producer Richard Perry (Exclusive)

Richard Perry, my friend, was probably the most successful record producer of the 70s, 80s, 2000s. His work included classic records by Ringo Starr, Carly Simon, the Pointer Sisters, Rod Stewart, and on and on.

This week, Ringo’s two biggest albums, “Ringo!” and “Goodnight Vienna” are being relaunched in beautiful, heavy vinyl. Ringo and Richard had a lot of hits off those albums including “Photograph,” “You’re Sixteen,” “Oh My My,” “The No No Song,” and “I’m the Greatest.”

“Ringo!” was the first album after the Beatles’ breakup to feature all of the Fab Four. Paul McCartney contributed a song called “Six O’Clock.” John Lennon and George Harrison also wrote songs and sang and played on the album.

To celebrate the vinyl, I’ve dug up some of Richard’s memories from his memoir, “Cloud Nine,” which you can buy on amazon.com. Richard passed away on Christmas Eve 2024 but his legacy is heard every day around the clock on radio stations all over the world.

Here’s a taste of Richard’s book. For the rest, download it or buy it on Amazon.

“For over a year [1972], I tried to convince Ringo to make a different kind of solo album, one that would fully reflect the personality and charm of his voice—like a Beatles record with Ringo singing lead on every track. I was insistent but he was resistant, not wanting to devote five months to making a record (that’s how long it took to make the last few Beatles’ albums).

The idea remained on the shelf for a year until, one day, I got a call from the producer of the upcoming Grammy awards show asking me if I could persuade Harry Nilsson to be a presenter, as our album, Nilsson Schmilsson, was nominated in nearly every major category. Since Nilsson had never appeared live in his entirecareer, I told them I seriously doubted that he would comply.

But suddenly a light bulb went off in my head! Knowing that Harry and Ringo had become very good friends, I told the Grammy people if they could get Ringo to do it with him I was sure Nilsson would agree, even though they would have to travel to Nashville, as that is where the awards were being held for the first and last time. My hunch was right on the money. A few days later, I got a call from Ringo. “Hey Rich, I’m not going to come all that way there just to present a f*-cking Grammy award. You know how you’ve been talking about doing an album? Well why don’t we go into the studio in Nashville and see what happens.”

I said, “Great idea Ring (my nickname for him), but I would strongly recommend that we go back to LA and do the sessions there. All our friends that we would want to play on the album are already there. It’s just a better environment for the record we want to make.” It made a lot of sense, and he agreed. Little did I know that my idea of asking Ringo to co-present the Grammy with Nilsson would open the door to making my dream come true.

Two weeks later, we all arrived in Nashville and met in Ringo’s hotel suite to play some song ideas for the proposed album. First, he played me a song he had written with George Harrison called “Photograph.” It had a haunting yet romantic melody very symbolic of George’s best songs with a simple yet penetrating lyric.”

“Just before we left for the weekend break [from recording], Ringo told me that he had heard from John Lennon who had gotten the buzz on the album in New York and had written a song especially for it. He was coming to LA over the weekend, and would be at the studio Monday night. Ringo was psyched and so was I.

John had a very electric presence. He walked into the studio with May Pang, Yoko’s former assistant, whom she’d handpicked as her replacement for John, as they had just separated. She felt that this was better than John carousing around looking for chicks. I think this says a lot about Yoko’s love for John. I played him the tracks we had cut, and he responded with the enthusiasm of a teenager. When “You’re Sixteen” started playing, he thrust his fist in the air and started screaming. He predicted it would be a big hit.

Finally, it was time to hear John’s song. It was called “I’m The Greatest” and he wrote it as a chronology of Ringo’s life and career with the Beatles. We all went out to the studio, eager to hear it for the first time. John sat down at the piano and started singing and playing the song in his unique percussive piano style. He rarely played piano on a Beatles record, so it had a very fresh and very ‘Beatle-esque’ sound.”

The sessions for “Ringo!” went so well that Perry was able to convince Ringo, John, and George to appear at a tented fundraiser where Barbra Streisand — whom Richard also produced — was scheduled to sing.

He recalls:

“The next afternoon I called Ringo. He was in a good mood, so I thought I’d give it a shot. I said, “Ring, forgive me for even bringing this up, but there’s this Hollywood fundraising event tonight, etc., etc.” He said he would mention it to John. No more than five minutes later, he called back. He said that John, ever the fan, not only would like to go, but he would be there with bells on, eager to meet Burt [Lancaster and Kirk [Douglas].

That evening, I picked up John, George, and Ringo in my 1961 Bentley, which once belonged to the famous film producer, Mervin LeRoy. I even had his original license plates: MLR 400. They only made fifty of these cars. As we were riding down Sunset heading towards Bel-Air, what song should come on the radio? “Walk On The Wild Side” by Lou Reed. Talk about the perfect song for the perfect moment! Totally surreal! When we arrived at the house everyone was already seated for dinner in the tent.

There were two women sitting at a desk in the entry hall to check people in as they arrived. John blew past them and bellowed out, “RICHARD PERRY AND FRIENDS HAVE ARRIVED!” As they entered the tent, you could hear a pin drop. The crème de la crème of Hollywood couldn’t believe that the Beatles had just entered the room!”

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