Saturday, October 5, 2024
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Sam Smith James Bond Theme Collapses on iTunes, Amazon, and Spotify Charts After 5 Days

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Adele sang in the theme from “Skyfall”: “this is the end.” Let’s hope not. But the new James Bond theme song, for “Spectre,” is a bust.

Sam Smith’s song “Writing’s on the Wall,” was released last Friday to much fanfare. As a matter of course, the song skipped up to number 1 on iTunes and stayed there for a couple of days.

But just five days after release, “Writing’s on the Wall” is down to number 24 — and sinking fast. On amazon.com the single is at number 47. It doesn’t seem to be on the US or Global Spotify charts at all. (Is it possible no one is streaming it? Really?)

Luckily, the song is number 1 in the UK. Maybe Smith is a British thing.

Is the writing on the wall for “Spectre”? Let’s hope not. But the song is not a good harbinger. Basically, it’s awful. It’s a limp noodle version of “Skyfall,” a melodramatic dead end that forebodes no spectre of anything, certainly not excitement.

The single is also simply not radio friendly. It’s long winded, pedestrian, and boring. Your mind wanders before you get to the chorus. And as I noted last Friday, this is the first Bond song I can recall in ages that doesn’t include the title of the movie. It sounds like the theme song for a movie called “Writing’s on the Wall.” Didn’t Smith like the word Spectre?

I hate to say it but it’s important to remember that Smith’s most famous song so far– “Stay with Me”– was nicked from Tom Petty’s “I Won’t Back Down.” He had to amend the credits and pay Petty.

Choosing a very early songwriter with few credits was a gamble on the part of the Bond people. Maybe they thought they’d get something with a gospel-feel. But Smith simply re-watered “Skyfall.” Also, after Adele’s giant anthem was such a hit, won an Oscar etc, it may have been time for something either more uptempo, rock song like “Live and Let Die,” or a big pop ballad by experts.

Remember too that Marvin Hamlisch and Carole Bayer Sager wrote “Nobody Does it Better.” Carly Simon sang it. Richard Perry produced it. This was like having the 1927 Yankees make your record.

Can “Writings on the Wall” come back? Unlikely.

(PS A total non sequitir— but I totally love “Renegades” by X Ambassadors. Now, that’s a radio single! )

Ryan Adams Version of “1989” Outsells Taylor Swift’s (This Week) 2-to-1

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Here’s a problem everyone would like to have.

Indie rocker Ryan Adams has made a song for song version of Taylor Swift’s “1989” album. Adams’ “1989” debuted this week with 52,000 copies more or less in CDs and downloads. That’s twice as many as Swift’s original “1989” sold this past week.

Adding streaming, Adams still beat Swift by 10,000 copies. He sold a total of 56,837 versus her 46,318.

For adults, and guys, Adams’s version of the album is just swell. It’s much more appealing than hers for repeat plays. No disrespect to Swift but after a couple of radio plays her long term appeal is to teen girls. Adams gives her great songs a whole new feel. The project works.

For Adams, this was a great idea. Maybe it will spur other rockers to look around at song catalogs like Swift’s. Someone like a Rob Thomas could do a whole “Now 20” kind of album where they do all the top hits of the last six months.

In the old days, this was not so uncommon. Harry Nilsson recorded a whole album of Randy Newman songs that became a classic. Dusty Springfield’s “Dusty in Memphis” was largely devoted to Newman and Carole King. Linda Ronstadt, the Fifth Dimension and Three Dog Night routinely recorded lots of songs by the same songwriters (Hoyt Axton, Newman, etc).

Adams’s “1989” was released in time for Grammy consideration. How funny if his album wins Best Alternative Rock and Swift wins Album of the Year for the same album. Ken Ehrlich, start planning for a fun Grammy night.

Oscar Nominee Subjects Are Going to Be a Heavy Dose of Lesbians, Transgenders, Pedophile Priests

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Get ready. This is going to be an interesting year at the Oscars.

The movies that are getting into position for Best Picture nominations are not “Driving Miss Daisy” material.

One of the leading candidates is “Spotlight,” Tom McCarthy’s exciting telling of how Boston Globe reporters unmasked 90 pedophile priests. The film has an all star cast including Mark Ruffalo, Michael Keaton and Liev Schreiber. They will all be contenders in the Best Supporting Acto race.

“Carol” is a love story about two lesbians in 1952 New York. Cate Blanchett and Rooney Mara are the lovers, and their work is exceptional. Director Todd Haynes, the actresses, and cinematographer Ed Lachman will all be up for awards.

“Grandma” stars Lily Tomlin as a hippie grandmother, pot smoking lesbian who’s trying to help her granddaughter raise enough money for an abortion. Tomlin is absolutely sterling, and leads my list of potential Best Actress nominees.

Then there’s the transgender section: Eddie Redmayne plays a man who becomes a woman in “The Danish Girl.” Redmayne is absolutely spot on as he makes the transition with his loyal– and unusually understanding– wife (Alicia Vikander) by his side. Tom Hooper’s movie is exquisite.

I wouldn’t be surprised at all if five of the eight or nine Best Picture nominees include “Spotlight,” “The Danish Girl,” “Carol,” “Grandma,” and “Spotlight.” Whoever hosts the Academy Awards is going to have a lot of fun summarizing these films. Really, only Billy Crystal could pull off a proper parody of “The Danish Girl.”

Other potential Best Picture nominees will be less cutting edge sexually: “Bridge of Spies” from Steven Spielberg, “Steve Jobs” from Danny Boyle, Robert Zemeckis’s “The Walk,” Ridley Scott’s “The Martian,” and Quentin Tarantino’s “Hateful Eight” don’t involve gender issues.

Cate Blanchett, Rooney Mara Make Todd Haynes’ “Carol” An Oscar Contender

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So I finally got to see “Carol” this afternoon. Todd Haynes’s period romance starring Cate Blanchett and Rooney Mara, with excellent work by Sarah Paulson and Kyle Chandler, makes this love story a certain Oscar contender in all the main categories.

Of course, Ed Lachman, cinematographer extraordinaire, is at the top of the list. He’s out-Madded “Mad Men” from its first season, drawing in elements of his own “Far from Heaven.”

Unlike “Far from Heaven,” Haynes’s last big film, this isn’t an ode to Douglas Sirk or anyone else. It’s based on a novel by Patricia Highsmith called “The Price of Salt.” Like the book, “Carol” takes place in 1952, as Eisenhower ascends as president and New York is still a small town. The next thing these filmmakers should tackle is a Dawn Powell story, like “The Locusts Have No King.” They could do it.

Blanchett is Carol, the wealthy, older beautiful woman divorcing her husband and fighting for custody of her 4 year old daughter. Rooney is Therese, the shopgirl Carol falls for. Yes, kids, this is a movie about lesbians during a time when this could not be discussed. And so there are no lawsuits or appearances on talk shows. Carol’s path is cluttered by silences and nuance as she tries to live her life and keep her daughter. The movie is made with precision and beauty.

We know that Cate Blanchett can do anything, and she does it here once again. This is “Jasmine” from “Blue Jasmine” minus the crazy. Rooney Mara– we mostly know her from the thriller (“The Girl with the Dragon Tattoo”). Therese is her breakout role; if she wants to be Audrey Hepburn now, she can. Guys will see this movie just to see her.

Blanchett heads to Lead actress at the Oscars, Mara to supporting. Each have great chances of winning. Haynes’s direction is full of restraint until it’s time to pull the trigger, and when he does, it’s a cool shot. This is very fine filmmaking.

PS Great soundtrack. Eddie Fisher’s name is even invoked!

Jackie Collins Kept Breast Cancer a Secret from Actress Sister Joan for 7 Years

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Joan Collins has posted a beautiful and tearful memoir of her sister, Jackie on her website at www.joancollins.com.
I’m reprinting it here, but if you go to the website there are some lovely photographs.
The big shock is that Jackie kept her breast cancer a secret from Joan for seven years– even though they saw each other all the time. She kept a secret from everyone except her daughters. Jackie’s passing is still a shock. She was really beloved.
So here’s Joan’s essay. At the bottom we can make donations in Jackie’s memory. A fine idea.
Again condolences to Joan and her family.
by Joan Collins

The telephone call I never dreamed I would receive came in at 5pm. It was a gloomy thundery afternoon in the south of France and Percy and I were bunkering down in our bedroom to decide which movie we would watch after dinner.

“Hi Sis it’s me!” she said. I was delighted to hear Jackie’s familiar voice. She had told me weeks earlier that she was coming to the UK and we were already planning a host of activities, so I assumed this was one more opportunity to share the excitement of her arrival.

“Isn’t it a bit early for you?” I asked her.

“It’s 8 o’clock – I’ve been up for a while. Are you with Percy? I need to talk to you both about something. It’s rather bad news I’m afraid.”

“What is it?” I asked fearfully.

“I’ve got stage four breast cancer,” her voice broke as she said it, then I burst into tears. “I’ve known for seven years,” she said bravely.

“Why didn’t you tell me?” I cried as Percy held me tight.

“I couldn’t – I didn’t want to upset you. I know all the problems you’ve been having in the past few years – I didn’t want to burden you with mine.”

My voice was so choked with tears I could hardly speak. She explained that since we spent so much time in Europe while she was in LA, she knew I would be worried but there would be nothing I could do.

That was typical of my sister. She always put other people, particularly family, ahead of herself. After we hung up we called two of her daughters, Tiffany and Rory, and they verified that they had been taking their mother for treatments for over five years. “But we all expect her to continue for several years since she is so vital and energetic,” said Tiffany, “And she’s just done a publicity tour of the US for her new book.”

She was coming to the UK ostensibly to publicize launch of her latest novel. However now in retrospect I realize it was to say goodbye to her third daughter Tracy, her two granddaughters, her brother Bill and his wife Hazel and some other close friends, all of who lived in London.

When Jackie told us about her cancer I understood why she had lost weight. I had noticed her gradual weight loss two years ago when we went to LA for the winter months and last year asked her about it. She laughed, saying she was no longer eating desserts and was on a diet. I thought the weight loss suited Jackie so I gave it no further thought. Certainly in her ten-page spread in Hello magazine recently she looked fit and fabulous and, as Wallis Simpson always said, “You can never be too rich or too thin”.

The day she arrived in London, we had had tea at her hotel. Even after an overnight transatlantic trip that would fell the stoutest tree, she was bustling about taking pictures and chatting away with me as we always did.

Two nights before she returned to America, Jackie threw a fabulous birthday dinner party for her daughter Tracy upstairs in the private room of a popular west end restaurant. She was her usual sparkling, funny, energetic self, taking masses of pictures of all of us on her iPhone and her camera and looking, as usual, impeccably groomed and glamorous. She seemed full of joie de vivre as we chatted happily about our Christmas plans in Los Angeles and going to Hawaii with her children and grandchildren after that.

I’ve never had a better girlfriend than Jackie, with whom I shared so much in common and could enjoy talking and gossiping away about everything when we were together, going to our favourite restaurants or to the movies or on long distance phone calls.

She was omniscient – she knew everything that was going on in popular culture; she watched practically every television show (on the four DVR sets she kept going continuously); she knew about every pop band, rocker, rapper and singer and where they were in the charts; and of course she was extremely knowledgeable about every new novel and biography on or off the bestseller lists.

Jackie really enjoyed her life so much and lived it to the hilt, and when we were together, even if we hadn’t seen each other for a few months, we were thick as thieves.

She absolutely adored Percy and often teased him and me about him being “number 5” and doing so much for my children. When she asked him about booking some airline tickets for her and her family to come to London, she laughingly apologized and said “now I’m taking advantage of you like Joan does.”

Soon after we were married Percy became part of her inner circle. Jackie was very particular and private about who was in that ring. She had masses of people who loved and admired her and enjoyed a vast social sphere but other than family and some close friends she was extremely selective about whom she chose to share her innermost thoughts with.

It was not in Jackie’s nature to dislike anyone but when she did – watch out! She hated my fourth husband for she could see through him for what he was – a user, a psychopath and a total philanderer. She begged me not to marry him but unfortunately I went ahead – one of the worst decisions of my life.

Jackie and I didn’t see each other so much during that period. She didn’t want to see “the swede” and I was working fifteen hours a day on Dynasty every day. Her relief at the end of that short-lived marriage was palpable – we celebrated wildly with a big party at my house and she and David Niven Jr. led the chorus of approval handing out t-shirts with slogans such as “Holm-less” and “Holm is not where the heart is”.

Unfortunately, a couple of years later another relationship I had came between us and, having moved back to Europe, we couldn’t be as close as we wanted to be. Sisters will have their estrangements but happily when that relationship ended and I moved back to LA Jackie and I resumed our devotion to each other.

This devotion became most apparent when she was a very young teenager and I was a seventeen year-old starlet under contract to the Rank organization. For two years Jackie painstakingly cut out and pasted every single press clipping about me into a big blue scrapbook, recording the name and date of the publication in her flowing handwriting.

When I went to Hollywood in the fifties she wrote to me, and I to her, at least once a week – her letters full of news, fun and gossip. Later, during what we refer to as the “Tramp” years, when her husband Oscar Lerman owned and ran the nightclub with Johnny Gold, her letters about the hijinks in the club became quite raunchy and they really made me laugh.

By then she was already writing her novels and her first one, The World is Full of Married Men, was a huge bestseller. Even though some criticized the sexual content of the book it didn’t bother her. “That’s the way it is with so many husbands,” she’d say wisely, “They can’t keep it zipped.” Jackie in fact had started writing when she was only ten years old, and I would illustrate her first stories because I wanted to be a dress designer. I wonder where they are now.

Jackie wrote the character of Fontaine Kahled in her novel The Stud, with me in mind. When we made the movie it was a great success for both of us, even though the critics and moralists mocked it, calling it “soft porn” and “disgusting”.Jackie wrote about what she knew, particularly the Hollywood stories of divorce, betrayal and scandal. She despised men who were unfaithful to their wives as she had an extremely strong moral ethic. “I had my wild child phase when I was a teenager up until I got married.”

Recently, when we were looking through one of her many photo albums, I kept asking who the several different good-looking guys she was with on various beaches, “My boyfriend” she replied to every one of them.

“Wow, you had a lot of them!” I exclaimed.

“I know,” she twinkled.

I remember fighting men off Jackie when she was only fourteen. Once we were followed from the beach all the through the backstreets of Cannes by an extremely famous English movie star who was trying to pick her up. And when she came to Hollywood I gave her the keys to my car and my apartment, told her where she could reach me and jetted off to film in Barbados for three months. By all accounts she had a ball in LA and my parents, in an effort to reform her, had chosen the worst possible antidote.

I think that her iconic character Lucky Santangelo, the star of many of her books, was Jackie’s alter ego. Brave, ballsy and beautiful, she suffered no fools, took no prisoners and lived her life exactly as she wanted to. Lucky believed, as did Jackie, that “girls can do anything” and Jackie instilled that credo in her three remarkable daughters.

My sister and I never employed a stylist nor did we have makeup artists, preferring to do our faces ourselves. She had her signature look and I had mine, and what we wore and how we looked epitomized who we were. Neither of us followed fashion slavishly but wore what suited us and phlegmatically, and with British thrift, we both agreed it was ludicrous to spend thousands of pounds employing some young chick to go shopping for us. Besides why should we give over the pleasure of a good shopping expedition to someone else? Jackie truly enjoyed shopping for jewelry. She wore them all the time – gorgeous pendants, necklaces and earrings that she often designed herself.

We both adored the movies since we were children and went as often as possible, and our favourite outing for the last ten years was to get up early on Saturday or Sunday and head off to see the latest movie that we agreed was worthy of a trip to the cinema – it was uncanny how we agreed on most of the films. We were so fascinated by show business as children that we wrote off for signed pictures of actors and actresses. Jackie had “fan crushes” on Tony Curtis and Steve Cochran – dark brooding “bad boy” types on whom she later based several of the characters in her novels, including Gino Santangelo.

Her second husband Oscar was the man that everybody loved. He was charming, urbane and unerringly witty, not to mention a great dresser! After Oscar died in 1992, she started a relationship with darkly handsome Frank Calcagnini. They were extremely compatible and happy together until he too sadly died in 1996.

I used to nag my sister about getting mammograms, as our darling mother Elsa had succumbed to the disease in 1962 when she was only in her the early fifties. I was religious about doing mammograms regularly. Jackie however refused – she didn’t even like going to doctors. Like my brother and I she was needle-phobic.

As Jackie said in her last interview she did things her way. I celebrate the way she lived her life and, as she put it, the pleasure she gave to me and to so many people. In her inimitable way she had more concern for others than for herself to the end, and anyone who knew Jackie well will tell you how courageous and selfless she was. This, of course, was one of the reasons for her great success in both her personal and professional life and why she was loved and admired by so many. I therefore choose to remember her as the strong, independent, loyal, caring, maternal, fun-loving, witty, joyful woman she was.

I don’t think I will ever recover from the sadness of losing my beautiful baby sister. Someone once said, “The reality is that you don’t ‘get over’ the loss of a loved one, you learn to live with it.” I think Jackie would have liked us to do more than that. As she requested, I will not mourn her death, but rather celebrate her life. She will live on in the wonderful memories I have of her from our childhood and particularly from the last fifteen years, during which we were closer than ever. I feel her spirit, I hear her wonderful laugh and I see her all the time in the hundreds of photos of her that are sprinkled around my home.

She wasn’t just a star – to me she was an entire galaxy.

 

Review: Joseph Gordon Levitt Walks a Tight Wire to the Oscars in “The Walk”

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Robert Zemeckis’ 3-D magical and emotional spectacle, “The Walk,” starring Joseph Gordon-Levitt as high wire artist Philippe Petit, who walked more than 100 stories about the ground between the two towers of the World Trade Center on August 7, 1974, was a perfect choice to kick off the 53d New York Film Festival Saturday evening at Alice Tully Hall.

Actors Gordon-Levitt, Charlotte Le Bon, Cesar Domboy, Clement Sibony, James Badge Dale, Ben Schwartz and Steve Valentine, who Zemeckis called “his accomplices in the coup” as Petit called the people who helped him his historical feat, joined the director on stage during introductory remarks before the film’s first screening at 6 p.m.

“This has been a passion project for me for many, many years and everybody who’s on the stage stepped up to bring their passion to it and you can see on the screen when you finally see the film,” said Zemeckis from the podium. “I’m so proud to be able to be here tonight and present this extremely unique New York story here at the opening of the New York Film Festival.”

Mr. Zemeckis, the director behind technological marvels like “Flight” and “Back to the Future,” has magically recreated the towers and dares you to look down from some 100 stores above the ground. “I know I’ll never see anything like that again in my life,” says the cop to Petit before arresting him for his illegal daredevil stunt when Petit finally comes off the wire after some six crossing over 45 minutes. “The Walk” brings all this magically back to us from a time before people had cellphones to videotape and record everything.

Most of all “The Walk” is about art and optimism and the perseverance and resilience of New Yorkers. The cinematic re-creation of the towers is emotionally heart wrenching, but “The Walk” is ultimately an uplifting love letter to New York. During the final scene on the wire, Petit as portrayed by Gordon-Levitt, kneels on the wire and murmurs, “I salute first the wire, then the Towers, and then I salute the great city of New York.”

Earlier in the day at the press conference and screening of the film at the IMAX Theater at the AMC in Lincoln Square, Kent Jones, the moderator and the director of programming for the New York Film, asked the cast members and director if wire walking could be called an occupation or an art form?”

“I don’t know if there’s a real answer to that,” said Gordon- Levitt. “You could argue any of those categories but in my experience if you focus too much on labeling things that you probably aren’t paying attention to what’s really good about it.”

During the press conference the actors and director were perched on a little bridge that was suspended some distance from the floor. Ben Schwartz chimed in during the press conference about their location, “I’d like to say right behind us there’s like a 50 foot drop, which is hilarious for this type of movie where we’re on top of towers all the time. This is the most petrified I’ve been in my entire life!” while journalists laughed.

Later on a journalist asked about the scene where the cop tells Petit how awed he is by his feats. Could Petit’s walk in defiance of the law and very risky can still remain effective as a subversive piece of art when the cop patted him on the back? To the question of whether wire walking is an art form, Zemeckis replied, “I think the line that’s in the movie sort of sums up how I feel about it, which is ‘that all artists are anarchists in some way,’ some more extreme than others. It’s something that I think artists are supposed to do. They’re supposed to present you with a different angle on everything, and I certainly think it is and it’s as much an art form as poetry in my opinion.”

Gordon-Levitt responded to the part of the question about whether art can still be subversive if the cop patted Petit on the back. “And my answer is yes,” said the actor. “In fact, ideally what an artist can do is build a bridge and bring someone over and show them something and have them appreciate something they might not have appreciated before as opposed to go so far as to just keep the sides split, in which case you’re sort of just preaching to the choir so for me that’s the greatest success in subversive art is when someone who might not have appreciated (something) at first is won over.”

On the red carpet Christopher Browne, who co-wrote “The Walk” with Zemeckis and is now working on a science-fiction film with the director, told me the movie was very much a love story to New York. “I think because Philip Pettit was so obsessed and loved New York so much he couldn’t help but bring that out. We knew if we wanted to make this movie we wanted people to embrace the positive aspects of the movie,” he said. “It’s not about the tragedy of the towers. It’s about the life of the towers. They were living breathing entities. And someone like Philippe, from a totally different country, saw the beauty in them and was willing to risk his life to connect them with his wire.”

Browne told me he consulted with Petit over the script and that the action of the movie is very close to how it occurred in real life. “The only factual difference is he crossed eight times and in the movie he crosses six times. He was up there for 45 minutes. We couldn’t put the whole thing (up there). But otherwise his thoughts, the poses he does, the almost ballet moves he does were absolutely based on Philippe’s detailed notes and his book.”

The co-writer added that Gordon-Levitt spent eight days with Petit to learn how to juggle, unicycle and walk on the wire. “He also learned little tricks that I don’t even know, about what to eat on the morning of a walk and things like that.”

On the red carpet Gordon-Levitt, who had said earlier in the day that he visited the World Trade Center in 2001 in the summer before he began his studies at Columbia, that he recalled being on the towers “felt more like being in the sky than it felt like being in a tall building.”

As for the emotional import of the film, Gordon-Levitt, who will portray another real-life character in the Oliver Stone film “Snowden,” told me, “The movie is very much a love letter to these two towers and of course we all think of the tragedy of the World Trade Center Towers but with any tragic loss it’s important to remember the good times as well and celebrate that and have that catharsis, that positivity.”

As for the real-life man of “The Walk,” Philippe Petit told me he was very happy with the film and trained Gordon-Levitt how to wire walk. But as for whether the actor was ready for the real thing, anything as ambitious as life defying trips across high buildings, Petit told me, “Certainly not, but he did it for the movie.”

The glamorous after party for “The Walk” took place at Tavern of the Green and the cast members and director partied until nearly 2 a.m.

photo c2015 Showbiz411 by Paula Schwartz

Pope Francis: Beatific Smile While Aretha Franklin Sings “Amazing Grace” in Philly

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Want to see a picture of a happy face? That would be Pope Francis listening to Aretha Franklin singing “Amazing Grace” last night in Philadelphia. The Pope sat forward in his chair and radiated a beatific smile while Aretha dug deep and performed her own version of the famed gospel song, giving it new soul and warmth. It was magic moment.

pope watching arethaA second magical moment came at the end of the show, after the Pope left, when Franklin was performing “Nessum Dorma” with the Philadelphia Symphony Orchestra. Unfortunately, the concert organizers were so dis-organized that the Pope not only missed this, but he also missed a little boy who’d been singing in the choir run up and throw his arms around Aretha while she performed Puccini.

“I thought, first, Who is this? And then, oh my. he really was moved,” Aretha told me of the little boy at the dinner thrown for her later at the Rittenhouse Hotel. Reverend Jesse Jackson and author Michael Dyson were among the guests, as well as family members, band members and Aretha’s pianist Richard Gibbs.

Franklin was disappointed that the concert organizers didn’t put her numbers back to back. But she was still overcome at meeting the Pope. She gave him a set of sermons by her late father, the famous Reverend C.L. Franklin. Rev. Jackson gave Pope Francis a book about Martin Luther King. As Aretha and her father were frequent hosts of Dr. King, and marched with him, she and Jackson were mightily impressed by Pope Francis including Dr. King in his speeches.

At dinner, Jesse Jackson– whose mother passed away last week at age 93– gave a stirring tribute to Aretha as a crusader as well as a singer. He recalled that at the height of the civil rights movement it was “hard to raise money” for Dr. King. “Aretha and Harry Belafonte went on an 11 city tour, for free, to get us funds. It was at the height of her popularity–“I Never Loved a Man” was on the top of the charts–but she did it.”

Aretha recalled how Dr. King used to come down for breakfast. Her father’s cook couldn’t pronounce the word ‘sausage.’ But when she mispronounced it, Dr. King would simply say that’s what he wanted, so as not to embarrass her. “He was that way,” she said.

What a night in Philadelphia! For one thing, the city was totally shut down, no cabs, no transportation, chaos for drivers. The people down there are very nice, but they over-reacted to the Pope’s visit. Nevertheless, I have never seen friendlier or more polite National Guardsmen or police. It was like they all took happy pills.

I ran into Mark Wahlberg at the Rittenhouse. He was dressed in jeans and a T shirt, but changed backstage into a suit. He was with his famous manager, Eric Weissman, the real “E.” On stage, Wahlberg make a joke about the movie “Ted” and invoked “Go Eagles.” But he was a patient emcee considering he had little stage direction as many people came and went. Among them: The Fray, Andrea Bocelli, choirs, Jackie Evancho and comedian Jim Gaffigan. There were also a dozen or speakers, mostly in foreign languages, delivering messages to the Pope. During his breaks, I assure you, Wahlberg was studying notes and a run down. This was no easy task.

Wahlberg, a seemingly happy married father, was glowing. He said, “I attribute all of my success to my Christian faith.” And he meant it.

Pope Francis was simply disarming and incredibly charismatic. He knew his audience– a group called the World Family Conference. He said, “The family is like a factory of hope.” He talked about grandparents, which made everyone well up with tears.

At the end, as if he were in a small church somewhere, he asked, “What time is mass tomorrow?” He looked tired.

As we left the backstage area of the Oval, the most beautiful fireworks suddenly launched behind the Museum of Fine Arts. All of us, Aretha, all the performers, looked up and marveled at the colors. The lights reflected on the glass skin of an office building across the way. A perfect ending.

Both pictures c2015 Showbiz411. All rights reserved.

Box Office: Cannibal Horror Movie Opens to Negative Reviews, $3.5 Mil Opening Weekend

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UPDATE Weekend total was $3.5 million. Not a great showing. But “Green Inferno” is headed to a video life a cult repulser.

EARLIER Very quietly, “The Green Inferno” is here. Eli Roth’s ode to cannibal horror made $1.5 million on Friday night, averaging $955 per theater. The extremely graphic (reportedly, because you’re not getting me in there) has a 38 on Rotten Tomatoes, which is pretty bad but still seems generous. Most regular movie goers will never know about it or see it. It’s strictly genre, for people with very strong stomachs and inability to form short term memory.

Was there a premiere for this? It’s one time I’m glad my invite got lost in the mail. And no, the Rascals’ “I Ain’t Gonna Eat Out My Heart Anymore” is not on the soundtrack.

Meanwhile, Sony’s animated “Hotel Transylvania 2” did $13.2 million last night. It could set a record for September openings. Adam Sandler is one of the voices. Not sure if this counts as a “comeback.” But he does do great voices.

Robert DeNiro and Anne Hathaway in “The Intern” made $6.2 million. They’ll have a $17 million weekend. Then off to video and other worlds. Still, for a light comedy, mid September, not bad.

Going to the Global Citizen Concert in Central Park Saturday? Ask Them About $891,864 in Salaries

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Saturday brings another Global Citizen concert to Central Park. This week Global Citizen’s Hugh Evans joined Hugh Jackman on the Colbert show to promote the concert.

What does Global Citizen do? They advocate. They don’t give money to poor people. They get wealthy people together to discuss why there’s poverty.

In 2013, according to the most recent tax filing, Global Poverty spent $891,864 in salaries, $10 million in total expenses, $2 million for the physical production in Central Park.

That’s right– this is not Kumbaya. Big Whitey Productions from Sea Cliff, NY charged Global Citizen $805,000 for labor for the 2013 show.

Only $202,000 of Global Citizen’s expenses were listed for “grants.” Travel cost $300,000. Where are they going, and why aren’t they bringing money, food and supplies to poor people when they get there?

In 2013, Global Citizen paid outside consultants $1.3 million on consulting for fundraising. Listen, for free, I can tell you what to do with $1.3 million– don’t have a concert, take the money, buy food and supplies, go to Syria or half a dozen African countries, or help the homeless in New York and Los Angeles.

Can you waste $8 million on a rock concert that benefits no one except the staff of your charity? Yes. As far as they report, Global Citizen didn’t build any schools or hospitals, fly in medical supplies during emergencies, or bring food to the starving. They just let the world know that poverty exists.

Tomorrow, Joe Biden is supposedly showing up, as is Stephen Colbert and Hugh Jackman. A bunch of people will get airtime and free publicity because they’ve informed us that poverty exists.

Check the numbers. Ask these Global Citizens what they’ve actually done to help poor people. Then go on Kiva.org and give your money to microfinance small businesses in Third World countries and see the money make an actual difference.

Times They Are A-Changin’: Bob Dylan Offering $600 18 CD Set of Bootlegs, Outtakes

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Bob Dylan is not stupid. The poet laureate of rock sees gold in his archives. Now he’s releasing– through Columbia Records– a $600, 18 CD collection of bootlegs and outtakes from his three greatest albums: “Bringing it All Back Home.” “Blonde on Blonde,” and “Highway 61 Revisited.” They’re saying only 5000 copies are available, but if it takes off, who knows?

“The Cutting Edge” will come in all kinds of formats. There’s a 6CD set for $150. There are smaller versions, too, and they come as LPs, CDs, digital downloads. Maybe they even come as 78s.

An entire CD is devoted to 20 different takes of “Like a Rolling Stone,” Dylan’s masterpiece track from 1965.

“Normal” Dylan fans who don’t have a room devoted to him will probably be interested in the 2 CD set. That track list is as follows.

PS There’s an exciting all new edition of DA Pennebaker’s landmark film “Don’t Look Back,” also coming this fall on Blu Ray as part of the Criterion Collection.

DISC 1
1. Love Minus Zero/No Limit – Take 2 (1/13/1965) acoustic
2. I’ll Keep It with Mine – Take 1 (1/13/1965) piano demo
3. Bob Dylan’s 115th Dream – Take 2 (1/13/1965) solo acoustic
4. She Belongs to Me – Take 1 (1/13/1965) solo acoustic
5. Subterranean Homesick Blues – Take 1 (1/14/1965) alternate take
6. Outlaw Blues – Take 2 (1/13/1965) alternate take
7. On the Road Again – Take 4 (1/14/1965) alternate take
8. Farewell, Angelina – Take 1 (1/13/1965) solo acoustic
9. If You Gotta Go, Go Now – Take 2 (1/15/1965) alternate take
10. You Don’t Have to Do That – Take 1 (1/13/1965) solo acoustic
11. California – Take 1 (1/13/1965) solo acoustic
12. Mr. Tambourine Man – Take 3 (1/15/1965) with band, incomplete
13. It Takes a Lot to Laugh, It Takes a Train to Cry – Take 8 (6/15/1965) alternate take
14. Like a Rolling Stone – Take 5 (6/15/1965) rehearsal
15. Like a Rolling Stone – Take 11 (6/16/1965) alternate take
16. Sitting on a Barbed Wire Fence – Take 2 (6/15/1965) unreleased take
17. Medicine Sunday – Take 1 (10/5/1965) early version of Temporary Like Achilles
18. Desolation Row – Take 2 (8/4/1965) piano demo
19. Desolation Row – Take 1 (8/4/1965) alternate take

DISC 2
1. Tombstone Blues – Take 1 (7/29/1965) alternate take
2. Positively 4th Street – Take 5 (7/29/1965) alternate take
3. Can You Please Crawl Out Your Window – Take 1 (7/30/1965) alternate take
4. Just Like Tom Thumb’s Blues – Take 3 (8/2/1965) rehearsal
5. Highway 61 Revisited – Take 3 (8/2/1965) alternate take
6. Queen Jane Approximately – Take 5 (8/2/1965) alternate take
7. Visions of Johanna – Take 5 (11/30/1965) rehearsal
8. She’s Your Lover Now – Take 6 (1/21/1966) rehearsal
9. Lunatic Princess – Take 1 (1/27/1966)
10. Leopard-Skin Pill-Box Hat – Take 8 (2/14/1966) alternate take
11. One of Us Must Know (Sooner or Later) – Take 19 (1/25/1966) alternate take
12. Stuck Inside of Mobile with the Memphis Blues Again – Take 13 (2/17/1966) alternate take
13. Absolutely Sweet Marie – Take 1 (3/7/1966) alternate take
14. Just Like a Woman – Take 4 (3/8/1966) alternate take
15. Pledging My Time – Take 1 (3/8/1966) alternate take
16. I Want You – Take 4 (3/10/1966) alternate take
17. Highway 61 Revisited – Take 7 (8/2/1965) false start