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Lights Up! Harry Styles Books “SNL” November 16th as Host and Musical Guest, Album Likely Day Before

Roger Friedman
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Lights Up! Harry Styles Books “SNL” November 16th as Host and Musical Guest, Album Likely Day Before

Just as I told you a few weeks ago, Harry Styles is about to hit us with his best shot.

Harry was on the cover of Rolling Stone over Labor Day weekend. That was the opening gambit.

Then a couple of weeks ago, he released his “Lights Out” single with no notice. It hasn’t been a big seller, but it was notice that the second album by the One Direction singer was on its way.

Now Harry has booked “Saturday Night Live” for November 16th as guest host and musical guest. The whole show will be about Harry, who we know definitely has acting chops. He’ll sing “Lights Up” and another song from the new album, which I would bet good money is dropping on November 15th, the day before “SNL.”

Sony Music has its hands full this month. Also on the 15th, they’ve got a new Celine Dion album for the leather loafer set. Then they’ve got a potential Adele album or at least a single. At this rate the Adele album may wait til after the new year, maybe for the Grammys, or even April. Why April? There’s a reason, we’ll have wait a little and see.

 

Music News: Kanye West Never Dropped “Jesus is King” Album Last Night, Movie is Out But Not in Any Black Neighborhoods

Roger Friedman
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Music News: Kanye West Never Dropped “Jesus is King” Album Last Night, Movie is Out But Not in Any Black Neighborhoods

 

 

UPDATE (skeptical)


 

Well, well.

Kanye West’s promise to drop (er, release) his new album, “Jesus is King,” last night has not materialized into anything.

“JiK” was supposed to be released a few weeks ago. There was a big ballyhoo, then nada. Then the date was switched to October 25th. Kanye showed a thirty minute movie with the same name on Wednesday in Los Angeles, of gospel singers performing in a art project crater. The album was supposed to follow.

Last night I watched on Twitter while Kanye’s fans had a meltdown. Finally he Tweeted: “To my fans Thank you for being loyal & patient We are specifically fixing mixes on “Everything We Need” “Follow God” & “Water”     We not going to sleep until this album is out!”

That was about 1:30am Pacific time. This is a gospel album, supposedly. “Pet Sounds” didn’t take this long.

Meantime, the short film “Jesus is King” is only playing in IMAX theaters including three in Manhattan. But none of them are in Harlem, where there are a number of gospel churches. It’s the same in Los Angeles, where the movie isn’t playing in black neighborhoods but in Hollywood, Burbank, Woodland Hills, and Universal City. In Chicago, there are no shows in the inner city, and in Detroit, the movie is playing in one theater across from the Henry Ford Museum. (Are there no IMAX theaters in black neighborhoods? That’s pretty bad.)

Tickets for the 35 minute movie are the same price as a regular feature: $12.59, for example, in Skokie, Illinois.

David Byrne’s Joyous “American Utopia” Keeps Making Sense on Broadway As a Hybrid Experimental Musical

Roger Friedman
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David Byrne’s Joyous “American Utopia” Keeps Making Sense on Broadway As a Hybrid Experimental Musical

It wasn’t that long ago that David Byrne, of Talking Heads fame, and Alex Timbers were responsible for the unique landmark musical, “Here Lies Love,” at the Public Theater. It’s still a shame it couldn’t be moved to Broadway or filmed, but the Alex Timbers directed night was historic and memorable.

To make it a little easier on themselves, Byrne and Timbers are back, this time on Broadway, for “David Byrne’s American Utopia.” (Timbers is creative consultant this time, Annie-B Parsons is choreographer and director of musical staging.) This is a hybrid of a Broadway musical, experimental theater, and a rock concert with brilliant choreography and stage setting. I could not have loved it more.

Byrne, you know, is an artist, a genius, let’s face it. The breakthrough music he wrote for Talking Heads between 1977 and 1988 was a substantial meal then. Now it’s a four star event. Those songs– the bulk of this show– were always theatrical. In the early 80s there was always talk of bringing albums like “Remain in Light” and “Fear of Music” to off Broadway.

Starting as a nervous quartet from the Rhode Island School of Design, the quirky foursome had songs like “Psycho Killer” and “Don’t Worry About the Government” that were peppy, catchy, and strange. They were among the early New Wave groups. Seymour Stein signed them to Sire Records, and they were off and running. (I saw them early, early on in Boston, where, like the Cars, Blondie, the Ramones, they overturned pop music.)

In a couple of years, the Heads were performing at Radio City Music Hall with African musicians, stomping through “Life During Wartime” (aka This Ain’t No Disco) and “I Zimbra.” They were magic. I’m looking at their set list from November 2, 1980– 39 years ago– and it’s quite stunning how far ahead Byrne, Tina Weymouth, Chris Frantz, and Jerry Harrison were in front of anyone at that moment.

The “American Utopia” songs aren’t a lot different, and their timelessness is no surprise. Even now, Byrne is like Einstein compared to today’s pop purveyors. He’s experimental and commercial, avant garde and populist all at the same time. The ideas of brain connectivity, of humans meeting humans on equal playing fields, on embracing the strange remain or are even more compelling than ever.

Byrne is joined on a spare gray stage by six percussionists, two guitarists, and two background vocalists. Everyone sings, plays, dances, moves. Timbers, with choreographer Annie-B Parson, has built on Byrne’s past performance history, especially the famous Jonathan Demme-directed “Stop Making Sense,” to create a concise narrative. Byrne, now 67, is no longer that geeky string bean I saw at the Rat in Boston in 1977. A tad fleshier, with a thick mop of gray, he twirls and stomps. His voice, always reedy in  Hank Williams way, enforces lush values. He’s also just self-deprecating enough so that we don’t take any of this too seriously.

Of course, the centerpiece is “Once in a Lifetime,” which grabs a standing ovation among those who know it deserves its own Pulitzer Prize. “This is not my beautiful wife!” Byrne preaches. “This is not my beautiful house! My god, What. Have. I. Done???” The song is like Cheever, Updike, Richard Yates, and Styron all rolled into one. Its flipside, “This Must be the Place,” remains one of rock’s most beautiful, melancholy melodies. Knowing he’s in a Broadway house, where there’s a little intimidation, Byrne advises the audience it’s ok to dance to “Burning Down the House.” Last night everyone was relieved to remove invisible seat belts. The funk was just too persuasive.

I’ll see it again if they let me. Don’t miss this. Make a point of it.

PS I owe so much of my music education from 1977 to WBCN  Boston’s Charles Laquidara. I hear he’s in Hawaii now. I awoke one morning to my radio singing a song about buildings and civil servants. It was Charles playing “Don’t Worry About the Government” on the day it came out. A life changing 18 months later I returned to New York, where no station would play this music. Now it’s nostalgia. Thank you, Charles. That song opens “American Utopia.” I thought of you as I hummed along.

 

Robert Downey Jr to Host Bigger Super-Avengers of Rock for Sting’s Rainforest Show: Springsteen, James Taylor, Annie Lennox, John Mellencamp, Ricky Martin

Roger Friedman
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Robert Downey Jr to Host Bigger Super-Avengers of Rock for Sting’s Rainforest Show: Springsteen, James Taylor, Annie Lennox, John Mellencamp, Ricky Martin

As Tony Stark, Robert Downey, Jr only has to wrangle people like Captain America and the Hulk.

For Sting and Trudie Styler’s 18th Rainforest Foundation concert, Downey will emcee a group that could pulverize the Avengers: Bruce Springsteen, James Taylor, John Mellencamp, Annie Lennox and Dave Stewart of the Eurythmics, plus Shaggy, H.E.R., Ricky Martin, Bob Geldof and MJ Rodriguez. That’s quite a line up.

The show is called “We’ll Be Together,” named for a 1987 Sting hit. The date is December 9th at the Beacon Theater. Tickets for the show will be available beginning at 10 a.m. on Friday, November 1st via Ticketmaster.com and Ticketmaster Charge by Phone. Tickets will also be available at the Madison Square Garden, Radio City Music Hall and Beacon Theatre box office on November 2nd.

This year’s show is on overdrive talent-wise because the Rainforests have been more damaged and threatened than in recent years. Severe fires, unattended by Brazilian president Jair Bolsonaro, brought new attention to the urgency to keep the Rainforests protected. Founded in 1989 by Sting and his wife Trudie Styler, the Rainforest Fund aims to protect the world’s rainforests and defend the human rights of the indigenous peoples who live there. “With the Amazon blighted by fire this summer, and a real and growing awareness of climate change, there has never been a more important or more opportune moment to fight to protect our forests,” Styler said in a statement. “All life on earth depends on their survival.”

Gotham Awards Nominees Include “The Farewell,” “Marriage Story,” “Uncut Gems,” “Waves,” and… “Hustlers”????

Roger Friedman
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Gotham Awards Nominees Include “The Farewell,” “Marriage Story,” “Uncut Gems,” “Waves,” and… “Hustlers”????

And so awards season begins, and it’s appropriately weird. The IFP Gotham Awards nominees include three from A24, one from Netflix, and get this: “Hustlers,” the JLo movie. I am not kidding. Three three from A24 are “Uncut Gems,” “Waves,” and “The Farewell.” Someone get that publicist some champagne and caviar.

“Marriage Story,” which should win, comes from Netflix. “Hustlers,” so much not like those four movies it’s hilarious, is from STX Films and has made $100 million. I thought this was an indie film prize, but hey. It was a fun movie and might bring Jennifer Lopez to Cipriani Wall Street, where she will meet people who are not dressed in sequins for bed.

Among the best actress nominees are Mary Kay Place for “Diane” and Alfre Woodard, for “Clemency.” I love Woodard, but it’s time for Mary Kay Place. That is one great performance. If you haven’t seen “Diane,” directed Kent Jones (now former programmer of a local film festival here), check it out.

So, let the games begin!

Best Feature 

 

The Farewell

Lulu Wang, director; Daniele Melia, Marc Turtletaub, Peter Saraf, Andrew Miano, Chris Weitz, Jane Zheng, Lulu Wang, Anita Gou, producers (A24)

 

Hustlers

Lorene Scafaria, director; Jessica Elbaum, Elaine Goldsmith-Thomas, Jennifer Lopez, Benny Medina, Will Ferrell, Adam McKay, producers (STXfilms)

 

Marriage Story

Noah Baumbach, director; Noah Baumbach, David Heyman, producers (Netflix)

 

Uncut Gems

Josh Safdie, Benny Safdie, directors; Scott Rudin, Eli Bush, Sebastian Bear McClard, producers (A24)

 

Waves

Trey Edward Shults, director; James Wilson, Kevin Turen, Trey Edward Shults, producers (A24)

 

 

Best Documentary

 

American Factory

Steven Bognar, Julia Reichert, directors; Steven Bognar, Julia Reichert, Jeff Reichert, Julie Parker Benello, producers (Netflix) 

 

Apollo 11

Todd Douglas Miller, director; Todd Douglas Miller, Thomas Baxley Petersen, Evan Krauss, producers (NEON and CNN Films)

 

The Edge of Democracy

Petra Costa, director; Petra Costa, Tiago Pavan, Joanna Natasegara, Shane Boris, producers (Netflix) 

 

Midnight Traveler

Hassan Fazili, director; Emelie Mahdavian, Su Kim, producers (Oscilloscope Laboratories)

 

One Child Nation

Nanfu Wang, Jialing Zhang, directors; Nanfu Wang, Jialing Zhang, Christoph Jörg, Julie Goldman, Christopher Clements, Carolyn Hepburn, producers (Amazon Studios) 

 

Bingham Ray Breakthrough Director Award

Laure De Clermont-Tonnerre for The Mustang (Focus Features)

Kent Jones for Diane (IFC Films)

Joe Talbot for The Last Black Man in San Francisco (A24)

Olivia Wilde for Booksmart (United Artists Releasing)

Phillip Youmans for Burning Cane (ARRAY Releasing)

 

Best Screenplay

The Farewell, Lulu Wang (A24)

High Flying Bird, Tarell Alvin McCraney (Netflix)

The Last Black Man in San Francisco, Jimmie Fails, Joe Talbot, Rob Richert (A24)

Marriage Story, Noah Baumbach (Netflix)

Midsommar, Ari Aster (A24) 

 

Best Actor

Willem Dafoe in The Lighthouse (A24)

Adam Driver in Marriage Story (Netflix)

Aldis Hodge in Clemency (NEON)

André Holland in High Flying Bird (Netflix)

Adam Sandler in Uncut Gems (A24)

 

Best Actress

Awkwafina in The Farewell (A24)

Elisabeth Moss in Her Smell (Gunpowder & Sky)

Mary Kay Place in Diane (IFC Films)

Florence Pugh in Midsommar (A24)

Alfre Woodard in Clemency (NEON)

 

 

Breakthrough Actor

Julia Fox in Uncut Gems (A24)

Aisling Franciosi in The Nightingale (IFC Films)

Chris Galust in Give Me Liberty (Music Box Films)

Noah Jupe in Honey Boy (Amazon Studios)

Jonathan Majors in The Last Black Man in San Francisco (A24)

Taylor Russell in Waves (A24) 

 

 

Breakthrough Series – Long Format (over 40 minutes)

 

Chernobyl, Craig Mazin, creator; Craig Mazin, Carolyn Strauss, Jane Featherstone, executive producers (HBO)

 

David Makes Man, Tarell Alvin McCraney, creator; Mike Kelley, Melissa Loy, Tarell Alvin McCraney, Denitria Harris-Lawrence, Michael B. Jordan, Oprah Winfrey, executive producers (OWN: Oprah Winfrey Network)

 

My Brilliant Friend, Saverio Costanzo, creator; Domenico Procacci, Mario Gianani, Guido De Laurentiis, Elena Recchia, Jennifer Schuur, Paolo Sorrentino, executive producers (HBO)

 

Unbelievable, Susannah Grant, Sarah Timberman, Carl Beverly, Lisa Cholodenko, Ayelet Waldman & Michael Chabon, Katie Couric, Richard Tofel, Neil Barsky, Robyn Semien, Marie, executive producers (Netflix)

 

When They See Us, Ava DuVernay, creator; Jeff Skoll, Jonathan King, Jane Rosenthal, Robert De Niro, Berry Welsh, Oprah Winfrey, Ava DuVernay, executive producers (Netflix)

 

 

Breakthrough Series – Short Format (under 40 minutes)

 

PEN15, Maya Erskine, Anna Konkle, Sam Zvibleman, creators; Anna Konkle, Sam Zvibleman, Debbie Liebling, Gabe Liedman, Marc Provissiero, Brooke Pobjoy, Andy Samberg, Jorma Taccone, Akiva Schaffer, Becky Sloviter, Shelley Zimmerman, Brin Lukens, Jordan Levin, executive producers (Hulu)

 

Ramy, Ramy Youssef, Ari Katcher, Ryan Welch, creators; Ramy Youssef, Jerrod Carmichael, Ravi Nandan, Bridget Bedard, Ari Katcher, Ryan Welch, executive producers (Hulu)

 

Russian Doll, Natasha Lyonne, Leslye Headland, Amy Poehler, creators; Natasha Lyonne, Leslye Headland, Amy Poehler, Dave Becky, Tony Hernandez, Lilly Burns, Allison Silverman, executive producers (Netflix)

 

Tuca & Bertie, Lisa Hanawalt, creator; Lisa Hanawalt, Raphael Bob-Waksberg, Noel Bright, Steven A. Cohen, Tiffany Haddish, Ali Wong, executive producers (Netflix)

 

Undone, Kate Purdy, Raphael Bob-Waksberg, creators; Kate Purdy, Raphael Bob-Waksberg, Noel Bright, Steven A. Cohen, Tommy Pallotta, executive producers (Amazon Prime Video)

 

 

Twenty-six writers, critics and programmers participated in the nomination process. The 

Nominating Committees for the 2019 IFP Gotham Awards were:

 

Nominating Committee for Best Feature, Best Screenplay, and Breakthrough Director:

Justin Chang, Film Critic, Los Angeles Times

Ann Hornaday, Chief Film Critic, The Washington Post

Eric Kohn, Executive Editor & Chief Critic, IndieWire

Joshua Rothkopf, Global Deputy Film Editor, Time Out Media

Alison Willmore, Film Critic, Vulture

 

Nominating Committee for Best Documentary:

Chris Boeckmann, Director of Programming, True/False Film Fest

Ben Fowlie, Executive Director, Points North Institute; Founder, Camden International Film Festival 

Cynthia Fuchs, Contributing Editor, PopMatters; Director Film & Media Studies, George Mason University

Tom Hall, Executive Director, Montclair Film

Caroline Libresco, Curator, Producer, and Strategist

 

Nominating Committee for Best Actor and Best Actress:

David Ehrlich, Senior Film Critic, Indiewire

David Fear, Senior Editor/Critic, Rolling Stone

Tim Grierson, Senior U.S. Critic, Screen Daily; Chief Film Critic, Paste Magazine

Jessica Kiang, Film Critic, Variety, The Playlist, Sight & Sound

Alissa Wilkinson, Film Critic, Vox 

 

Nominating Committee for Breakthrough Actor:

Kate Erbland, Deputy Editor, Film, IndieWire

Jon Frosch, Reviews Editor, The Hollywood Reporter

Odie Henderson, Reviewer, RogerEbert.com

Tomris Laffly, Film Critic, Time Out New York, RogerEbert.com, Variety

David Sims, Staff Writer, Culture, The Atlantic

 

Nominating Committee for Breakthrough Series 

Judy Berman, TV Critic, TIME

Jen Chaney, TV Critic, Vulture

Daniel Fienberg, Chief Television Critic, The Hollywood Reporter 

Caroline Framke, TV Critic, Variety

Alan Sepinwall, Chief TV Critic, Rolling Stone

Brian Tallerico, Editor, RogerEbert.com

 

“Jojo Rabbit” Box Office Struggling as Word of Mouth Spreads, New Yorker Calls it “The world’s unfunniest comedy made in pursuit of success”

Roger Friedman
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“Jojo Rabbit” Box Office Struggling as Word of Mouth Spreads, New Yorker Calls it “The world’s unfunniest comedy made in pursuit of success”

“Jojo Rabbit” is headed for the dust bin of movie history if early box office numbers are any indication.

Over the last four days, the extremely wrong “satire about the Nazis and Hitler” has lost audience in the five theaters that are saddled with it.

On Tuesday (yesterday) “Jojo Rabbit” was the only new movie to lose audience from the previous day. Monday and Tuesday, especially, are big movie nights for adults. On Tuesday, when everything else was up with big numbers (Joker up 39%, even Gemini Man was up 62%) “Jojo” was down by 1%. By contrast, “The Lighthouse,” with Willem Dafoe and Robert Pattinson– in black and white, grim, art house, in three more theaters–was up by 13%.

That no one who sees “Jojo Rabbit” would recommend it is not a surprise. But my guess is those who do see it tell their friends to forget it. Whatever director Taika Waititi had in mind went very wrong. To any Jewish audience, this movie is anti-Semitic. I said that at the Toronto Film Festival, and I’ll stick with it. No one wants to sit through an hour or more of “Jews are bad” (and I’m putting this mildly) and then get the Anne Frank story.

On top of that, sensible, serious reviewers are weighing in. Richard Brody says in The New Yorker that “Jojo Rabbit” is “the world’s unfunniest comedy made in pursuit of success.”

It’s not just Waititi misses the mark on satire, or completely misunderstood “The Producers.” At a time when hate crimes are up, anti-Semitic attacks have increased, and there is no guidance from our leaders– particularly Donald Trump — in denouncing these attacks, “Jojo Rabbit” is a recipe for trouble. I can’t imagine audiences enjoying its message. As it is, there were walkouts at the Hamptons Film Festival. And, now from the look of things, there won’t be walk-ins.

Star Wars: Rise of Skywalker Will Include At Least One Surprise Return with Hayden Christensen Reprising Anakin (aka Darth Vader), Harrison Ford Likely, Too

Roger Friedman
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Star Wars: Rise of Skywalker Will Include At Least One Surprise Return with Hayden Christensen Reprising Anakin (aka Darth Vader), Harrison Ford Likely, Too

EXCLUSIVE Hayden Christensen is definitely redux in “Star Wars: The Rise of Skywalker.” I am told this is confirmed, Anakin Skywalker, who became Darth Vader, is the grandfather of evil Kylo Ren (Adam Driver). The word is he will appear as a force ghost, just as Yoda returned in “The Last Jedi.” Christensen is said to have filmed his scenes last year.

There were rumors of Anakin’s return in September and even last April. But I’m told it’s solid, Christensen is back, and that his appearance will give a jolt to his dormant career. He’s mostly been in D list movies the last few years. He’s always been kind of a wooden actor, although I liked him as Bob Dylan in “Factory Girl.”

Anakin appeared in “Attack of the Clones” and “Return of the Sith” aka Episodes 2 and 3 of the George Lucas prequels. Why bring him back? I’m told that JJ Abrams will slavishly wrap up the 42 years of “Star Wars” by dotting every i and crossing every t. (Please god that doesn’t mean Jar Jar Binks, however.) Anakin will tie together all the “Star Wars” movies and Abrams makes “Rise” his “Gotterdammerung.” (See Wagner.)

There is also strong possibility we’ll see Harrison Ford as Han Solo one last time. Remember, I told you this. Knowing JJ, there’s quite possibly a final shot of Han, Luke, and Leia to make the audience burst into tears. So stand by.

 

Paul McCartney “Looking for Changes,” Issues Animated Video for 1993 Protest Song Against Animal Testing, for PETA

Roger Friedman
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Paul McCartney “Looking for Changes,” Issues Animated Video for 1993 Protest Song Against Animal Testing, for PETA

Paul McCartney has always been an avowed animal rights activist. His second album was called Ram, and he was never sheepish about his devotion to protecting four legged friends. Now he’s issued a video for a 1993 protest song (it’s very good — he can write catchy songs, did you know?) called “Looking For Changes.” McCartney did this for PETA, everyone should start singing along and getting with the program. (Personally, I never tested my cats, they always failed!) Good work, Paul!

Lyrics

I saw a cat with a machine in his brain
The man who fed him said
He didn’t feel any pain
I’d like to see that man take out that machine
And stick it in his own brain
You know what I mean

I saw a rabbit with its eyes full of tears
The lab that owned her had
Been doing it for years
Why don’t we make them pay for every last eye
That couldn’t cry its own tears
Do you know what I mean

When I tell you that we’ll all be
Looking for changes
Changes in the way we treat our fellow creatures
And we will learn how to grow

Well I tell you that we’ll all be
Looking for changes
Changes in the way we treat our fellow creatures
And we will learn how to grow,
When we’re looking for changes

I saw a monkey that was learning to choke
A guy beside him gave him cigarettes to smoke
And every time that monkey started to cough
The bastard laughed his head off
Do you know what I mean

When I tell you that we’ll all be
Looking for changes
Changes in the way we treat our fellow creatures
And we will learn how to grow

When we’re looking for changes
We’re looking for changes
We’re looking for changes
We’re looking for changes in the way we are

The Joker, aka Arthur Fleck, aka Joaquin Phoenix Wasn’t the First to Immortalize Grand Concourse Steps: That was Rhoda

Roger Friedman
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The Joker, aka Arthur Fleck, aka Joaquin Phoenix Wasn’t the First to Immortalize Grand Concourse Steps: That was Rhoda

Suddenly, the Grand Concourse is back in fashion. This is thanks to “Joker,” and the scene in which Arthur Fleck aka Joaquin Phoenix, dances jubilantly down the stairs on Shakespeare Avenue in the Bronx.

But you know, everything old is new again. Arthur Fleck wasn’t the first screen character to immortalize the steps on the Grand Concourse. Rhoda Morgenstern did it first, on October 28, 1974.

Rhoda, aka Valerie Harper, ran UP, not down, the big double stairs on the Concourse when Phyllis (Cloris Lindstrom) failed to pick her up for her wedding. Rhoda’s Wedding was as big a hit on TV as Joker is now in the movies. 52 million people watched that show, half the viewing audience for the night.

Remember? It’s a lot easier to go down then to come up those stairs, especially in a wedding gown and heels. Alas, Rhoda’s marriage to Joe was a disaster, and they divorced. But the episode remains one of the funniest and cleverest of all time. (And “Mary Tyler Moore” creator Jim Brooks rides the subway with Rhoda when she can’t find a cab.)

Rhoda’s Wedding

Carly Simon Spends 3 Hours Signing “Jackie” Books for Fans, Drops Newly Mixed Single Also Named “Touched by the Sun”

Roger Friedman
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Carly Simon Spends 3 Hours Signing “Jackie” Books for Fans, Drops Newly Mixed Single Also Named “Touched by the Sun”

Barnes & Noble in Union Square doesn’t often get bona fide rock stars to sign books for fans. But they did Tuesday night, despite raw weather, a cold steady rain, and the World Series starting on TV.

The rock star was Carly Simon, who filled the 4th floor stage area of B&N with appreciative fans who waited 30 minutes past the scheduled time of 7pm to see the singer of “You’re So Vain” and dozens of other hits. (Carly is still not in the Rock and Roll Hall of Fame, which is nuts.)

They got to see a short Q&A between Carly and moderator Bill Goldstein of the New York Times Book Review online. Simon was decked out in a pants suit covered by a snazzy sparkly scarf. She wore very hip sunglasses she’d purchased at Barneys earlier in the day along with a gold watch she gifted herself. (They don’t have such meta-department stores on Martha’s Vineyard, you know.)

The book is called “Touched by the Sun: My Friendship with Jackie,” and it’s already number 6 on amazon.com best seller list after a few hours. It’s a touching and somewhat revealing look at the most famous and private first lady in the last years of her life.

The title of the book is taken from a song Carly wrote for Jackie in the early 90s, and appeared on a couple of her albums. To commemorate the occasion, Simon asked her long time producer/mixer/engineer Frank Filipetti to remix the track from her “Live at Grand Central” concert. They released the new version today. “Live at Grand Central” was Jackie’s idea, Carly said. Onassis was a huge reason Grand Central Station was restored in the 1980s.

Carly played the show on April 2, 1995, almost a year after Onassis died. The concert aired on Lifetime, was issued on VHS, and has since disappeared. But soon the whole album will be released in remixed form on CD, DVD, and for streaming. Watch this space.

 

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