Gorgeous!

Idina Menzel, the talented actress/singer/diva, who was so wonderful in the Broadway production of Wicked (and won the Tony for her performance) is releasing a new album in early '08 called I Stand.  But Idina is providing a sneak preview to her album on iTunes with the release of a new digital EP featuring remixes of her new single "Gorgeous", and well, they are... gorgeous!  In particular, the Tracy Young remix is outstanding (Young also did an excellent remix of Idina's "Defying Gravity" from Wicked last year).  So head over to iTunes and download them!

Burn This Disco Out... Saturday Night Fever 30 Years Later

The other day I was in a used CD store and purchased the Saturday Night Fever soundtrack. Coincidentally, the soundtrack and the movie are both celebrating their 30th anniversary this year.

So, how do the soundtrack and movie hold up in 2007?

Pretty good.  After all, you can still see many of the iconic images in today's pop culture. Most notably, Madonna's "Hung Up" video harkened back to the film when she donned her much-discussed purple leotard; she also donned John Travolta's white suit when she performed her hit "Music", set to "Disco Inferno", from the SNF soundtrack during her 2006 Confessions tour.

Firstly, the film.  Anyone expecting Saturday Night Fever to be a feel-good dance movie will be disappointed. What has always struck me while watching SNF is how dark it is.  John Travolta plays Tony, a young Italian man growing up in Brooklyn.  Tony's life seems to revolve around working in the local paint store, hanging out with his boorish friends and dancing at the local disco.  Dancing is a talent Tony displays at 2001 Odyssey, but Tony isn't quite sure what to do with his talent. He definitely has aspirations to leave Brooklyn, but he's not quite sure how to find his way out. Tony begins to fall for Stephanie (Karen Lynn Gorney), also from Brooklyn but who now lives in Manhattan, a place where Tony aspires to reside. Tony is drawn to both Stephanie and her dancing, and decides to enter into a dancing contest with her at 2001 Odyssey, despite having already promised to dance with Annette (Donna Pescow), a bubbly, voluptuous dancer who harbours a long-lingering crush on Tony.  To Tony, Stephanie represents the class and sophistication he aspires to but cannot find in Brooklyn, his friends, or Annette. 

The story of SNF would make it seem like a romantic dance movie, but it's actually a character study of a youth struggling to find himself in a sexist and racist community.  Tony and his friends may be out of school, but still behave immaturely, perhaps because they lack ambition or drive. Homophobia is rampant throughout the film, and racial slurs are abundant. Footloose this is not.  It is rather grim, with a suicidal character and a shocking rape scene.  In the age of Step Up, You Got Served, and Stomp the Yard, SNF will undoubtedly come across as a depressing dance film.

Travolta is excellent as Tony, making him charismatic and sympathetic even when he acts like a louse.  It's easy to see why this film made him a movie star (and won him an Academy Award nomination). But Pescow is definitely the scene-stealer in SNF.  Why this film didn't lead to bigger success for her is a mystery.  She's wonderful as Annette, and she's a far superior dancer (and actress) than Gorney.  This is definitely one of the weaknesses of the film - why Tony would drop Annette, who is obviously the better dancer, for Stephanie in the dance contest,  is a flaw in the storytelling.  Gorney is hardly an adequate dancer, and she's lucky that Travolta carries their dance scenes together.  Travolta and Pescow have much better chemistry together. 

One of the strongest virtues of the film is its music. The soundtrack to Saturday Night Fever sounds as fresh as ever, thanks to the many Bee Gees hits sprinkled throughout.  The film used some older Bee Gees hits ("Jive Talkin'", "You Should Be Dancing") and the Brothers Gibb produced some new songs for the film, "Stayin' Alive", "Night Fever" and "How Deep is Your Love", all of which became massive hits and part of music history.  These songs have not aged a bit and sound as good as ever.  They were overplayed to death on radio in the late '70s, so much so that when the Disco Kills movement kicked in in 1979, the Bee Gees were its first victim. I've always had trouble classifying the Bee Gees, and particularly their SNF hits as "disco".  To me, they sound more like pop songs with a slice of R&B rather than disco, but most people associate them with the genre that took radio (and dancefloors) by storm in the mid-to-late '70s. 

Most people remember the soundtrack for the Bee Gees songs, but SNF also featured songs by other performers, most notably Boogie Shoes by the K.C. and the Sunshine Band and the full length version of Disco Inferno by The Trammps.  The rest of the album is still pretty good, but nothing can top those Bee Gees classics. 

It's ironic that the soundtrack to SNF is uplifting, but the film is definitely not. Perhaps that's why this music is in the film -- the music that Tony longs to dance to on the dancefloor is the only joy he has in his life. And the music of Saturday Night Fever definitely brings lots of joy. 

Sweeney Todd: Bloody good!

After the success of Edward Scissorhands, Sleepy Hollow, and Charlie and the Chocolate Factory, the pairing of film director Tim Burton and actor Johnny Depp continues to work wonders with their new film,  an adaptation of Stephen Sondheim's beloved musical Sweeney Todd. 

Burton is probably the most suitable director for this adaptation.  After all, Sweeney Todd is not your average musical.  Who else but Burton could adapt a musical about a murderous barber who seeks revenge on those who wronged him and sent him to prison?  Burton allows the macabre elements of the piece to shine, but he also captures the humour and tragedy of the story as well, shot in stunning cinematography.

Because it is a musical, audiences will get a chance to hear Depp sing.  He does a fine job, I must admit, much better than co-star Helena Bonham Carter, who plays Mrs. Lovett, an eccentric baker who goes into "business" with Todd by grinding his victims' bodies into her meat pies.  Carter is very good in her role, capturing the eccentricity and loneliness of Lovett, even if she stumbles when she opens her mouth to sing.  Alan Rickman, playing Depp's nemesis, is also excellent, and his singing voice is pretty good.

The music from Sweeney Todd is some of Sondheim's finest and the highlight is definitely Depp and Rickman's duet of "Pretty Women". 

Sweeney Todd is very much in the tradition of Burton and Depp's other collaborations in that it is not for everyone.  Many will be put off by the violence and grim nature of the story, but those willing to stick with it will be engrossed by the story, music, and cinematography.  Along with Hairspray, Sweeney Todd is a good example of how a stage musical should be adapted to the screen.

2007: A Year in Review

2007 was quite a year in entertainment.  Perhaps it will be better known for the salacious stories involving Anna Nicole, Britney, Paris et al than quality entertainment, but let's bring the focus back to the arts.  Here's a roundup of some of the best and the worst of 2007 in my humble opinion.

Stars of the Year:

Josh Brolin

Who would have thought James' son (ad Barbra's stepson) and the teenage star of The Goonies would grow up into an exciting actor with movie-star looks and impressive acting chops?  2007 was definitely the year for Brolin, giving a frightening performance as an abusive husband in Part one of Grindhouse; and basically carrying No Country for Old Men, not an easy feat considering co-star Javier Bardem is getting all the praise.  But Brolin is just as worthy of applause.  

Amy Adams

Believe the hype surrounding this talented actress.  Already an Oscar nominee a few years back for Junebug, Adams is courting A-list status with her dynamic performance in the Disney charmer Enchanted.  While it's not a perfect film, Adams' performance is worth the price of admission.

Michelle Pfeiffer

Really Pfeiffer should be in the category of Comeback of the Year, considering 2007 was the first time she appeared onscreen in five years, but with two great performances in Hairspray and Stardust respectively, Pfeiffer reminded audiences why she's one of Hollywood's best actresses.  Sure she looks fabulous as she pushes 50, but Pfeiffer has never relied on her looks for her acting, and she was wise not to take the lead roles in both films, suggesting that she could have a successful career as a character actress in the next phase of her career.

Rihanna 

The young R&B/pop singer proved that music listeners want to hear songs with fun melodies and easy-to-sing-along-with lyrics on the radio at a time when there is a dearth of good music on your local station.  "Umbrella" was undoubtedly the pop song of the year; the type of pop song that seniors, adults and children alike could sing along to.  But Rihanna's next two singles "Shut Up & Drive" and "Don't Stop the Music" were equally catchy.

Sarah Polley

The talented Canadian actress and filmmaker stunned movie audiences with an impressive film debut, Away From Her,  and directed Gordon Pinsent to a career-best performance.

Daft Punk

They had one of the best tours of the year, which in turn became one of the best albums of the year (Alive 2007).  This French electronica duo may seem a bit passe in 2007, but they continue to be truly inventive and exciting at a time when music rarely is. 

David Cronenberg

Here is a director working at peak level.  Could the director make anything as good (or even better) as A History of Violence?  Two words: Eastern Promises.

Most Overrated 

Katherine Heigl

I don't get the buzz around her.  She's okay on Grey's Anatomy (but winning the Emmy over Sandra Oh?? Please) and was passable in Knocked Up (in what was basically a thankless role anyway), but I find her acting just average.

Most Underrated Films of 2007

Grindhouse - Okay, so this was essentially an exercise in self indulgence for directors Robert Rodriguez and Quentin Tarantino to re-create the grindhouse experience, but this is one example where the self-indulgence made for one great movie experience. Tarantino's Death Proof, anchored by a solid performance by Kurt Russell, is superior to Rodriguez's Planet Terror (which is still a fun zombie flick) but you couldn't find two more entertaining flicks in 2007.

Michael Clayton - is there a more interesting movie star in movies today than George Clooney? When this film failed to open big on its opening weekend, critics claimed Clooney could not open a film and his stock was dropping. But Michael Clayton is that rare film - a thoughtful and intelligent film AND an entertaining popcorn flick, carried by Clooney's solid performance. Why audiences stayed away, I cannot explain.  But its failure at the box office may hurt Clooney and co-stars Tom Wilkinson and Tilda Swinton's chances for Oscar nominations, but let's hope the Academy recognizes this film in order that it gets a second chance.

Once - this charming movie of two street musicians who fall in love while creating a demo tape together is the unlikeliest musical of the year, but it's also one of the best films of 2007. Now that is out on DVD, check it out.

Most Overrated Films of 2007

Knocked Up - Seth Rogan gave a surprisingly tender performance in this box-office hit, but I'm not sure why audiences drooled over the film.  Sure it was entertaining, but a four-star comedy? Hardly.

Transformers - Hyped as THE popcorn flick of 2007, Transformers had great special effects, but was overlong and rather dull at points. 

Pirates of the Caribbean - At World's End - What began as a fun pirate adventure, has turned into an overlong, bloated, and confusing ordeal, with no intention of entertaining, but making money. 

Biggest Surprises of 2007

Hairspray - Here was a musical that cut out some songs and changed a few details in the story from the stage version, yet has already become a classic screen musical.  With a great cast (particularly Nikki Blonsky, Queen Latifah and Michelle Pfeiffer) and solid direction, Hairspray proved once again that the musical is still alive and kicking.

Rob Zombie's Halloween

 After horrible "re-imaginings" such as The Fog and Black Christmas, the idea that anyone would remake John Carpenter's 1978 horror classic seemed like treason, but Zombie's sombre and surprisingly moving re-imagining caught many by surprise. What made Zombie's remake unique is that he provided a backstory to Myer's troubled life, focusing on his dysfunctional family.  Halfway through the film, Zombie basically remakes Carpenter's slasher saga and the film suffers for it, but the first half of Zombie's Halloween is worth seeing, thanks to Zombie's talent for painting a unique - and tragic - family. 

Britney Spears - Blackout

What should have been one of the worst albums of 2007, became one of the most well-reviewed albums of the year.  Her life may be in turmoil, but Spears once again proves she has a knack for picking great producers and crafting perfect pop songs. 

Biggest Disappointments of 2007

We Will Rock You - a horrible theatrical attempt to put Queen's songs on stage, it flounders in every aspect: writing, singing and staging with lame jokes sprinkled throughout. Just terrible.

The Simpsons Movie  - okay, it didn't suck and featured a few laughs, but who didn't feel a bit let down by the highly-anticipated movie version of the popular television series?  

Best DVD

Blade Runner: The Ultimate Collector's Edition

Ridley Scott's futuristic epic from 1982 fizzled in theatres at the time and has had a tumultuous history since then, having been tweaked and retooled in the ensuing years.  There are at least five different versions of Blade Runner out there, and this edition gathers all of them together.  It may be too much for the casual Blade Runner fan, but for movie buffs who love to watch different versions of one film, particularly one as divisive as Blade Runner, the Ultimate Collector's Edition is worth every penny.

Best Music DVD

Dreams to Remember: The Legacy of Otis Redding

Commemorating the 40th anniversary of Otis Redding's death, Dreams to Remember is a superb documentary about the soul legend's career, including interviews with those who knew him and worked with him, and performances by Redding sprinkled throughout.  A must for any music fan.

Most Underused

Ellen Barkin - It was great to see Barkin back on the screen, vamping her way through Ocean's Thirteen, but the film really didn't know what to do with her. Hopefully she'll get a bit of Pfeiffer's luck and find roles worthy of her talent.

Regina King - why isn't King a bigger star and getting better roles?  She steals almost every scene she's in (Jerry Maguire, Ray, This Christmas), but she rarely gets the lead role, or a role to let her exercise her acting muscles. Hollywood, are you listening?

Best Trend of 2007

Sequels don't necessarily have to suck

Pirates of the Caribbean: At World's End and Spider-Man 3 suffered from excessive lengths and too many sub-plots, and overindulgence. But not all sequels in 2007 sucked. Live Free or Die Hard should have been a stinker, but unlike other sequels in 2007, the fourth installment in the Die Hard series was lean and got back to basics, delivering entertaining action without the excessive fat.  The Bourne Ultimatum proved that a series can get even stronger as it goes on. 

Worst Trend of 2007

Restrictive and confusing (legal) music downloading

If digital music companies want us to download legally (and through our pockets), why are some of the practices so confusing and restrictive? Case in point - iTunes.  Overall I like it, but certain songs you have to download the WHOLE album in order to get that bonus remix of Madonna's Get Together or another song you really, really want. Or  an album will be advertised, but when you click on it to buy it, a disclaimer pops up saying it's not available in the Canadian store.  These are definitely not customer-friendly practices.

Comeback of the Year

Spice Girls Reunion

We knew it was inevitable that the British girl group would reunite, and we knew that it would happen as a result of a big paycheque.  Sure, their first single in seven years "Headlines (Friendship Never Ends)" was a stiff, but consensus from fans regarding the show has been that it's a complete winner, entertaining fans nostalgic for the days when radio played fun pop songs. And they do look fabulous. Old Spice? Nah.

A Remarkable Musician

Jazz legend Oscar Peterson has died at the age of 82. As you can imagine, it is a great loss to music, and to Canada, as Peterson made us proud by becoming one of the world's most respected jazz pianists. 

I remember when I worked at Roy Thomson Hall and Massey Hall, Peterson performed one evening, and I passed on tickets to his sister. She was the sweetest woman, with the same beautiful eyes as her brother, and just as adorable.

A few years ago, Peterson made a special appearance at the HMV flagship store on Yonge Street. Popular jazz artist Diana Krall performed a special tribute to her idol, but the many fans who attended were there to see Mr. Peterson. At the time he was very frail, but obviously touched by the overwhelming response from his many fans. I'm so honoured to have seen that tribute. He will be missed.

Christmas Classics

It's that time of year again when you hear endless Christmas songs on the radio, in the car, at work, in the shopping centre, at the dentist, at the doctor's office, and so on and so on. But it does not have to be an ordeal. There is actually some great Christmas music out there. Here is a list of my favourite Christmas albums that won't drive you crazy.


Phil Spector - A Christmas Gift For You From Phil Spector

Spector has always been a creepy figure in the music business, but despite his troubles, he made some incredible music, including this Christmas album from 1963, considered by many to be his masterpiece. Spector treats Christmas classics with his "Wall of Sound" and it's a perfect fit. Who cannot love The Ronnettes doing "Frosty the Snowman" or The Crystals doing a definitive version of "Santa Claus is Coming to Town". Best of all is Darlene Love's recording of the Spector original "Christmas (Baby Please Come Home)", a timeless Christmas classic.


Donna Summer - Christmas Spirit

You would expect a Christmas album from the Queen of Disco to be a compilation of festive disco tunes, but the talented Summer's Christmas album is a traditional affair. Summer's voice is in top form here, and the orchestral arrangements, including gospel choirs, compliment her voice perfectly.

BeBe & CeCe Winans - First Christmas

This R&B/gospel duo were very popular in the early 1990s, and this Christmas album is one of the best things they ever released. They cover the classics, including "Jingle Bells", "Silver Bells, Silent Night", and "The First Noel" beautifully and even add some non-traditional songs including "Ooh Child", which fit in nicely. Both BeBe and CeCe have great voices, and nobody can sing the Christmas classics like they can.

Linda Eder - Christmas Stays the Same

I could have put Celine Dion or Mariah Carey's Christmas albums here, but those two albums get a lot of radio play and attention (and are both big sellers). But if you want a big-voiced diva Christmas album, I recommend this one. Linda Eder is often compared to Barbra Streisand and Dion for her booming voice and her choice of dramatic songs, so a Christmas album was inevitable for her. It is quite simply, fabulous. Like most Christmas albums she has the usual favourites, but what makes her Christmas album so special are the arrangements. The medley of "Here Comes Santa Claus/Santa Claus is Coming to Town" is jazzy and swinging (and would have made Frank Sinatra proud) and she performs a stirring version of "The Little Drummer Boy". She also sings a few originals including the excellent"The Bells of St. Paul".


A Motown Christmas

Who could resist an album of classic Motown artists like Diana Ross & the Supremes, Jackson 5, The Temptations and Stevie Wonder singing Christmas classics?

Boney M - Christmas with Boney M

Admit it -- you listened to this yuletide favourite when you were younger! This is probably the guilty pleasure of Christmas albums, but who cannot help but sing (and dance) to "Feliz Navidad" or "Mary's Boy Child/Oh My Lord"! A definite crowd-pleaser for Christmas parties.


A Very Special Christmas

One of the best Christmas albums to come out of the '80s, this is a compliation of Christmas classics performed by popular artists of the day. There's Pointer Sisters singing "Santa Claus is Coming to Town" (performed in the style of the Ronettes version, not to mention U2 covering "Christmas (Baby Please Come Home)"), Madonna doing "Santa Baby", Stevie Nicks tackling "Silent Night", and Bruce Springsteen's blistering version of "Merry Christmas, Baby". It's an '80s classic for sure, but it's still enjoyable today.

Martina McBride - White Christmas

Like Linda Eder, Martina McBride is a talented female vocalist who seems to get overlooked for the Mariahs and Celines. Martina simply has one of the best voices in music these days, so a Christmas album by her is a sure bet. Traditional, but it's perfect for that voice.

Anne Murray - Best of the Season

How can you not love a Christmas album from Canada's songbird? Like the Boney M Christmas album, this one has been played throughout many childhoods (and for some, is undoubtedly a guilty pleasure). But Murray's golden voice really sells these songs. I don't think there's any singer who is better suited to classic like "Joy to the World", "O Holy Night", and "Away in a Manger" than Anne. And you can never tire of Christmas in Killarney.

Mr. Hankey's Christmas Classics

Oh, come on, how can anyone not love a South Park Christmas album? The cover itself is worth the purchase!

Happy Holidays!

Rediscover the Classics: Rapture

When Anita Baker's "Rapture" album came out in 1986, the R&B songstress injected radio with some much-needed soul. Quite simply, there was nothing like "Rapture" on the radio in the mid-'80s. Her smoky voice and jazzy songs stood out from much of the pop music that was popular during that period.

Twenty years later, the album's music has not aged a day at all. "Sweet Love" is one of the best radio singles to come out of the '80s, and "Caught Up in the Rapture" is right up there with it.

But what is truly mind-boggling is that after 20 years, the album's CD quality is not up to par in this day of remastering and sound-obsessed audiophiles. This is common with CD releases from the mid-to-late 80s -- the sound is low, there's little bass, and the music lacks oomph. Why this album remains in the vaults waiting to be dusted off and remastered remains a mystery to me. It's a true soul classic from a musical decade renowned for fluffy pop hits and guilty pleasures.

If any album from the '80s deserves to reissued with improved sound and bonus tracks, this is it.

Goodbye Sam

It's no surprise that Sam the Record Man flagship store on Yonge Street is closing. The real surprise is that it lasted this long.

Shopping at Sam the Record Man has been a tradition for me. But with each subsequent visit, it has become more apparent that the once-great record store is now a shadow of its former self.

Back in the day, Sam's would be packed with CDs -- new releases, hard-to-find imports, and a focus on burgeoning Canadian talent. But nowadays, you'd be hard-pressed to find much in terms of selection. But with the rapid advances in technology, declining record sales, and namely, downloading, Sam just couldn't keep up. Walking into the store now, it's scary to think that the store has become... prehistoric. I mean, "record buying" is becoming a thing of the past.

I still love to buy CDs -- the cover art, the liner notes, the credits, the opening of a newfound treasure simply appeals to me. But apparently it doesn't hold the same appeal for many others. Record buyers are like a dying breed, or we have simply gone underground, hunting thrift shops and garage sales to satisfy our record-buying appetite.

Because Sam's definitely couldn't satisfy that appetite for the past few years. Many of us have continued to shop at Sam's out of respect. After all, Sam has become a part of Toronto history. We wanted to pay tribute. But the shopping experience hasn't been the same since 2001, when the Sam stores across Canada closed. It was honourable that the flagship store continued, but we all knew it would be living on borrowed time.

Six years of borrowed time is pretty generous, but it was apparent Sam was ready to shut its doors long before it was announced yesterday that the Yonge Street store would be closing. Clearance sales became bigger; countless artists' CD slots remained empty; there was less visible staff in the store.

For the next few weeks, I'm sure Sam will have lots of clearance sales, and the rush of customers for bargains will remind us of Sam's glory days of the famous Boxing Day sales, and days when buying a new U2 album, or Madonna record, was an event. It will be Sam's last gasp.

I'm sad to see Sam close. But visiting the store in the past year has become a lonely experience. It's empty, and despite the best efforts of the courteous staff, it's clear the Sam era ended a long time ago.

What will happen to the location? Will the lights go out forever for the two large records that adorn the front of the store? Will Sam the Record Man become Sam the Condo Man?

And now that Sam will be closing, what will happen to Sam's neighbour... HMV?

"I can't sing and perform these robotic dance moves at the same time"

This is what songwriter Kara Dioguardi recently had to say about her upcoming collaboration with pop princess Britney Spears:

"People don't realize what a good singer she is, and she has the incredible ability to put herself in the music and it elevates the song, because she really brings her own vibe to it.

Wait a minute. "Good singer"? What singing?? Does Britney actually sing? If you watch any of Britney's concerts specials, you will know that she lip-synchs approximately 95% of the concert while performing robotic dance moves, and sings live for the remaning 5%, usually singing some wispy ballad with her equally wispy live vocals. And even when Britney's attempting to sing live, her back-up singers easily overpower her.

There has been so much hype for Britney's supposed "comeback". She's giving "special, surprise concerts" across America, yet the first comment about these engagements is usually "she lip-synched most of it."

And at a recent House of Blues performance, Britney's backing record started to... skip. Surprised? Hardly. It was only a matter of time for that to occur.

Hasn't Britney learned anything at all after her recent trials and tribulations? Is she not able to channel her obvious inner turmoil into some serious singing? Perhaps the pop princess should take props from the Queen herself -- Madonna. Okay, so Madge is not exactly Maria Callas, but at least Madonna sings live for most of her show, and over the years, her voice has improved.

No wonder the music business is in such a bad state; we don't have many singers who can actually sing. When will Britney ever learn to sing live? She's going to need to sing for her supper now that record sales are becoming obsolete. Touring is how singers will need to earn their money, because record sales will not pay for their mansions and manicures. And nobody's going to pay $100 to see Britney mime her record.

Speaking of pop princesses, can I just say how fabulous Kylie Minogue's advertisement for her new H&M-Kylie line is? If you want to see it, you can check it out during the previews for Spider-Man 3. After a hectic few years, which included surviving breast cancer, and breaking up with yummy Oliver Martinez, Kylie's definitely back.

Kylie looks smashing, and at 38, she can still pour herself into a bikini. I'm sure there will be lots of comparisons to Madonna's own H&M line, and I must say, Kylie's line looks like it could be the true winner, and perhaps outsell M's line. The ads and promotions for Kylie's line are far superior to those M had, which I admit were pretty dull (Love you, Madonna, but you never seemed too committed to that line). Whatever the case, it's just great to see Kylie back (still loving that hair).

And for the record, Kylie is a pop princess who actually does SING.

Rosie's Legacy

Now that Rosie O'Donnell has announced that she will not be renewing her contract with The View, I must admit: I am going to miss her. Which is surprising because I'm not a fan of Rosie O'Donnell. I find her obnoxious, egocentric and overbearing; she reminds me of the bullies who teased me (and intimidated me) in elementary school.

And yet I admire her greatly.

Although Rosie is never hesitant to express her views (much to the chagrin I'm sure of The View's executive producer Barbra Walters), I admire the fact that Rosie rarely apologizes for what she says.

Think about it: in an era where Janet Jackson's boobs cause a scandal, and the sight of Madonna appearing on a cross has to be superimposed with images of starving children (that's you, NBC!), a show which allows women to express their views freely seems almost taboo. Rosie talks about everything from women's reproductive rights to gay marriage to Paris Hilton with minimal censure. She just lets loose, leaving the damage control to Barbra.

And Rosie doesn't cave in and give the obligatory "it-was-taken-out-of-context" spin that most celebrities latch onto when a hint of what they really feel makes it into the press. Rosie stands by what she says, and reminds us that we shouldn't feel bad or sorry about what we think.

Sure, Rosie was overbearing as ever on The View. But who didn't feel a sense of satisfaction when she would criticize President Bush? Or when she instigated her much-publicized feud with the pompous Donald Trump?

Now that she's leaving, The View, and television, will not be the same. For one year, The View actually had a point of view. When the show came on in 1997, it was supposed to be about opposing opinions, but the show always seemed to hold back. The women never seemed to get their hands dirty until Rosie came along. She gave the show a spark it never had and never will have again. Fluffy discussions were dropped in favour of fiery debates. Rosie's presence encouraged the other women, particularly Elizabeth, to project their voices and come toe-to-toe with
the ever-dominant O'Donnell.

By hiring O'Donnell, Walters delivered on the show's original promise, even if for a short time. I don't know what the future will bring for The View, but Rosie's one-year stint has already become the legacy for this ten-year-old show.

Oldies but Goodies

Oldies but goodies

This season of American Idol has featured more guest mentors than usual – everyone from Gwen Stefani to Jennifer Lopez to Jon Bon Jovi has coached this year’s 12 finalists, each with varying degrees of success.

Two of my favourite guests were two female singers who are significantly older than Stefani and Lopez, and who have not had a top ten hit in years: Diana Ross and Lulu.

Miss Ross proved herself to be a capable mentor as she coached the finalists through her extensive and impressive catalogue. It struck me while watching the show how unfortunate it is that Ross’ Motown crown has been chipped away at in the past few decades. Here is a woman who enjoyed 12 number-one hits with the Supremes, along with six number-one hits as a solo artist, in addition to numerous hits as a Supreme and as “Miss Ross”.

Many people forget Ross’ musical legacy – the hit records, her ability to sing everything from pop (“Where Did Our Love Go”), jazz (“Good Morning Heartache”), disco (“Love Hangover”) to rock (“Mirror, Mirror”). And who can forget her astonishing performance as Billie Holiday in Lady Sings the Blues, which won her an Oscar nomination in 1973?

Today many people remember Diana Ross as a washed-up diva who plays casinos, still wearing those outdated Bob Mackie dresses and big wigs as if it was 1970. Others see her as a has-been with a DUI on her record, who gets in fights with security personnel at airports when she’s subject to frisking.

Thankfully, Diana Ross week on American Idol reminded audiences Diana Ross is a professional singer, and not simply the ice-cold bitch some people would like to paint her as. Working with Sanjaya et al, Ross was down to earth, warm, and very knowledgeable about everything from voice projection to performance posture.

But what stood out were those songs. As much as they tried, none of the contestants could make us forget Ross’ originals. Ross may not have been blessed with the powerhouse vocals of singers like Aretha, Whitney, Mariah or Mary J., but in her prime, she sang with great tone and personality, backed up by solid production.

To check out Diana’s artistry, I recommend The Definitive Collection, a 2006 compilation which covers Diana’s solo period, and features many of her big hits from the ‘70s, plus a few hits from the ‘80s including “Swept Away” and her cover of “Why Do Fools Fall in Love”.

Lulu, on the other hand, was never as popular as Diana Ross in her prime, but she’s definitely one of the most underrated female vocalists in pop music. Lulu had hits with her cover of “Shout”, and her beloved theme song for the film To Sir, With Love, but she was never able to sustain a steady pop career, despite a few hits throughout the ‘70s, ‘80s and ‘90s.

Lulu was one of the guest mentors for British week, and although none of the contestants sang any of her own hits, Lulu proved to be one of the best judges this year for her winning personality and thoughtful advice.

Lulu may be older now, but her voice is better than ever. It’s still rich with soul and vibrancy, unlike Ross, whose voice has diminished throughout the years. Perhaps it’s due to the fact that Lulu put out less material than her counterparts, so there's less wear and tear on her voice. But if Lulu herself had been dropped into the Idol competition, she certainly would have provided serious competition for the younger ones.

I’m sure a lot of people watching British Week didn’t have a clue who Lulu was. So, if you’re one of those people, I recommend you check out The Greatest Hits, a 2004 compilation of Lulu’s hits. It’s a fantastic collection which features her classic hits, in addition to her surprisingly good take on David Bowie’s “The Man Who Sold the World” and her latter-day hits such as “Independence” and “We’ve Got Tonight” (a duet with Ronan Keating). It’s one of my favourite compilations, although it’s difficult to find in North America since it's an import. But check out Amazon if you’re interested in purchasing it. It's a little pricey but worth every penny.

I hope the American Idol season will feature guest mentors whose work is ripe for rediscovery. How about Donna Summer? How about Aretha Franklin night? Roberta Flack? Joe Cocker? Who would you pick for a guest mentor for next year?

Welcome to On Broadview

Yes, I've been bitten by the "blog bug". Who wouldn't want the opportunity to post their thoughts on an array of topics, with the possibility of thousands (perhaps millions) reading them?

But before you start thinking I'm self-indulgent and possess an inflated ego, let me just say that my blog will not be about my daily life. You will not be reading about fights with boyfriends, or my late night escapades (as interesting as they may be - LOL), or even my political thoughts (though inadvertently, some may slip in). And I definitely won't be taking the Rosie route of publishing lame poems (Rosie, you say things well, but you say them better on "The View", not in the form of quasi-haiku).

The purpose of my blog is to talk about entertainment. It's what I like to think about. It's what I like to talk about. And it's certainly what I like to write about. In fact, in the past I have been hired as an entertainment writer, so I do have some experience writing about music, movies, television, books, art and other forms of entertainment.

As entertainment culture envelops our society, I promise you that my blog will not be another Perez Hilton-type gossip site. I'm not interested in writing about Lindsay Lohan. Or Paris Hilton. Or any other spoiled, skinny ingenue who is more famous for their lack of underwear and late night partying than any genuine talent.

This blog is intended for those who have a passion for entertainment. It's for people who like to read about underrated movies that are worth discovering. It's for people who like to discuss their favourite album covers in an era when vinyl is pretty much obsolete, and CDs are heading in the same direction. It's for people who like to make lists of their Top 50 Guilty Pleasure Songs, or Top 20 Disco Songs, or their favourite performances in film history. Sure, it sounds nerdy but what's more geeky: writing about the virtues of Dusty Springfield's "Dusty in Memphis" album or Paris Hilton's drunk-driving 'scandal'? I'll take the former.

If the former interests you, then "On Broadview" is for you. Enjoy!