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No Time to Sell: Billie Eilish’s Morose James Bond Theme Hopes for Revival But Louis Armstrong Makes a Surprise Return in Film

Roger Friedman
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No Time to Sell: Billie Eilish’s Morose James Bond Theme Hopes for Revival But Louis Armstrong Makes a Surprise Return in Film

Back in February 2020, Billie Eilish released her morose James Bond theme, “No Time to Die.”

The movie then was scheduled for April 2020. It never happened.

The Eilish track didn’t do much. It had a brief run on the charts. Total sales of downloads were just 70,000 to this date. Including streaming, though, she’s 1.1 million in “sales.” Which sounds like a lot but isn’t.

The good news is Billie won a Grammy a year later, in January 2021, for music from a movie. But because the movie was never released, she wasn’t eligible for an Oscar nomination. This year she will be.

Now that “No Time to Die” is out in the UK and coming here next Friday, it’s possible the record will have a revival. In the movie, the song sits there like a wet fish, a limp handshake, a door mat.

The single is no “Live or Let Die” or “Goldfinger” or “Nobody Does it Better.” It has all the excitement of death, which might be the point. Hearing it you think maybe there IS time to die. Maybe that’s why the producers brought Hans Zimmer in write the score, which is very lively and lets us forget those first, sleep inducing moments.

The real theme song to “No Time to Die” plays over the end credits: Louis Armstrong’s “We Have All the Time in the World.” It’s so much more apt, and its a signal from the producers that they’ll be back with a new Bond series no matter what happened in this movie. It’s also a throwback to “On Her Majesty’s Secret Service,” which featured Diana Rigg. It was the last song Armstrong ever recorded. Talk about ‘haunting’– this track is the definition.

Michael Jackson’s Final Accuser Case Dismissed by LA Court, “Leaving Neverland” Doc Now Based on Nothing

Roger Friedman
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Michael Jackson’s Final Accuser Case Dismissed by LA Court, “Leaving Neverland” Doc Now Based on Nothing

Michael Jackson is moonwalking in heaven today.

The final case against him has been dismissed by a Los Angeles judge.

James Safechuck, one of two men who leveled absurd child molestation allegations against Jackson in the “Leaving Neverland” documentary, has had his case chucked from court. His lawyer was supposed to file an appeal to his last court loss and never did.

Safechuck and Wade Robson each participated in the HBO documentary, “Leaving Neverland,” in which they made unfounded and unsubstantiated claims against Jackson. The filmmaker never gave anyone a chance to respond nor did he present any other side to the stories.

Jackson’s Estate is currently suing HBO and the case has gone to arbitration.

In the meantime, both Robson and Safechuck’s cases, filed 7 years ago, have been thrown out of court.

The case brought by Safechuck was dismissed on demurrer almost a year ago on October 21, 2020. He had nearly a year to file an appeal and chose not to. He can still appeal this dismissal of

Judge Mark Young wrote, explaining demurrers: When considering demurrers, courts “are required to construe the complaint liberally to determine whether a cause of action has been stated, given the assumed truth of the facts pleaded.”

You can read the Judge’s complete finding here. But he didn’t buy that Safechuck, as a child, worked for Michael Jackson or his companies, and that Jackson failed “to warn, train, or educate” him. Safechuck’s case, like that of his pal Wade Robson, was concocted to get money from the Jackson estate because Michael– who died suddenly– failed to leave them anything in a will.

The judge wrote that: “Plaintiff [Safechuck] alleged that Jackson was “hired” by Defendants to coach, teach, and mentor minors interested in the entertainment industry. Setting aside Plaintiff’s allegation that Jackson was the President of both Defendants, Plaintiff has failed to allege specific facts detailing what such mentorship looked like (or was supposed to look like) from 1988 through 1992.”

Safechuck’s lawyer, Vince Finaldi, told TMZ, the day after losing the case that he would file an appeal immediately.”We are going back to court of appeal and we are going to win this thing.” Notes Twitter account @MJJRepository, which has done incredible work keeping track of these cases: “More than 11 months later—with four months of extensions granted—he failed to submit even an opening brief, as required to proceed.”

Another one bites the dust.

“Grey’s Anatomy”: The Pandemic Is Over, No More Masks, It Was Very Depressing, We’ve Moved On

Roger Friedman
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“Grey’s Anatomy”: The Pandemic Is Over, No More Masks, It Was Very Depressing, We’ve Moved On

The big surprise tonight on “Grey’s Anatomy” is that they brought back a character from four years ago, seen once, played by Scott Speedman.

Speedman, you might see, resembles Patrick Dempsey, the late Dr. McDreamy and husband of Meredith Grey. Dempsey was unceremoniously killed off years ago.

All of Meredith’s suitors since then have died or been written off. Speedman will try and fill the void.

But the bigger news on “Greys” is that the pandemic is over. The doctors and staff are no longer wearing masks. The show started with a card that read something like, “It was very depressing, we’re sorry it’s still going on, but we’re pretending this is the future and COVID has been resolved.”

It’s sort of like in “Pearl Harbor” when Kate Beckinsale runs into Ben Affleck at the end of the movie and says, “And then the war happened it ruined everything.”

Last season it was all COVID COVID COVID. Everyone wore masks and shields. But that was so 2020.

Peter Gallagher has appeared as a doctor in Minnesota who “knew” Meredith’s mother and has dedicated a research lab to her. Why? My guess is, he’s really Meredith’s father. Kate Burton has returned to play Meredith’s dead mother in dream sequences. Coincidence? I think not.

On “Law & Order,” Chris Meloni looks like Grizzly Adams.

The good news is, the Yankees won.

We’ll see overnight ratings midday Friday.

Rikki, Don’t Lost That Ticket: Steely Dan Cancels, Reschedules Florida Tour Dates Because of COVID

Roger Friedman
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Rikki, Don’t Lost That Ticket: Steely Dan Cancels, Reschedules Florida Tour Dates Because of COVID

Somebody with Steely Dan is reeling in the virus.

The band just canceled all their dates in Florida for their current “Absolutely Normal” tour, moving them to next year. Rikki, don’t lose that ticket: you can trade it in for the 2022 dates.

Steely Dan– which is really now just Donald Fagen since the untimely death of Walter Becker- and his band of crack musicians– was embarking on the tour up the East Coast and promoting their new live album, “Northeast Corridor.”

The tour is now postponed for 20 days, beginning October 25th in Baltimore. I’ll see in November at the great Capitol Theater in Port Chester, New York. All those Florida and North Carolina dates have been moved to July 2022.

Their website states: “Steely Dan have announced that they will postpone their upcoming shows in Miami, Orlando, St Petersburg, Jacksonville, North Charleston, Charlotte, and Richmond. The postponement comes out of an abundance of caution despite COVID-19 health and safety precautions in place. Fans are encouraged to hold on to their tickets for the newly scheduled dates, which can be seen below.”

Let’s hope for a speedy recovery and no more illness for the Dan. In the meantime, learn to work the saxophone.

NFL Deal with Jay Z Produces Hardcore Hip Hop SuperBowl Half Time Show With Dr. Dre, Eminem, Snoop Dogg, Mary J

Roger Friedman
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NFL Deal with Jay Z Produces Hardcore Hip Hop SuperBowl Half Time Show With Dr. Dre, Eminem, Snoop Dogg, Mary J

It was a couple of years ago that the NFL turned over its halftime show to Jay Z and Roc Nation.

This coming February we will see the fruit of that pact.

The half time show at SoFi Stadium in Inglewood, California (that’s kinda out hear the airport) is going be hardcore hip hop and rap. Today it was announced that the headliners will be Dr. Dre, Eminem, Mary J Blige, Snoop Dogg, and Kendrick Lamar.

The game is set for a week later than usual, February 13, 2022. It’s the first time in 30 years that the Super Bowl has been in Los Angeles.

They’re saying this “R&B” but it’s not, this is tough stuff, and not the usual middle of the road entertainment seen at the Super Bowl. At this rate they should get Missy Elliot to do the national anthem.

The NFL is trying to woo back the Black viewer, that’s for certain. What’s really interesting is that this at the expense of Colin Kaepernick, who still has no job in football. So all these artists are coming in in juxtaposition to that scenario. This year, the NFL is allowing players to put five different social justice slogans on their helmets. They’re also playing the so-called Black National Anthem, “Lift Every Voice and Sing,” before “The Star Spangled Banner.” So this part of that effort.

And Kaepernick? It’s been exactly five years since he took a knee and refused to stand for the national anthem. He was 28. Now he’s 33. Despite earning money from endorsements, his professional football career seems to be over. He played his last game on January 1, 2017.

For a while, Kaepernick had the NFL on the ropes. But then Goodell made this deal with Jay Z, who was quick to sell Kaepernick out, letting Goodell subvert him. How much did the NFL pay Jay Z to undo Kaeperick’s calls for spcial justice and awareness of police brutality against Blacks? It had to have been millions beyond our understanding.

Colin Kaepernick? George Floyd? It’s all about the Benjamins. And as I wrote the other day, NFL TV ratings are surging again. People have short memories.

Review: Tony Bennett and Lady Gaga’s Grand “Love for Sale” Is the Booster Shot We Need So Badly Right Now

Roger Friedman
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Review: Tony Bennett and Lady Gaga’s Grand “Love for Sale” Is the Booster Shot We Need So Badly Right Now

Tonight, Tony Bennett and Lady Gaga‘s “Love for Sale” drops in all formats including CD, vinyl, streaming and downloads like iTunes. Listen, kids, you’d better hit that button and make it number 1. There are a lot of reasons.

He’s 95, she’s 35, this is unprecedented. Their first album, “Cheek to Cheek,” came to us in 2014. That’s when Tony told me they would absolutely follow up with a Cole Porter collection. “Cheek to Cheek” sold like crazy and won lots of awards, as it should.

“Love for Sale” is a crowning achievement for both of them, and Tony’s producer son, Dae Bennett. Working with the best musicians, they’ve made a lasting record of great beauty. If people are still listening to jazz in 50 years, “Love for Sale” will have to be at the top of every list.

Bennett is capping off the most remarkable career of all time, 70 years, all of our lifetimes, all of his. No other American singer can lay claim to his longstanding at peak quality. While Sinatra lurks out there as the Chairman of the Board, Tony is Chief Operating Officer of Jazz. The whole cosmic twist of his living this long was to prove a voice can only get richer as a heart grows deeper. Listen to him on some of these tracks, whether he recorded them six years ago or yesterday it doesn’t matter. The instrument is genuine. As much I have Frank’s “I’ve Got You Under My Skin” under mine, this new Gaga-Bennett duet is going to occupy a place there, too.

On first listen I’m focused on two tracks featuring Tony: “Dream Dancing” and “I Concentrate on You.” They’re lesser known Porter and sound fresher because of it. They bounce. Tony swings. He not only keeps up with Gaga, he outpaces her often. You can feel the energy he’s getting from her newness to the material. But for Tony, the piece de resistance is his solo number, “Just One of those Things.” I think this is the fourth time he’s recorded this song, who knows. But in 1969 he titled an album with this number, and going back there comparing to the new recording, Mr. Benedetto hasn’t lost a step. The earlier version is a younger man’s voice. The new one is a man who’s weathered all those things and come through it a winner. When Tony sings

When fortune cries “Nay, nay” to me
And people declare “You’re through”
Whenever the blues become my only songs
I concentrate on you
it’s enough to send you overboard. Many people declared he was “through” a long time ago. Guess who gets the last laugh?

Lady Gaga is a great jazz singer. I love her early music, the hit 45s, but I could listen to her sing like this for the rest of time. She’s done what Mariah Carey never bothered to do: she’s used her super powers for the good of mankind. If Natalie Cole were alive, she’d be Gaga’s only competition. With Tony she’s playful but never campy. This is a serious endeavor. Rosemary Clooney must be sending her signals from heaven. Rarely has there been a pairing that’s been so well matched. You know, she’s a good actress, Gaga, but you can tell she really gets a kick out of Tony. It’s very charming.

Gaga’s standout solo is “Do I Love You.” She has to compete with the ghosts of Ella Fitzgerald, Judy Garland, Peggy Lee, and Vera Lynn. Who else would have the guts to take this on? This Stefani Germanotta doesn’t shy away from the challenge. She has nothing to fear in comparison. Gaga’s voice has all the vibrato and texture of the greats. You can’t imagine her every screaming again through a “Chromatica” or “Edge of Glory.” Why bother when you can do this?

Dae Bennett’s production on “Love for Sale” will win him another Grammy. He’s got the secret sauce to make this all come together. “Love for Sale” may be a cure for the pandemic. Please get the shots. But this is the extra booster we all need so badly.

Needless to say but A Plus. Plus.

 

story photo courtesy of Kelsey Bennett

@kelseybennett333

 

News Anchor Ashleigh Banfield Responds With Grace and Eloquence to Katie Couric Slagging in Book

Roger Friedman
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News Anchor Ashleigh Banfield Responds With Grace and Eloquence to Katie Couric Slagging in Book

Ashleigh Banfield, who I’ve always liked so much but haven’t seen in some time, really came through today.

Banfield responded with grace and eloquence to news that Katie Couric slagged her in her upcoming memoir.

Couric writes that she turned against Banfield when she heard that that Ashleigh’s father said in the New York Post that NBC should give her Katie’s job. That’s the gist of it. Katie said she wouldn’t mentor Ashleigh because of it.

If only Katie had called Banfield. Today Ashleigh says a Post reporter called her dad, who was senile in a care home for a quote when Banfield was on assignment in Afghanistan. The poor man was confused, and misquoted on top of that.

Banfield doesn’t care. She goes on to praise Katie, say she’s the gold standard in broadcasting, has always admired her, and hopes she’ll set the record straight.

Ashleigh is a five star reporter, and should be back on a major network. She’s terrific!

Taylor Swift Moves Up Release of Rerecorded “Red” Album by One Week, to November 12th

Roger Friedman
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Taylor Swift Moves Up Release of Rerecorded “Red” Album by One Week, to November 12th

Taylor Swift can’t wait to sock it to Scooter Braun, Scott Borchetta and the financial group that bought her masters.

She’s moved up the release date of her re-recorded “Red” album by a week to November 12th. There’s lots of extra stuff and new unreleased material to make the album a hit. And to make the old “Red” turn pink and fade away.

Heaven: Rolling Stones Release Unheard Track “Trouble’s a Coming” from 1981 Classic “Tattoo You”

Roger Friedman
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Heaven: Rolling Stones Release Unheard Track “Trouble’s a Coming” from 1981 Classic “Tattoo You”

There are few better sounds than the Rolling Stones circa 1981. This is “Trouble’s a Coming” from the 40th anniversary of “Tattoo You.” It’s a cover of the Chi-Lites record, made in 1979.

The Chi-Lites were led by Eugene Record (his real name), a genius who wrote the group’s hits like “Have You Seen Her” and “Oh Girl.” Eugene, who I was lucky enough to know, also wrote the song “Are You My Woman” which Jay Z and Beyonce lifted for “Crazy in Love,” her biggest hit. I hope Eugene’s estate gets some dough from the Stones release today.

There are 8 more unreleased tracks coming on the 40th anniversary set October 22nd.

Here’s the original:

Grey’s Hubris: Ellen Pompeo Outs Herself for Shouting “It’s My Show!” at Director Denzel Washington

Roger Friedman
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Grey’s Hubris: Ellen Pompeo Outs Herself for Shouting “It’s My Show!” at Director Denzel Washington

You wanted to know why literally everyone has been killed off or rode out into the sunset on “Grey’s Anatomy.”

Now Ellen Pompeo herself has explained it on her own podcast. Pompeo, the queen of hubris, admitted on her own little radio show that she once yelled, “It’s my show!” to Oscar winner Denzel Washington when he, for some reason, directed an episode of “Grey’s” in 2016.

The extra weird part of this is that her podcast guest was former “Grey’s” star Patrick Dempsey, who was her co-star until she forced him off the show several years ago. Last season, Dempsey returned for a few “death” episodes. Now he’s on the podcast. He is really a glutton for punishment. Or maybe he elicited this conversation.

But on Pompeo’s “Tell Me with Ellen Pompeo” the Godzilla of Grey’s recalls she didn’t like the way another actor was delivering lines in the Denzel-directed episode.

“He [the actor in question] made this choice to speak very softly — and I was pissed that I had to sit there and listen to this apology. And he wasn’t looking at me in the eye. Again, we love actors who make choices. And I yelled at him, I was like, ‘Look at me! When you apologize, look at me!’ And that wasn’t in the dialogue.”

Washington, director of several well regarded movies and a two time Oscar winner, also a Tony Award winner, didn’t like Pompeo speaking to one of his actors. Pompeo recalls: “Denzel went ham on my ass. He was like, ‘I’m the director! Don’t you tell him what to do!’”

But Pompeo, who’s become out of control as “Grey’s” has turned her into an unlikely and by the way no award winning star of a soap opera that is strangely still on the air, told Denzel Washington: “I was like, ‘Listen, motherf–ker, this is my show! This is my set! Who are you telling? You barely even know where the bathroom is!’”

This actually happened in 2016, the same year Denzel’s Oscar nominated “Fences” was released. He was nominated for Best Actor, Viola Davis won for Best Supporting Actress. I have new respect for DW for not walking off the set of this two bit TV drama. My guess is he took the job to warm up for directing “Fences,” or as a favor to Shonda Rhimes.

Dozens of actors besides Dempsey have been tossed off of “Grey’s” over 18 years, not to mentioned maligned so badly in their exits that they’ve had to fight bad reputations. Let’s start with Katherine Heigl. And there’s a reason Sandra Oh hasn’t returned even for a cameo. Anyone who returned last year did it for SAG Insurance points.

The funny thing is, the departed actors probably all have NDA’s, or are too scared to speak out about Pompeo. So the fact that she admitted this herself is too funny.

Like it or not, “Grey’s Anatomy” continues tonight. (I’ll be watching “SVU.”) Kate Burton, a real actress, returns tonight to play her dead character after a decade away, for four episodes.

 

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