Friday, December 19, 2025
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Francis Ford Coppola’s Re-Made “Godfather III” Now Called “Coda: The Death of Michael Corleone” Priced to Sell for $14.99

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Francis Ford Coppola’s remade “The Godfather Part III” has hit Amazon as blu-ray DVD ready for advance purchase.

Now called: “Mario Puzo’s The Godfather, Coda: The Death of Michael Corleone,” Coppola’s re imagined film is priced to sell at just $14.99. That price seems very low considering it’s an event release of something that’s highly anticipated. But I guess they figure we know the story already.

“Coda” will give Coppola to right the wrongs of the original, awful final chapter of “The Godfather.” It would be unprecedented if he fixed “III” so that it really fit with chapters 1 and 2. This could be the great director’s crowning achievement.

The original film clocks in at 2 hours, 42 minutes. The new one says 2 hours, 38 minutes, so maybe 4 minutes have been trimmed. We’ll have to wait and see. Release date is December 8th.

A Posthumous Oscar for Chadwick Boseman Seems More Likely Than Ever for “Ma Rainey’s Black Bottom”

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There have only been two posthumous Oscars for acting in the history of the Academy Awards. The last one was Heath Ledger, for “The Dark Knight,” in 2008. Before that it was only Peter Finch in “Network,” 1977.

But now there may be a third. It does seem like Chadwick Boseman has a strong chance of a nomination if not a win for “Ma Rainey’s Black Bottom,” directed by Denzel Washington and co-starring a major ensemble that starts with Viola Davis.

Boseman died last month after a secret four year battle with colon cancer. The outpouring of love for him was amazing, enough to propel Boseman to a rare Oscar after he’s left us. I wouldn’t be surprised.

A big feature in the New York Times broke this afternoon, well in advance of the movie’s premiere on Netflix on December 18th. That’s just the first move by Netflix PR on the way to a major campaign for Bosewick, Davis, Washington, and the film. In Best Actor, Boseman will have a clear shot at the big prize. For Davis, if she goes in lead, she’s got Frances McDormand and probably Jennifer Hudson to deal with.

One irony: the last posthumous Oscar nomination went to the late August Wilson, the Pulitzer Prize winning playwright, for “Fences,” also directed by Washington and starring Davis, in 2016.

Attention Sirius Radio Listeners: This Friday Don’t Miss Gospel/R&B Great Don Bryant on Little Steven’s Underground Garage

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This Friday at 2pm, my friend– I’m blessed to call him that– the great Don Bryant will be featured on SiriusXM’s Little Steven’s Underground Garage. They’re celebrating Don’s new album called “You Make Me Feel” and the Coolest Song in the World, “Your Love is to Blame.”

This show is only for real lovers of R&B, soul, and gospel. Don is a Memphis legend, husband of Ann Peebles, co-writer of “I Can’t Stand the Rain,” and one of the best people around. So is Ann! I won’t miss this show hosted by The Mighty Manfred. He’s obviously a man of great taste and discernment!

Showtime’s “The Comey Rule” Was a Ratings Bust with Less Half a Million Viewers and an 8 Percent Drop for Second Night

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Showtime’s “The Comey Rule” about disgraced and befuddled former FBI director, James Comey, was a ratings bust.

The two part show on Sunday and Monday nights got fewer viewers than the farm report. Night 1 was 415,000. Night 2 was 381.000. That’s an 8 percent drop. No one cared how it all worked out.

This was despite an all star cast with Jeff Daniels as Comey, Brendan Gleeson as Trump, Holly Hunter as Sally Yates, and Scoot McNairy, Michael Kelly, Brian D’Arcy James, Jennifer Ehle all doing great work.

The problem is, no one likes Comey. Republicans and Democrats see him as a fool who betrayed both sides. If Comey hadn’t made those ridiculous statements about Hillary Clinton’s emails four years ago, we’d have had lived a very different life. He is largely responsible for the horror film our lives have become.

Mac Davis, Country and Pop Superstar, Dies at 78, Sang “Baby Don’t Get Hooked On Me,” Wrote Hits for Elvis, Kenny Rogers, More

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On the same day that Helen Reddy died at age 78, gone, too, is Mac Davis. They were contemporary music stars who appeared on the same shows, and ran up and down the same music charts with hit after hit in the 70s. Davis was also a huge country star and the author of hits for Elvis Presley like “In the Ghetto” and “A Little Too Much Conversation.” He wrote hits for other artists, too, including “Watching Scotty Grow” for Bobby Goldsboro and “Something’s Burning” for Kenny Rogers– who passed away last March– and his group, the First Edition. Among Mac’s hits that he kept for himself was another mega-record, “I Believe in Music.”

Mac’s manager, Jim Morey, posted this obit to Facebook:

“Mac Davis has been my client for over 40 years, and more importantly, my best friend,” Morey said. “He was a music legend, but his most important work was that as a loving husband, father, grandfather and friend. I will miss laughing about our many adventures on the road and his insightful sense of humor.”
Well-respected by industry peers, news of Davis’ death created an immediate outpouring of love and admiration for the artist.
“Thank you, dear Lord Jesus, for letting us know the man to whom you gave the most incredible talent,” said Reba McEntire. “He entertained and spread joy to so many people. What a wonderful legacy he left all of us with his music. Mac was one of a kind. I’m so blessed to have been one of his many friends.”
“I met Mac as a young artist just starting out on my journey, when he was already a legend and a songwriting hero to me,” Kenny Chesney recalled. “He welcomed me into his home and turned that tremendous creative light on me. Even though he’d written “In the Ghetto” for Elvis and had so many incredible hits of his own, he made me feel like what I was doing mattered.
“A small-town boy who’d achieved the greatest kind of fame, he remained a good guy, a family man,” Chesney said. “That was Mac: a giant heart, quick to laugh and a bigger creative spirit. I was blessed to have it shine on me. And Mac, who was joyous, funny and created a family around him never stopped writing great songs, creating music and inspiring everyone around him. He loved his wife Lise and his kids and all kinds of people. He kept in touch, always a kind word, a new joke or a piece of song he was working on, which made him a blessing to everyone who came into his life.”

Superstar Pop Singer from the 70s Helen Reddy Dies at Age 78, Had Hits “I Am Woman,” “Delta Dawn,” and More

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Superstar pop singer Helen Reddy has died at age 78 in Los Angeles. Reports say she suffered from dementia for years.

Reddy was the biggest female pop singer of the 70s. She was in the top 40 constantly, from “I Am Woman,” her women’s lib anthem, to “Delta Dawn,” “You and Me Against the World,” and many other hits. Reddy’s voice was constantly present on the radio, as big as any female singer right now.

Her life is currently portrayed in a new film called “I Am Woman” that I hope will be widely available soon. The film takes Helen from Canada to Hollywood where she meets her husband and manager, Jeff Wald. Reddy made millions and millions that Wald squandered, particularly on drugs, and the marriage ended in divorce.

In the movie, Helen turned out to be great friends with the late journalist Lillian Roxon, the first woman of rock and roll reporting who wrote “The Rock and Roll Encyclopedia.” They were unlikely friends. I never knew Roxon but always admired her. I sure hope they’re together now, having a good time.

Reddy’s children wrote on Facebook:

“It is with deep sadness that we announce the passing of our beloved mother, Helen Reddy, on the afternoon of September 29th 2020 in Los Angeles. She was a wonderful Mother, Grandmother and a truly formidable woman. Our hearts are broken. But we take comfort in the knowledge that her voice will live on forever.”

Thanks to the movie, and the songs, Helen Reddy will indeed live on forever. Condolences to her family.

 

Mariah Carey Book Biggest Omissions: “American Idol,” Nicki Minaj, JLO, All the Publicists and Managers Who Saved Her

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“The Meaning of Mariah Carey,” the book, is out now. You can read it if you want the fiction version of Mariah’s life.

There is so much omitted from this “memoir” that you wonder if Mariah has Alzheimer’s. She should cover the old hit, “Remember What I Told You to Forget.”

Not mentioned by name anywhere in the book are the series of managers who kept her alive. Not the first one, Randy Hoffman, who was partners with first husband, Tommy Mottola (who Mariah trashes in the book).

Glaringly omitted is Louise McNally, a lovely woman who managed Mariah for years after she left Mottola. McNally got Mariah through the “Glitter” debacle and into her comeback at DefJam with L.A. Reid and Jermaine Dupri. There isn’t even a mention of McNally in the acknowledgements.

“American Idol” judge Randy Jackson was Mariah’s friend going back a long way. He saved her ass after “Glitter” by putting together the “Charmbracelet” album. Then he got her a job on “Idol” as judge, where Mariah crossed horns with Nicki Minaj. Jackson gets short shrift, even though he briefly managed her. The whole “American Idol” experience is left out of the book, along with Minaj.

Mariah’s arch nemesis has always been Jennifer Lopez, aka JLo. It was Lopez and Ja Rule who swiped a sample from Carey, thanks to Mottola, and sent her into a frenzy over the “Glitter” soundtrack. Then Mariah got Lopez’s manager, Benny Medina, to manager Mariah as well. How crazy is that? And yet Lopez and Medina are absent from the book.

Also AWOL from “The Making of” is Stella Bulochnikov, the more recent manager who isolated Mariah from her old crowd, and made some poor decisions. One of them was to file a sexual harassment suit against Carey, settled out of court. The whole Stella story could take up its own book. Stella, who has a lot of reality TV producer credits on the imdb, has gone silent since the break up and settlement.

At one point, Jermaine Dupri– who wrote and produced a lot of Mariah’s “comeback” hits at Def Jam, was named her manager in 2013. That lasted about a minute. Again, no mention of it in the book.

And then there were all the publicists. The longest lasting, and the one who turned things around for Mariah, was Cindi Berger of PMK. But eventually Berger actually dismissed Mariah as a client when Bulochnikov made things impossible.

Are there other omissions? Michael Richardson gets a shout out in the acknowledgements, but it’s telling that he doesn’t even merit an anecdote or a reference in the book. For eons Michael was Mariah’s aide de camp, her reliable go to guy who got everything done, went everywhere with her, and made it all possible. Maybe one day he’ll write his own book.

How about Jerry Blair, the marketing guy at Sony for 12 years who did all the hard work to make Mariah’s singles magically get to number 1? He gets nothing even though in 2002, after “Glitter,” it was Blair who put together a label deal with DefJam for Mariah so she could save face. Blair helped create MonarC Entertainment with Mariah. But eventually she stiffed him, and he had to sue her.

The funny thing is, Mariah thinks we forgot all this stuff. But if I made a compilation of stories I wrote about all this stuff in the 90s and 2000s, we’d really get the Meaning of Mariah Carey!

Sacha Baron Cohen’s “Borat” Sequel Coming to Amazon Prime Next Month (See Fake Tweet from Republic of Kazakhstan)

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Sacha Baron Cohen’s “Borat” sequel is coming to Amazon Prime next month, and just enough before the election to do some damage.

“Borat: Gift of Pornographic Monkey to Vice Premiere Mikhael Pence to Make Benefit Recently Diminished Nation of Kazakhstan” is the title, and featured politicians who will be mocked include Mike Pence and Rudy Giuliani. There will be more, hopefully, and it will be hilarious torture watching them be destroyed.

Who’s not in the movie? As I reported a couple of weeks ago, Ken Davitian, who played Azamat, Borat’s sidekick in the first film, was not asked to return. It doesn’t sound like anyone from the original film is back.

Indeed, “Borat 2” sounds like it’s a big screen version of “Who is America,” the Showtime series Cohen commanded a couple of years ago, with Borat as the main character. So this will be less a fictional narrative, as “Borat” was, and more of a ‘gotcha’ kind of show.

Either way, “Borat 2” will have maximum exposure on Amazon Prime, which needs an original hit and eyes on their platform. Jeff Bezos, no fan of Donald Trump, I’m sure was instrumental in getting this film for his studio.

PS Meantime, Cohen gets kudos for his role as Abbie Hoffman in “The Trial of the Chicago 7,” coming to Netflix October 3rd. All of of October will be Sacha Baron Cohen Month on streaming. Niiiice!

 

 

Indie Spirit Awards Sells Out, Adds TV Awards, Waves White Flag to Get Some Ratings, Sends a Money Message to Netflix, HBO, Amazon, Hulu Etc.

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The Independent Spirit Awards are throwing in the towel on independent films.

Starting this year, the Spirit Awards– part of Los Angeles’s Film Independent — are adding TV categories to their awards show. This is beyond hilarious. It’s sad.

The Spirit Awards were traditionally for the independent film world, something that peaked around the year 2000 but kept going in spite of itself. The Awards show is aired on IFC and gets about 100,000 viewers. It’s clique-y and inside. Most of the films have never been seen by anyone.

In recent years the Spirit Awards overlapped with the Oscars, touting more and more expensive and better known films. The whole division between “church” and “state” disappeared.

But now in a Hail Mary pass, they’re going to add TV awards. Not “independent” TV awards, because there’s no such thing. This is clarion call to Netflix, Amazon, HBO, Hulu et al to come spend some money on the Spirit Awards. This is a new ball game.

The new categories are:

Best New Scripted Series
Best New Non-Scripted or Documentary Series
Best Male Performance in a Scripted Series
Best Female Performance in a Scripted Series
Best Ensemble Cast in a Scripted Series

And now you’re going to have the cablers and premium channels, subscription platforms racing in with big bucks, promotional opportunities and so on to get all the shows already overly awards more accolades. It’s quite literally like installing the Emmys into the Spirit Awards. By next season they will have added supporting actor categories and guest appearances.

But why not? The Indie world is vanishing. Or has vanished. A current movie like Miranda July’s “Kajillionaire” would have been the top indie darling in 2000. In 2020, it’s flailing at a very limited box office. The audience has been dumbed down tremendously. Ironic, off beat comedy is hard to enjoy when there’s a pandemic on our heads, a government killing its people, and large scale unemployment. Film Independent is smart to just wave the white flag and get the Maisels and the royals and the Roys literally into the tent.

And so it goes. The Spirit Awards will be shown on IFC April 24th. Don’t expect Aubrey Plaza back as host, though. My guess is they go with a TV star or stars. They’ll kick it up to Jon Hamm and Elisabeth Moss, something like that.  Joe Jonas and Sophie Turner. Wait. Remember.

 

Who Wrote Mariah Carey’s Biggest Hit, “All I Want for Christmas”? In Her Book, Credit Goes Only to Her

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Mariah Carey’s memoir is out, “The Meaning of Mariah Carey” is a great work of fiction. Among the tales she weaves is her career as a songwriter. She still holds onto the claim that she wrote her hits including her biggest one, “All I Want for Christmas.” The actual writer, Walter Afanasieff, who has the credit and 50% of the royalty, is not mentioned.

She writes:

“It was from my little girl’s spirit and those early fantasies of family, and friendship, that I wrote “All I Want for Christmas Is You.” Think of how it begins: ding, ding, ding, ding, ding, ding, ding, ding … the delicate chimes are reminiscent of those little wooden toy pianos, like the one Schroeder had on Peanuts. I actually did bang out most of the song on a cheap little Casio keyboard. But it’s the feeling I wanted the song to capture. There’s a sweetness, a clarity, and a purity to it. It didn’t stem from Christian inspiration, although I’ve certainly sung and written from that soulful and spiritual perspective. Instead, this song came from a childlike space; when I wrote it, at twenty-two years old, I wasn’t that far away from being a child.”

Afanasieff old Variety last year that he fell out with Mariah twenty years ago. Afansieff said: “I made the entire track of what you hear, excluding the vocals, of course, and did that on my own. She was never in the room. I produced and recorded and arranged and played every single instrumental on the track, on my own, knowing that I think she would like this or wouldn’t like that. I then brought the truck back to her in New York, and she obviously liked everything, and we started to record vocals.”

Afanasieff’s name is said three or four times in passing in “The Making of Mariah Carey.” He isn’t acknowledged once as Mariah’s co-writer. Yet he has dozens of credits for song written with Carey in the ASCAP catalog including “Christmas,” “Hero,” and “One Sweet Day.”

About Hero, he told Songwriter magazine in 2002: “When I recorded the track, I tried to simulate an orchestral sound with my synthesizers. There’s a huge, timpani roll, a swell of strings, and french horns, which were all done on keyboards. In the back of my mind, I thought we might have an orchestra re-create the string parts. However, when Mariah completed her vocals, she said the recording sounded fine just the way it was, and that we didn’t need to bring in an orchestra.”

Afanasieff’s name isn’t the only one either breezily referred to or completely missing from Carey’s book. But to give him no credit for the work he did– how does she think the songs were written into music for other musicians to play? — says a lot about the author’s perspective on her career.

PS The irony of all this is that in the back there are songwriting credits. And all the songs Mariah says she “wrote” are loaded with collaborator credits. I guess  she didn’t read that chapter.