Broadview Lights

What about the rest of the cast?

2011-01-30T17:18:00.000-08:00

I think it's time the Oscars begin to recognize ensembles in films like the Screen Actor's Guild Awards. Sure, they can continue recognizing featured performers, but it always seems unfair when other worthy cast members get left out.

This year there were a number of ensembles worthy of recognition, in addition to featured performers. Sure, Natalie Portman is a frontrunner to win Best Actress for "Black Swan" but both Barbara Hershey and Mila Kunis were surprisingly left out of the Best Supporting Actress category, when the supporting players helped make Portman shine (including Winona Ryder). I was thrilled about Nicole Kidman's much-deserved nomination for "Rabbit Hole" but I wish Aaron Eckhart and Dianne Wiest were also nominated. "Rabbit Hole" had an outstanding ensemble that extended to Tammy Blanchard and Sandra Oh. Julianne Moore got overlooked for "The Kids are All Right", as did Ryan Gosling for "Blue Valentine" but their co-stars received nominations when their performances were just as good.

If the Oscars ever do introduce an ensemble award, think of all the films from the past that could have and should have been nominated or awarded: "The Godfather", "Terms of Endearment", "Gone with the Wind", "Amadeus", "Million Dollar Baby" and so many more.

There are so many films with performances that should be awarded collectively, not individually.

You gotta have "Faith"...

2010-08-15T07:57:00.000-07:00

With all his recent legal troubles, it's easy to forget that George Michael was, arguably, the biggest pop star on the planet. Between 1987 and 1989, nobody could touch him - thanks to his first solo album, the blockbuster "Faith."

Almost 25 years later, Michael's most popular album is being reissued on September 27th in two editions: a 2-CD deluxe edition and a box set, including a 60-page commemorative book and other goodies. I've been hoping for a reissue of "Faith" for a long time. The original CD doesn't sound bad, but it certainly could use an upgrade. Also, with the recent reissues of '80s albums, it only seems fitting that "Faith," one of the biggest albums of the '80s, gets the deluxe treatment. It will be a pleasure to hear "I Want Your Sex," "Father Figure," "One More Try" and "Kissing a Fool" in remastered sound - that is, if the engineers do a good job of remastering the album, unlike the butchered remasters of Duran Duran's first two albums earlier this year.

I'm sure the reissue of "Faith" will also benefit Michael himself - not only his bank account, but his reputation. I think most of us want to remember the Michael who shook his ass and sang about sex and monkeys on his back, rather than the Michael who keeps getting arrested in his car and in parks.

The deluxe reissues of "Faith" will be released on September 27th.

Golden Girls Live Forever

2010-06-13T09:43:00.000-07:00

With the recent passing of Rue McClanahan, fans of the legendary '80s sitcom, "The Golden Girls," have come to the realization that Betty White is the last surviving cast member. And, without a doubt, White is at the peak of her career... and she's nearing 90 years of age! With her scene-stealing role in last year's "The Proposal," her recent, highly-rated guest host appearance on Saturday Night Live, and hilarious appearances on awards shows, White is creating buzz and goodwill wherever she appears.

But, with the deaths of Bea Arthur, Estelle Getty and McClanahan in the past few years, it's particularly bittersweet that White is experiencing this kind of unbelievable success - without her former co-stars. For us fans, she is the only living Golden Girl.

Unlike many sitcoms from the '80s, Golden Girls still holds up. The raucous laughs we enjoyed during its initial run still retain their ability to hit the funny bone. The combination of the strong writing, the actors' clear understanding of their characters, and best of all, the magical chemistry between the actors, have assured that Golden Girls remains a popular staple in re-runs.

Watching Golden Girls in re-runs has always been a joy. But, lately, it's been bittersweet considering most of the cast is deceased. Even though the show was marketed as a series about women in their retirement years, the girls always seemed so youthful and the idea of them growing "old" never seemed possible. But knowing that most of the actresses are gone, it's sometimes hard to watch the show the same way. I think the more popular-than-ever White could attribute her resurgence in fame to the fact that people simply want her to never leave because she IS so funny and charming. The cast of Golden Girls brought a style of comedy to television that will never be seen again; many of us lament that that type of comedy is gone.

But we should be thankful that the Golden Girls continue to be popular in re-runs and DVD sales. They truly are golden and will live forever.

WTH happened to Y&R?

2010-04-19T19:24:00.000-07:00

It's no secret that I love soap operas. I have stayed faithful to the genre even when its viewership began to decline after the much-watched O.J. Simpson trial in the 1990s. But soaps are more vulnerable than ever with the recent cancellation of Guiding Light and the upcoming finale of As the World Turns in September, both shows I might add which have aired on CBS.

CBS still has a holding in the soap genre with their top-rated soap, The Young and the Restless, which has rated number one in the ratings since the mid-eighties. But even Y&R is beginning to show its wear and tear and it couldn't come at a worst time. With the ending of both GL and ATWT, Y&R remains one of the few soaps on CBS aside from its sister show, Bold and the Beautiful. But even faithful viewers of Y&R are being turned off by the show's recent stories, which have grown more lurid and bizarre in recent years.

Y&R has had some crazy storylines from time to time in the past (remember the Katherine Chancellor double storyline?) but somehow back in the day, the stories worked, thanks to strong writing, good storytelling and fine performances. Nowadays, the writers have come up with ridiculous and repetitive storylines: Nick jumping back and forth into bed between his wife Phyllis and ex-wife Sharon; the lurid and often off-putting story involving Victor Newman's alienated son, Adam; but the worst has to be the show's TWO recurring double storylines. Not only is Patty posing as Jack's wife Emily, but Lauren is now being impersonated by an imposter named "Sarah" (who may be Lauren's longtime nemesis Sheila with plastic surgery made to look like Lauren). Y&R nowadays seems like it's turned into Passions. What's next? Jill is a witch? Victor Newman is a wizard? Nikki Newman is a fortune teller? The stories have become outlandish and lack the motivation and classic storytelling that was Y&R's trademarks in the '80s and '90s under the guidance of the deceased (and much-missed) Bill Bell.

Visit any Y&R board online, and you will read comments from viewers - many whom have watched the show for decades - lamenting the demise of the show's quality. Many soap journalists and viewers have predicted that soaps may no longer be on television in the future. With the way Y&R is heading in terms of its characters and stories, it has no one to blame but itself for its loss of viewers.

Enough with "Glee"!

2010-04-03T15:19:00.000-07:00

I'm going to just come out and say it: I'm tired of the show "Glee." I'm tired of hearing about it; I'm tired of reading about it; I'm tired of seeing it advertised on Global ad nauseam; and I'm tired of hearing that d*#% cover of Journey's "Don't Stop Believin'" (which has spawned countless imitations/covers), and all the other "Glee" covers which have been featured on the television show's two soundtracks (It has not even wrapped up its first season and already there are two soundtracks, not to mention an upcoming digital EP for a Madonna-themed episode).

Yes, call me the "Glee Grinch," but this show hasn't finished its first season and already it's overexposed. Sure, the cast is charming and can sing (although a lot of their voices sound "processed" and a bit too perfect), and there are some cute lines, but the show is so hyped up it doesn't always deliver. I enjoy the episodes, but its hype factor always leaves me feeling... a bit let down. Yes, Jane Lynch is fantastic (and please give her the Emmy now), but anyone who has followed her career for the past 15 years, most notably in Christopher Guest's "Best In Show" and "A Mighty Wind" would tell you that she's been scene-stealing for years.

Being a geek myself, it is almost heresy that I am not championing the show. That's not to say I don't like it, but I just don't think it's that good. It's become like Twilight - a pop culture phenomenon that has become so big, it's hard to enjoy it just on its merits. It's in your face (and ears) everywhere you go, that it just turns you off.

I guess I'm just not part of this "Glee" club.

Wanted: More 3-D screens

2010-03-14T11:14:00.000-07:00

After the astonishing and unprecedented success of James Cameron's "Avatar," and now Tim Burton's adaptation of "Alice in Wonderland," movie viewers have established that they are willing to pay the big bucks for a 3-D movie viewing experience. "Avatar," which has grossed over $700 million (U.S.) - a large percentage of that gross can be attributed to 3-D ticket prices - was still going strong when it had to vacate 3-D screens for Burton's "Alice," which itself has already made over $200 million (U.S.) in just two weeks. "Avatar" had monopolized 3-D screens over the holiday season, not to mention the Oscar season of both January and February. But "Alice" may have to give up its monopoly of 3-D screens when both "How to Train Your Dragon," and "Clash of the Titans" open in a few weeks. The demand for 3-D films has grown over the past few years, and has intensified since the release of both "Avatar" and "Alice". But most cinemas are only equipped with a few, if not single, 3-D screens. It will be interesting to see how theatres will physically change as the demand for 3-D films grows. And, of course, movie viewing experiences will increase financially for moviegoers as well.

Remasters

2010-02-20T19:09:00.001-08:00

In recent years, even as CD sales decline, there have been numerous reissues of albums on CD. Recent reissues in the past few years include the Pretenders's first four albums, Whitney Houston's first album (a 25th commemorative reissue), Carole King's seminal "Tapestry", Erasure's "The Innocents," Elvis Presley's "Elvis in Memphis," and, of course, most notably, the recent Beatles remasters. Even Bananarama and Samantha Fox have reissued their back catalogues.

This month, Hip-O-Select is reissuing Diana Ross' 1973 "Touch Me in the Morning" album. Like many reissues, this will feature remastered sound, plus bonus tracks. In this case, fans will get a whole other album in addition to the 1973 release. Originally the album was intended to be a collection dedicated to Ross' first-born daughter Rhonda, but was scrapped in favour of a more pop-sounding release. Ross has had a number of her '70s releases reissued on CD, so having "Touch Me" added to this growing list of reissues is a plus for fans.

But there are many other albums waiting to be reissued. For the most part, they need to be remastered because the original CD releases featured poor sound and need an upgrade. Here is a list of albums I would like to see reissued.

1) Bruce Springsteen's "Born in the U.S.A" - one of The Boss's biggest selling albums really needs the reissue treatment only to upgrade the '80s sound quality of the album's original CD release. Plus, it's one of the biggest albums of the '80s and it's time to revisit this classic, and give it the redux treatment that "Born To Run" received.

2) Prince's Warner Bros catalogue - this will probably NEVER happen as Warner Bros and Prince seem to still bask in their feud that has been going on for years (case in point, Warner Bros did not feature any Prince songs in their career-spanning box set "Revolutions in Sound" - or perhaps Prince would not allow WB to use his songs). But who wouldn't want to see deluxe packages of "1999," "Purple Rain" and "Sign O' The Times," plus all the other classic Prince albums from the late '70s and throughout the '80s?

3) Anita Baker's "Rapture" - Baker's surprise 1986 smash featuring her special brand of jazzy R&B desperately needs a sound upgrade, not to mention a remastering job which will allow her stunning vocals to shine through.

4) Emmylou Harris, Dolly Parton and Linda Ronstadt's "Trio" - this album featuring three of music's finest female vocalists was a deserved hit in 1987, but their three voices really need to shine on an upgraded CD remaster.

5) Natalie Cole - Live! - This brilliant concert album was issued sometime in the '90s on CD but quickly disappeared. Cole was very popular in the mid-70s as an R&B queen, then reinvented herself in the early '90s by covering her father's catalogue (and other jazz classics). But Cole was never better than on this 1977 live album. She really belts it out on this one, and it's time someone belts out a new CD of this classic.

6) Madonna's "Like A Prayer" - Madonna's critically acclaimed 1989 album could use a sound upgrade, not to mention I am sure there are some demos and unreleased tracks that could be added to a reissue, in addition to the popular club remixes of the title track and "Express Yourself."

7) George Michael's "Faith" - one of the biggest albums of the '80s, released in 1987, like Springsteen's "Born in the USA" is begging for a reissue. Surprisingly, there was not a 20th commemorative reissue in 2007. Perhaps a 25th anniversary reissue in 2012?

8) Donna Summer's "Live and More" - Perhaps not as essential as Summer's "Bad Girls," but "Live and More" was her first number one album in the US, not to mention it featured the popular 17-minute opus "MacArthur Park Suite," featuring her disco cover of the Richard Harris classic. This album was one of the most popular - and significant - albums of the disco era, alongside the Saturday NIght Fever soundtrack.

9) Nirvana's "Nevermind" - As it approaches its 20th anniversary, Nirvana's breakthrough album has - perhaps surprisingly - never been reissued since its release in 1991. I imagine we will see a commemorative reissue in 2011.

10) "Here at Last... Bee Gees... Live" - say what you will about the Bee Gees, they released some incredible singles and were known to put on a good show. Surprisingly, they have only released a few live albums. This live album from, released in 1977, captures the Brothers Gibb just before they would shoot into the stratosphere with "Saturday Night Fever."

So, music listeners, what albums do you think should be given the deluxe treatment?

The Holy Grail of CDs

2010-02-14T14:31:00.000-08:00

So, here it is. Finally. After months of trying to obtain a copy of what is becoming the Holy Grail of CDs: a box set of newly discovered live performances by Ella Fitzgerald from the early '60s, I finally have one in my hands. Yes, I am now the owner of Fitzgerald's "Twelve Nights in Hollywood."

I had a chance to buy a copy in November of last year at Soundscapes, one of Toronto's few remaining CD stores, but I didn't have enough money at the time, and when I returned to Soundscapes a week later, they were sold out. It was the same scenario on Amazon.com, which would quickly sell out of the set even when a new shipment came in. Who knew that a CD box set would be such a hot item in this digital age? I mean, who buys CDs anymore? And who buys box sets?

Surprisingly, there have been a number of excellent box sets released in the few years. Sony/Legacy has released some superb box sets on Roy Orbison, Willie Nelson, Dolly Parton, Hall & Oates and Elvis Presley in recent years. Labels Atlantic Records, Motown and Warner Bros have released box sets covering their respective histories. I imagine the high prices for these sets give the record companies a good profit; otherwise, we wouldn't see so many box sets released these days.

But I'm most impressed by the success of Verve's "Ella Fitzgerald: Twelve Nights in Hollywood." There has been such a high demand for this collection of unreleased live performances by the legendary jazz vocalist. Fitzgerald's releases are readily available on CD (her Songbook series has been very successful on all formats from vinyl to CD), but this latest box set will surely be a collector's item. Word has it that Verve has only pressed a certain amount of copies, making this collection a limited edition.

I still buy CDs regularly, but the release of "Twelve Nights in Hollywood" has been a true event. Obviously, finding unreleased material by Fitzgerald is significant enough, but as with their previous releases of Fitzgerald's work, Verve has done a superb job with the packaging of this set. Now that it is in my hands, I cannot wait to listen to the four discs of Fitzgerald giving an intimate performance at the Crescendo in the early '60s.

Many music fans are willing to pay big money for this set. Perhaps you will, too, especially if you're a jazz fan. I'm sure this will be a CD set you will want in your collection.

That is, if you can find it.

Does Kate Beckinsale...

2009-09-05T23:38:00.000-07:00

...look for scripts that scream "CRAP" on the front page?

Whiteout? Seriously??

A once promising actress, Beckinsale has pushed aside period pieces in favour of crappy horror films like the Underworld series and now the ridiculous looking Whiteout.

Going to the movies... is a pain

2009-08-24T22:18:00.000-07:00

Remember the days when movies were $2.50? Okay, I am showing my age here, but I DO remember the days when movies were cheap.

And there were no cell phones. No blackberries.

When popcorn and a coke wasn't veering on $15.

When butter was free.

Ah... butter. Butter has become a contentious issue for me at the movies in the past few years. When movie theatres (namely, Cineplex) started charging fifty cents for a squirt of popcorn, it made butter-on-my-popcorn lovers roll their eyes, but they would fork over the fifty cents, nonetheless.

Now, butter (at Cineplex theatres) is 69 cents. But if you want "layered butter," you have to pay extra. Meaning, you have to pay for each squirt of butter. Ridiculous! (This is why I like AMC. they do not charge for butter - they have self-serve butter and you get UNLIMITED BUTTER!! Also, their popcorn is way better!)

By the time you get your layered butter, your order for a large combo is almost $20. It's crazy.

And when you get into the theatre, you have to deal with 20 minutes of bad commercials (what is with those cow/milk commercials?), obnoxious couples talking throughout the movie, people twittering/texting/CALLING people DURING the movie, people sneaking into the movie halfway or three-quarters into the movie (imagine someone sneaking into Empire Strikes Back AFTER Darth Vader has revealed himself as Luke's father - if this was 1980, I'm sure it would happen!).

Maybe I wax nostalgic for the '80s, but I don't remember going to the movies being such a pain until the last 10 to 15 years when prices became ridiculously high and patrons began bringing in every piece of hardware they could find into theatres.

I love going to the movies. I love the experience of enjoying a film WITH an audience. But I prefer watching a movie with an audience who wants to experience the film - not their cellphone, not their iPod or keep getting up and down from their seat. And the prices of movies (save for Rainbow Cinemas) has become a turn-off.

I have a projector at home. Perhaps I should watch my films at home.

And I can have as much butter as I want - without paying 69 cents per squirt.

Another sign your career is in decline...

2009-08-18T20:35:00.001-07:00

"Now available at WALMART."

Kelly Clarkson - Already Gone?

2009-07-28T19:27:00.000-07:00

For a pop star who was manufactured through the American Idol system, Kelly Clarkson is refreshingly honest.

Unlike so many artists who spin the typical record company PR, Clarkson remains blunt and down-to-earth, eight years into her career as the first - and most successful American Idol winner.

A few years ago, when Clarkson released My December, she and Clive Davis got into a public debate over the album's lack of commercial hits: Clarkson wanted to follow her heart as a serious songwriter, while Davis wanted Clarkson to record another album of monster radio hits, something she had done on her previous album, Breakaway. In the end, Clarkson stuck to her guns and was able to release the album she wanted. While the album was not as big a seller as Breakaway, Clarkson found new respect amongst fans for not being another record company puppet.

Clarkson compromised a little by recording All I Ever Wanted, a more pop-leaning album than My December, and with the album's first hit single, My Life Would Suck Without You. The album's third single, Already Gone, is courting controversy because the single, written by Ryan Tedder, sounds similar to another song Tedder wrote for Beyonce, entitled Halo, and which was recently a Top 10 hit.

According to a CBC interview, Clarkson explains her side of the story:

We wrote about six songs together, four or five of them made the album. It was all fine and dandy. I’d never heard of a song called ‘Halo.’ Her album came out when my album was already being printed. No-one’s gonna be sittin’ at home, thinking ‘Man, Ryan Tedder gave Beyonce and Kelly the same track to write to.’ No, they’re just gonna be saying I ripped someone off. I called Ryan and said, ‘I don’t understand. Why would you do that?’”

Clarkson fought the record label from releasing it, but the song has been released to radio. Sure there are similarities, but Clarkson's vocal performance is strong - as usual. But, again, it shows Clarkson's courage in defying her record company. Some may call her ungrateful or bratty, but I find her refreshing and honest, traits you don't see in a mostly cookie-cutter pop world. It's even more surprising considering Clarkson comes from American Idol, which is about singing other people's songs and molding in one's self into America's fantasy of an ideal pop star.

There are rumours Clarkson may be dropped from her record label and Clive Davis' good graces. That would not be surprising, considering Clarkson appears unwilling to censor herself. I hope Kelly doesn't change.

Whitney's Return

2009-07-26T22:25:00.000-07:00

Whitney Houston's long-awaited comeback is in full swing. And the most anticipated part of her return has been whether or not her voice is still there.

Of all the pop singers of the past 25 years, Houston has been considered "The Voice." More so than Celine Dion and Mariah Carey. In her prime, nobody could sing like Whitney.

Carey's voice has deteriorated in the past few years, surprisingly, thanks to her meltdown in 2001 and evidently not taking proper care of her voice. Dion is still a strong singer, but her style of singing is simply not heard on radio anymore.

Houston rose to fame like Dion with her powerhouse vocals and syrupy ballads, which simply don't fly on pop stations carrying the latest R&B/hip-hop hits from Beyonce, Rihanna, and Flo Rida. So far, three tracks have been leaked from Houston's upcoming album I Look to You, including the title track (written by R. Kelly) and "I Didn't Know My Own Strength" (written by Diane Warren). The latter track is typical Warren-style schmaltz: full of tired cliches about finding strength in one's self. I'm sure it's supposed to pull the heartstrings considering what Houston has been through for the past ten years, but the song is so syrupy, even Houston cannot sell it. The other problem is, sadly, Houston's voice has deteriorated - badly. Houston's creamy smooth vocals have been replaced by a roughness that suggests that the luster in her voice has completely disappeared.

The title track is a better song, and a reminder that despite his, um, extra-curricular activities, R. Kelly is a superb songwriter (he provided Michael Jackson with his last number-one hit in America, "You Are Not Alone.") But Houston's performance, while heartfelt, is hampered by her haggard voice. Despite the excellent production, nothing can distract from the fact that Houston's voice is in rough shape.

Like many, I was hoping Houston's comeback would be a triumph a la Tina Turner in the '80s, or even Carey's a few years back. I've got to give Houston credit for pulling her life together.

But there's no avoiding the fact, "The Voice" is gone.

Is Off the Wall Michael Jackson's best album?

2009-07-05T16:36:00.000-07:00

As the world continues to grapple with Michael Jackson's death on June 25th, copies of his magnum opus, Thriller, and greatest hits collections continue to sell out on Amazon.com and in stores. But the one album that SHOULD be selling out is Off the Wall.

Recorded and released in 1979, Off the Wall wasn't Michael Jackson's first album, but it might as well have been. Jackson had already recorded a few albums when he was with Motown, but those albums were really just to sell singles and Jackson had no contribution to the song-writing or producing. Off the Wall was Jackson's first solo album on Epic Records, and produced by Quincy Jones, and it was the first album that showed Michael Jackson was more than just some teen pop star; he was a genuinely talented song-writer and performer. He wrote the album's first single, Don't Stop 'Til You Get Enough, one of his most enduring hits, a song that effortlessly blends pop, soul and disco. But the rest of Off the Wall is just as good, just as funky and - yes - just as sexy.

While Thriller may get voted as Michael Jackson's best album, I would argue Off the Wall is the superior album. It's looser, funkier and more organic, whereas Thriller is more calculating, trying to be the biggest pop album ever (on many levels it does succeed), but Off the Wall is simply more fun. Try resisting the grooves of "Rock With You," "It's the Falling in Love," and the title track. And Jackson sings "She's Out of My Life" with pure emotion.

So, if you cannot find a copy of Thriller at HMV, and you don't own Off the Wall, pick up this album, Jackson's finest moment.

Riverdance

2009-06-18T20:47:00.000-07:00

I've seen the Riverdance special on PBS. It's entertaining... for about five minutes.

Seeing it with a 905-er audience at the Canon Theatre, it's hell for two hours. And unlike PBS, you cannot switch the station; you are a prisoner. The only good thing I can say about the show is that my ticket was free of charge.

Riverdance is faux-Irish dancing and I hope it doesn't give the impression that this is the "culture" of the Irish. Because if it is, I now understand why drinking is so popular in Ireland. 'Cause I seriously wanted/needed a drink watching this show.

Basically, Riverdance is "Irish dancing" (if you can call it that) with really boring interludes of a faux-Spanish dancer, a bad Enya impersonator, and lame narration that seems borrowed from the live-action Transformers movie.

Some of the dancing is impressive. But people in the audience reacted like this was the first time they saw feet move in coordination. The people behind us were literally having orgasms. This was obviously their first time outside of Acton.

The "star" of Riverdance is some bearded guy with an attachment to wearing shiny outfits that look like they belonged in the '80s/early '90s. He did the same move over and over and over again, yet the audience gave him a rousing ovation after each "solo." Speaking of ovations, these Riverdancers would not leave the stage. I had to sit through (endure) no less than six curtain calls because the Riverdancers needed applause for each dancer, and then five ovations for the main stars.

Throughout the evening, as the dancers clogged and tapped across the stage, I thought of my friend Rachel inviting me to see Sugarland. Yes, I would rather have seen a country music concert than watch Riverdance. I would rather have attended a Toby Keith concert than watch this crap. Then I thought of my other friend, Karen, who had invited me to see Dance Flick. Yes, I would rather have watched a Wayans Brothers movie than watch Riverdance.

After the show mercifully ended, my friend Maria sent me a text message saying how fabulous the revival of West Side Story on Broadway was. This enraged me so much I thought of putting a curse on Maria a la Drag Me To Hell ("You shamed me!"), but relented as I realized it was probably a childhood dream of Maria's to watch WSS on Broadway, bringing her back to the days when she would imagine herself as Anita...

Final verdict: I would rather watch "High School Musical on Ice" (which I have seen) than sit through the horror of Riverdance again.

Happy Record Store Day!

2009-04-18T14:19:00.000-07:00

Who knew that vinyl would survive - even in these tough economic times? Today is "Record Store Day"... a day to commemorate the (few) record stores that exist today.

Here in Toronto, record/CD stores have been closing at an alarming rate (the biggest blow being Sam The Record Man closing in 2007), but a few survive. My favourites include Soundscapes, a charming CD store located in Little Italy on College Street. Soundscapes specializes in rare and hard-to-find music from genres such as soul, pop, jazz, folk, americana, and country. They also carry many independent Canadian acts which are hard to find in HMV, which is still the most prominent music chain in Canada.

Sunrise Records also remains in business. While Sunrise generally just carries the latest hit recordings, they do feature a decent enough catalogue. I think, however, Sunrise is much better than HMV for purchasing DVD's, particularly their flagship store at Yonge and Gould, which has a superb DVD selection.

Sonic Boom, located at Bloor and Bathurst, is a huge warehouse-style store that carries both new and used CDs on their main level, and a decent selection of new and used vinyl in their basement. Rummaging through their many used titles can be a chore for the casual music collector, but if you enjoy CD treasure hunts, Sonic Boom is worth visiting.

Of course, there are many other great record stores in Toronto. Check out Queen Street West which has many great vinyl stores still in business.

In this digital age, some may laugh at the idea of people continuing to buy vinyl and CDs, but those of us who love the traditional method of purchasing music... HAPPY RECORD STORE DAY! Get out there and support your local record store.

Did we underestimate Tom Cruise's box-office appeal?

2009-01-04T09:47:00.000-08:00

When Tom Cruise's film "Valkyrie" opened last weekend, after months and months of bad press, middling reviews and little interest by moviegoers, the seemingly cursed, Bryan Singer-directed World War II epic surprised many by debuting at number four with approximately $21 million. Okay, opening at number four is respectable, but back in the day, a Tom Cruise film would usually open at number one with huge numbers. But in the last few years, Cruise's image has suffered so badly, that it is a shock that Valkyrie made any money at all. That it opened in the top five with $21 million only proves that, despite the negative press and bizarre public appearances on "The Oprah Winfrey Show" and "Today Show", Tom Cruise's box office crown may be chipped, but it's not broken or destroyed.

It could be argued that most people associate Tom Cruise as the couch-jumper on Oprah, or as the Scientology celebrity who criticized Brooke Shields' use of anti-depressants for post-partum depression and went toe-to-toe with Matt Lauer over prescription drugs on "Today". But, evidently, there are many out there who remember Tom Cruise as a box-office star who, at one time, made interesting movies and would pay to see them regardless of bad reviews, but simply because it starred Tom Cruise.

I have not seen the film, and do not have much desire to. After all, it's going to be difficult for me to buy Tom Cruise as a German - WITHOUT a German accent. But I can understand why moviegoers wanted to see a Tom Cruise. Despite all the negative press in recent years, Tom Cruise has generally made good movies. For fun popcorn fare, there was Top Gun, Cocktail, Mission Impossible to keep us entertained, even if they were shameless entertainment. And he would also make deeper, more interesting films such as Born on the Fourth of July, Rain Man, and Magnolia. He has made some stinkers, such as Vanilla Sky, but overall, seeing Tom Cruise at the multiplex has generally been a positive experience.

So, perhaps it's too early to call to end Tom Cruise's box-office reign. It no doubt has been taken over by his friend Will Smith, who, although his latest film Seven Pounds is only performing moderately at the box office, has made boffo box-office blockbusters such as I Am Legend, Hancock and I, Robot. But Cruise is still in the game, and if a movie like Valkyrie, with all of its bad press and less-than-favourable reviews, can attract moviegoers, than we no doubt underestimated Cruise's box-office appeal.

Hugh Jackman as Oscar host?

2008-12-13T10:33:00.000-08:00

The choices for Oscar host have become increasingly eye-raising in the past few years... Chris Rock, Ellen DeGeneres, Jon Stewart, and for the upcoming Oscars... Hugh Jackman? Okay, so the Australian-born hunk is an actor with success in Hollywood (and a good actor at that), and he has a flair for musical theatre (having won a Tony award), but after the comedic monologues from Rock, Stewart and DeGeneres of the past years, people will be looking for Jackman to poke fun at Hollywood. However, since Jackman is part of the A-List, how will that be possible? I find the choice of Jackman a curious choice, but I'm willing to give him the benefit of the doubt. Let's see how he will handle the duties -- will he break into song? Will he reveal secrets of the Hollywood stars? Will he be as funny as Carson and Crystal? Time will tell...

Britney, For the Record

2008-12-01T20:14:00.001-08:00

Watching the Britney Spears "comeback" special For the Record last night on MuchMusic, you felt as though Britney's handlers were trying desperately to showcase a recovered and revitalized Britney Spears to the public. But once again, typical with Spears' almost ten-year career, her handlers once again presented an image that is false and unconvincing.

Now, I like Britney. She has made good pop music in the last decade (perhaps some of the best pop music), and she appears to be a sweet, fragile person, still innocent even as she is pushing 30. But there was something desperate about For the Record, as the show worked on all cylinders to make it appear this was Spears' triumphant comeback, when it was anything but.

There is something sad about Britney, almost Marilyn Monroe-like, and not in a good way. She seems unhappy, joyless, seemingly blank in the eyes. There is no spark, no ambition, no determination, unlike Madonna, who made an appearance last night, still has even at 50. Watching Madonna and Britney, side-by-side, was an interesting experience. The difference between Madonna and Britney is that Madonna controls everything: her image, her money, her staff, everything. You can sense her control when she walked into the room where Britney and her entourage were. Nothing penetrates Madonna's powerful yet icy facade or those puffed-up cheeks; she's impenetrable. But Madonna was never a puppet like Britney is, and if ever she was a puppet, Madonna always had at least one hand on the strings pulling her; the only difference is when the string was cut, Madonna did not fall, but the person pulling the string would.

Britney certainly lacks the drive her peers Christina Aguilera and her ex-boyfriend Justin Timberlake have. Yet unlike Madonna, Aguilera and Timberlake, Britney does not have the same grip on her career as they do. Watching Britney rehearse videos and dance routines throughout the special, you get the sense that she had nothing to do with the concepts behind them. None of these creations are her original ideas. Someone else is creating her ideas and telling her what to do. Britney seemed bored and disinterested throughout.

As much as the special wanted us to believe this was a "comeback", I think it's too soon for a Britney comeback. In fact, I don't think there should be a comeback, because the star herself appears not even interested in coming back.

Revisiting the (Christmas) Classics: Kim Stockwood's I Love Santa

2008-11-23T10:27:00.000-08:00

There are some singers who were born to make Christmas albums: Elvis Presley, Bing Crosby, Julie Andrews, Nat King Cole, Frank Sinatra, Boney M (oh, come on, admit it -- you love their Christmas album!) et cetera. The list could go on and on. And, of course, there are those singers who should not make a Christmas album (Jessica Simpson, anyone?).

It seems as if making a Christmas album is part of any singer's contract. Even during the boy-band hey-days, New Kids on the Block, N*Sync and 98 Degrees all made Christmas albums. But rarely are any of these albums more than smart marketing ploys to lure shoppers into spending money during the holiday season on their favourite singer jumping on the Christmas-album bandwagon.

However, one of the best Christmas albums in recent years is by a Canadian singer who like Presley, Andrews et al. was destined to make a Christmas album: Kim Stockwood. She's has had a few hits on Canadian radio, most notably Jerk and 12 Years Old. She is a talented singer-songwriter with a cheeky sense of humour and a gift for writing thoughtful, personal songs with strong melodies. Which is why she's the perfect singer to make her own Christmas album.

Released in 2006, I Love Santa gets some play during the Christmas season because of Stockwood's popular version of It's a Marshmallow World. There are a handful of other popular Christmas classics such as Silver Bells, Rudolph the Red-Nosed Reindeer and an absolutely gorgeous version of Silent Night (featuring Damhnait Doyle and Tara MacLean). But thankfully, Stockwood also features some of her own songs, including the title track. The album is a charming, warm-hearted Christmas album with a slightly jazzy sound; the kind you can listen to snuggled up in front of the fireplace drinking egg nog or a hot chocolate.

Although it's only two years old, Stockwood's I Love Santa is already one of my favourite Christmas albums of all time. I don't think it's too early to rank it with the Christmas classics. Treat yourself this Christmas to Kim Stockwood's I Love Santa.

Wanda Sykes Comes Out!

2008-11-16T12:50:00.000-08:00

I have been a big fan of Wanda Sykes. She is a hilarious comedian who is a scene-stealer in any movie she appears in (she was the only good thing in the god-awful Jane Fonda/J-Lo stinker Monster In-Law).

Now, I am an even bigger fan because yesterday at a Las Vegas rally to protest Prop. 8, legislation which proposes to ban gay and lesbian couples from marrying, Sykes came out of the closet to show her support with protesters of Prop. 8.

While there have been a number of artists who have come out before Sykes, her coming out is unique because 1) my gaydar apparently did not detect her (!) and 2) her coming out has more to do with human rights than making magazine covers or plugging a new film or comedy special.

You have to hand it to Sykes. Coming out is still a big deal for a performer even as there are a number of gay celebrities, and she runs the risk of losing out on comedy gigs, commercial deals and sadly, some fans. But coming out to protest an ill-advised piece of legislation is a reminder that we need to come out, be proud and rise up against hate. Because that is what Prop. 8 is; it's hatred. It's unacceptable and reminds us that we need to speak out against legislation which makes it acceptable to hate gays and lesbians.

Sykes did such a thing yesterday in Las Vegas. And she did it in a big way, in a move that was both personal and political. But most of all, it was brave and courageous.

Beyonce as Wonder Woman?

2008-11-11T16:17:00.001-08:00

There are reports floating around that singer/actress/entrepreneur Beyonce is in talks to play Wonder Woman in the long-anticipated film adaptation of the beloved comic book and '70s television show starring Lynda Carter.

I like Beyonce. She makes some good music, and she surprised me by giving a fairly weighty performance in Dreamgirls. But to me, she is still an average actress, and playing such a high-profile role in a film for an actress with a handful of film credits is a big risk.

Physically, Beyonce has the amazon-like figure that Wonder Woman requires, but she doesn't have the grace, innocence, great comic timing or - dare I say it? - sexiness that Lynda Carter brought to the role in the 1970s. Now, Lynda Carter will never be accused of being a great actress, but there is no denying it: she was great as Diana/Wonder Woman, and made the show worth watching, even in the awful second season when WW switched from the '40s to the present-day, disco-bathed '70s.

As much as Beyonce looks the part of Wonder Woman, she doesn't embody her. I think it would be a good idea to go with an unknown actor, like they did with Daniel Craig for Casino Royale. Although he had a fair share of acting credits, most movie audiences were unfamiliar with Craig, and that factor helped make Casino Royale to become a monster hit.

Perhaps one of the reasons I am not too enthusiastic about Beyonce playing Wonder Woman is because Beyonce is overexposed. She's on the radio, on music video channels, hair commercials, make-up commercials, tabloids, awards shows, and it goes on and on. Beyonce has become a corporation; it's much more difficult to buy her as an Amazon goddess/warrior.

Who knows who will play Wonder Woman in a WW feature film, if that ever happens. But if it should be Beyonce, I remain skeptical.

But then again, I was skeptical when Daniel Craig was cast as James Bond. And we all know how that turned out...

Has it been 10 years since Cher's Believe?

2008-10-26T10:01:00.000-07:00

On Sunday mornings, I enjoy cleaning and doing laundry. It's also an excuse to listen to new CDs or dust off some old ones. In regards to the latter, I dusted off my CD of Cher's 1998 comeback CD, Believe. And, yes, it's hard to believe (sorry, couldn't resist) that it has been 10 years since Cher surprised the music world by releasing the biggest solo hit of her career - in her 50s!

The album and single of Believe was intended to be a valentine to Cher's faithful gay audience, an album full of up-tempo dance tunes. What Cher got in return was a major comeback and a worldwide smash. Ten years late, the album is still a fun dance record, and the album's single, including the overplayed title track, the underrated Strong Enough and All for Nothing, all sound fresh today. The production by Metro, Junior Vasquez and Todd Terry kept Cher's unique voice in the forefront, and while it is dance album, Believe is still pure pop. Even some of the album tracks are good -- Runaway, The Power are strong, while Taxi, Taxi sounds like it could have come from Donna Summer's seminal 1979 disco opus Bad Girls. Cher even updated her 1987 hit We All Sleep Alone to good effect.

You might be surprised to learn that Believe is an influential album. The use of the vocoder effect on the title track has become commonly used in music, even to this day. Artists such as Madonna, Britney and other dance artists have become quite fone of the voice-processing sound. Although Believe was not the first album to use the vocoder effect, it certainly helped pioneer it.

Ten years later, Cher is now in Vegas, entertaining audiences with an over-the-top spectacle that only Cher could pull off. She doesn't record as much -- the major success of Believe was not sustained on the follow-up Living Proof -- but you have got to give credit to Cher, she's been a consistent hit-maker for decades, and her music is also, for the most part, consistently good. If you own this album and have not listened to it in some time, you may be surprised how good it still sounds.

And yes, it's still great for cleaning.

Madonna reigns supreme...

2008-10-20T20:59:00.000-07:00

Well, what can I say about Madonna's Sticky and Sweet show last night at the Air Canada Centre? It was amazing. And it was even BETTER than I could have imagined.

I don't know what it is about a Madonna show that just unleashes the inner gay boy in me, but I just lose myself at her shows. It's like time stops. I don't think about my personal problems, about work, about my debts or whatever is on my mind. It's literally two hours of pure euphoria. Last night, whenever Madonna would plant her microphone in some guy's face to sing along to her lyrics, he would break away from the lyrics and shriek, "I love you, Madonna!" That happened several times last night, and I understand why - you just become so giddy at a Madonna show.

I'm not quite sure what sets Madonna apart from the other shows I've seen in the last year or so - she's not the best singer or best dancer (let's not even pursue the whole guitar thing). But what Madonna possesses is what most performers wish they had - and I suspect why several celebrities resent her: she's a complete force of nature herself. She has so much charisma and stage presence that, despite the moving sets, top-notch lighting, and a hard-working troupe of dancers, the main spectacle remains Madonna herself. As much as I loved seeing the Spice Girls earlier this year, the four of them cannot even muster the same degree of stage presence (heck, stage power) Madonna can.

What I loved about the Sticky and Sweet show was that, despite the spectacle, it was quite intimate. Yes, the staging and lighting were stellar, but they were not as grand or overwhelming as Re-invention or Confessions, and S&S allowed Madonna to take center stage. Her voice was in surprisingly great shape. And for two hours, Madonna danced, vogued, jumped rope, boogied and shimmied her way across the stage as if she was a 20-year-old girl, not a 50-year-old woman.

The show was basically built around tracks from her new album, Hard Candy, with a few classics thrown in for good measure. Hard Candy is not one of Madonna's more popular albums (although I quite enjoy it). But most of the HC tracks translated well to the stage, particularly the show opener "Candy Shop" followed by the "Beat Goes On". One of the show's highlights was "Devil Wouldn't Recognize You", featuring Madonna singing atop a piano in a dark cloak, followed by a surprisingly good performance of "Spanish Lesson" (one of the most hated Madonna tracks ever, with posters on Madonna fan sites calling it "Spanish Torture"), and an exuberant sing-along version of "Miles Away". The show closer "Give It 2 Me" was the perfect song to end the show, with the ACC turning into a massive dance club. I couldn't have asked for a better audience - completely enthusiastic throughout. You could feel the electricity throughout the ACC, particularly during "Like A Prayer". Even my sister, who is five months pregnant, rarely sat down because she was having such a blast. Afterwards, we all felt the $400 tickets were justified in price.

The only drawbacks were too much of Madge on guitar (the rock version of Borderline was great, but Human Nature and Hung Up didn't fare as well), and some of the interludes were a bit dull, although the Get Stupid video was impressive.

But overall, a fantastic show!

The Queen reigns supreme...

Where is the "Spotlight" for Jennifer Hudson?

2008-10-07T20:55:00.001-07:00

After wowing audiences in Dreamgirls with her Oscar-winning performance as troubled singer Effie White, anticipation has been growing for the release of Jennifer Hudson's debut album -- the Dreamgirls soundtrack notwithstanding. Many have wondered if the big-voiced diva will be able to translate her surprising film success into a recording career. After all, Hudson rose to fame singing on American Idol, wowing audiences with her stunning version of Elton John's Circle of Life.

However, while Hudson's first album has long been in the making, its eventual release last week was accompanied by little fanfare. Most people I know had no idea she had an album coming out, or that it would be released on September 29th. Hudson herself has made few television appearances, and there has been little buzz surrounding the release of her debut. Her first single, "Spotlight", has been lingering in the lower part of the Top 40 on Billboard's Hot 100 Singles Chart, not a good sign for the long-term success of Hudson's album. "Spotlight" is a decent enough single, but it's nothing special, and hardly allows Hudson to use her impressive pipes.

The lack of fanfare for Hudson's album is surprising since Clive Davis is one of the album's executive producers. Where is that magic touch that he brought to all those Whitney Houston albums he oversaw? Does Davis not feel the same way about Hudson as he does about Houston?

The album has received mixed reviews, and the lukewarm response to "Spotlight" indicates that the buzz around Hudson herself may be faltering. After her spectacular debut in Dreamgirls, response to Hudson's performance in the Sex and the City movie was not as positive, although several critics did compliment her. But reading online reviews on IMDB or other movie sites, many bloggers and posters criticized Hudson's performance.

So, with the lack of interest in Hudson's first album and mixed response to her second film, does this mean Hudson is a one-trick pony? I'd like to think not. She's still young, and I must admit I enjoyed her in the Sex and the City movie, and look forward to buying her album, which I have not heard all the way through. How can anyone not be impressed by that voice? Time will tell if Hudson's career will find success beyond Dreamgirls, but Hudson is very talented, and there is more to her than Effie White.

Alison Moyet

2008-10-05T20:46:00.000-07:00

Venturing out to the CNE Grounds, on a Sunday night no less, is not my ideal way of spending my Sunday evening before the dreaded Monday morning. But when you're venturing out to see Alison Moyet, it's worth it. Returning to Toronto to perform at the Queen Elizabeth Theatre after a 14 year absence, the British singer proved that time has been very kind to her soulful, bluesy voice, which remains powerfully intact.

Even if Moyet's recent material, including a number of songs from last year's The Turn, was met with mild response by the three-quarters full audience, her stunning vocals were a treat. Her powerful pipes were well-matched with the jazzy material, including a cover of Elvis Costello's Almost Blue and Billie Holiday's That Ole Devil Called Love. Most members in the audience were looking for nostalgia as Moyet trotted out a handful of Yaz hits (which she covered on their recent reunion tour this past summer, which, sadly, did not stop in Toronto and many last night were probably kicking themselves for not getting to see that much-anticipated reunion). Without Vincent Clarke's trademark synthesizer, Moyet's tight five piece band did an adequate job re-inventing the songs (with violins, no less). Particularly good was an energetic version of Don't Go, although a brief version of Situation, which was the show closer, did not sound as good without synthesizers.

As for Moyet's own early material, she seemed hesitant to trot out her biggest North American hit, Invisible, for its desperate and pleading lyrics, which Moyet joked as unbecoming for an almost-50-year-old woman to sing. But the night's biggest surprise was an intimate version of Is this Love, which was warmly embraced by the crowd. A solid version of Whispering Your Name was also a highlight.

Too much of the newer material weighed down some of the show, and unfortunately Moyet performed only a few songs from her excellent 2004 covers album, Voice. But it was THAT voice that held the show together. Hopefully Moyet won't wait 14 years for next performance in Toronto.

Will Janet Jackson ever bounce back?

2008-10-05T09:24:00.000-07:00

Since 2004, when Janet Jackson made the ill-fated decision to spice up her appearance at the Super Bowl Half-time show with the infamous Justin-ripping-away-her-blouse routine, Jackson's once-hot career has been in free-fall, a decline that seems to have no end in sight. Just last week, Jackson announced that she had left her label, Island Def Jam, insisting that it was her request to be released from her contract. The parting of ways between artist and label comes only months after the release of Jackson's first and only album with IDJ, Discipline, which failed to match the buzz and sales of her past monster hits such as Rhythm Nation 1814, Janet, and even 1997's Velvet Rope. Jackson was obviously dissatisfied with the label's lack of promotion of the album, but Jackson herself has not had a hit album since 2001's All for You. Her previous two albums, Damita Jo and 20 Y.O., both bombed, and Discipline appears to have run its course.

Jackson sought to boost album sales by going out on tour. Rockwitchu, her first tour in seven years since 2001's All for You tour, opened recently in Vancouver, but the tour has been plagued by soft ticket sales, and recent health problems for Jackson herself. She has postponed shows in Montreal, Boston, and is now postponing shows in Atlanta, North Carolina and Fort Lauderdale due to an undisclosed illness. Whatever the case may be, this recent development in Jackson's tour is simply another case of bad luck for Jackson, whose career hasn't recovered from the infamous "wardrobe malfunction".

Without a label and a failure to generate buzz or ticket sales for her latest tour (like Madonna who is yet again breaking box office records with her Sticky and Sweet Tour), Jackson finds her career at an impasse. It's obvious Jackson needs new management and new advice. She has exhausted the sex kitten role, a persona she seems reluctant to drop even at the age of 42, and despite the fact that the public has grown tired of the sex act as well, judging by the harsh reaction to her Super Bowl performance and tepid response to Jackson's last three problems. Perhaps Jackson should take a page out of her rival Madonna's book. Following the negative reaction to her 1992 Sex book, the Material Girl regrouped and softened her image to the public, releasing a compilation of ballads, starring in the film adaptation of the musical Evita and releasing the spiritually inspired, Grammy-winning Ray of LIght album, all of which helped put Madonna back in the good graces of the public.

Since 2004, aside from starring in Tyler Perry's Why Did I Get Married?, Jackson has not done much to evolve her image or soften it. Her albums continue to feature silly interludes about sex, and her songs themselves are erotically charged. Essentially, she has made the same album for the past decade.

There was a time when Jackson seemed unstoppable. Control, Rhythm Nation 1814, Janet and Velvet Roper were strong albums that were also commercially successful, back in her heyday of 1986 to 1997. But back then, Jackson was more than a sex kitten; she wrote and sang songs about racial harmony (Rhythm Nation); AIDS (Together Again) and domestic violence (What About). But now she appears to be a one-trick pony, trying to compete with the Rihannas and Beyonces with sexed-up image that no longer comes across as sexy or genuine. Perhaps being without a record label will inspire Jackson to take some new risks, but it's evidently clear that her sex kitten days are over. It's time for some new tricks, Miss Jackson.

What's so great about Shia?

2008-10-04T11:06:00.000-07:00

Shia LaBeouf is definitely on a roll - four blockbusters in a row: Disturbia, Transformers, Indiana Jones and the Kingdom of the Crystal Skill, and now Eagle Eye, which debuted at number one last weekend at the box office. LaBeouf certainly has a great agent and is getting good advice; all four films have done big box office, and have quickly elevated LaBeouf to the A-list.

But I have to ask the question: what is so great about Shia LaBeouf? He definitely has screen presence, and in each of the four films I mentioned, he has done a serviceable job in his respective roles, but one thing is becoming increasingly clear when I watch Shia LaBeouf on film - he plays the same role in EVERY film. In Disturbia, Transformers and Indiana Jones 4, he plays a likable but wayward teenager who gets caught up in adventures that reform him, while Eagle Eye gives him a chance to play a somewhat older character. But I haven't seen much range in LaBeouf's acting. His performance in Indiana Jones 4 started promisingly, as he introduced the character as a rebellious, mouthy young punk, but either Spielberg or the screenwriters quickly diluted the bad-ass of LaBeouf's character, resulting in his character of Mutt Williams turning into a stock Shia LeBeouf character.

I realize there are actors who are continually cast in films to play their typical character, like Sly Stallone, Jason Stratham, even Woody Allen, but LaBeouf has been touted as the next big thing, but so far I find his acting passable and serviceable, but he hasn't dazzled me. Perhaps soon he will find a role that will really challenge him, and show us a side of him we haven't seen before. Perhaps playing a drug addict like Anne Hathaway does in the upcoming Rachel Getting Married, or getting his hands dirty playing a villain, will demonstrate why Shia LaBeouf is the next big thing. But so far, I'm not convinced.

Cancellation notice

2008-07-05T14:15:00.000-07:00

After much deliberation, I have come to the difficult decision that I will not be able to continue with my show. I believe the audience deserves a fully-committed 100% performance, and I have not been able to give that for this show. I want to thank everybody who supported me throughout this process, and I also want to give a special thanks to the people in the audience who supported me throughout a difficult opening night. I will never, ever forget your kindness and generosity, not to mention compassion, that you gave me that night. This experience has made me question my strengths, but I hope that I will grow and evolve from this experience. Thanks. Tom

Travel or Entertain? Teaser

2008-06-25T08:16:00.000-07:00

>>I haven't seen you on here before.
>>Yeah. I just joined.
>>What brings you here?
>>Looking for some fun now that I'm single.
>>Okay.
>>I just came out of a relationship.
>> Oh, okay.
>>So I'm still dealing with that.
>>I understand. It's always difficult when a relationship ends. But I guess you're starting to feel better since you're on here.
>>Yeah.
>>When did you break up?
>>Yesterday.

Don't you remember me?

2008-06-22T13:52:00.000-07:00

Q. Hey!
A. Hi.
Q. How have you been?
A. Uh, fine. Do I know you?
Q. Yes. You don’t remember me?
A. Uh, should I?
Q. Yeah, we met online and hooked up a few months ago. Don’t you remember I came over to your place and gave you
a blow-job?
A. No, sorry, man. Do you want to come over and give me one now?

Travel or Entertain? is playing at this year's Toronto Fringe Festival

Travel or Entertain? teaser

2008-06-20T06:54:00.000-07:00

I told that I rarely pick up guys online. I lied. I told him that I had been tested in the last six months. I lied. I told him that he looked just as he did in his picture. I lied. I told him that he had a nice body. I lied. I told him I liked the way he kissed. I lied. I told him we could meet again. I lied.

For the ultimate hook-up, come see Travel or Entertain?

2008-06-19T09:15:00.000-07:00

goodlifeto: hi
tonygymjock: sup
tonygymjock: age stats
goodlifeto: 28, 5'9, 160 lbs, smooth, good shape, 7 cut
tonygymjock: into
goodlifeto: kissing, sucking, top
tonygymjock: how hung
goodlifeto: 7 cut
tonygymjock: do you workout
goodlifeto: yes
tonygymjock: which gym
goodlifeto: goodlife -- hence, my username. Do you have a pic?
tonygymjock: ever get your cock sucked there
goodlifeto: no, i actually go there to workout
tonygymjock: i hear guys get head at that gym in the showers and sauna
goodlifeto: possibly, but i wouldn't know
tonygymjock: then you must not have a hot body
goodlifeto: you're an idiot
goodlifeto: you don't even have a pic so how do I even know YOU work out?

Travel or Entertain? playing at this year's Fringe Festival in Toronto
Venue #11 - Helen Gardiner Phelan
79A St. George Street (South of Harbord)
Fri , July 4 @ 7:00 PM
Sun , July 6 @ 3:30 PM
Mon , July 7 @ 10:30 PM
Wed , July 9 @ 1:45 PM
Thu , July 10 @ 9:15 PM
Fri , July 11 @ 3:30 PM
Sun , July 13 @ 5:15 PM

Travel or Entertain?

2008-06-01T16:47:00.000-07:00

This year at the Fringe, Thomas Corless stars in Travel or Entertain? a provocative and intimate look at the gay chat world. More to follow...

Lovely Laura

2008-05-07T15:59:00.000-07:00

Over a number of years, I have included a number of albums in my CD collection by the late Laura Nyro. The talented singer/songwriter died in 1997, but she has left a rich legacy of music. She never became a household name, but her compositions became hits for other singers, in particular "Stoney End" for Barbra Streisand and "Wedding Bell Blues" and "Stoned Soul Picnic" for 5th Dimension. Nyro herself recorded these songs, and in the late '60s, her songwriting skills were in much demand.

One of my favourite Laura Nyro albums is actually a covers album. Usually I steer clear of covers albums because they seem nothing more than a contract obligation, but Nyro's 1970 album Gonna Take a Miracle, featured covers of soul classics such as "The Bells", "Jimmy Mack", "Spanish Harlem" and the title track. She was backed by powerhouse R&B trio Labelle (featuring Miss Patti) and their stunning vocals made this a classic album.

If you have never listened to Laura Nyro, I recommend Gonna Take A Miracle or any of her albums. Nyro was a great songwriter, but she was also a wonderful singer blessed with a beautiful voice.

Move over Mariah and Madonna...

2008-05-03T11:22:00.001-07:00

Donna Summer is back with yet another single from her upcoming album, Crayons. And all I can say is WOW! This is such a great song! It's called "Stamp Your Feet". It's got a catchy beat to it and the lyrics are fun to sing along with. It's not a traditional dance/disco song that we're accustomed to hearing from Donna, but it's still fun to dance to, and contemporary enough for radio. I doubt radio programmers will give much love to this song (read: ageism), but they should -- it's a perfect summer radio song. With so much written about Mariah and Madonna's new albums, it's unfortunate that Summer, who has had obvious influences on both female artists, is not getting as much press or attention. Personally, I think "Stamp Your Feet" is superior to both Carey's "Touch My Body" and Madonna's "4 Minutes" .

This is definitely one song we'll stamp our feet to, Queen Donna!

It's all about ME, ME, ME!

2008-04-30T09:51:00.000-07:00

What is with the marketing of the "Sex and the City" movie? Why is Sarah Jessica Parker the only cast member in the posters? I've seen two posters, the first with the tagline "Get Carried Away", featuring only SJP, and a recent one featuring a haggered, witch-like SJP, again, on her own. I thought SATC was an ensemble show -- oh, wait -- I forgot. It was supposed to be a star vehicle for SJP until, um, the talents of Kim Cattrall, Cynthia Nixon and Kristin Davis stole the spotlight from SJP. The three other women deserve to be on that poster as much as SJP does. Where are they?

Classic Film Sequences: "Paris, Texas"

2008-04-26T12:02:00.000-07:00

One of my favourite film sequences is from Wim Wender's 1984 film, Paris, Texas. The film is about an amnesiac (Harry Dean Stanton), who is lost in the Texan landscape, and the film tracks his journey in rediscovering his past and finding his wife (played by Nastassja Kinski). The reunion between these two characters is the highlight (and climax) of the film, and it's one of the most engrossing film sequences I have ever seen. The writing, by Sam Shepard, and acting, by both Stanton and Kinski, are outstanding. If you have not seen this film, I recommend watching it through before watching this particular sequence. It's a masterpiece.

Best Albums of the '90s

2008-04-21T16:25:00.000-07:00

The other day I was having dinner with some friends, and the discussion of '90s music came up. My friend Karina asked me what my top 10 favourite albums from the '90s are. I was stumped for a moment, but after pondering a few minutes, I realized that many of my favourite albums ARE from the '90s. Here are 15 (sorry, couldn't do 10) in no particular order or ranking:

1. George Michael - Listen Without Prejudice, Vol. 1
Faith was a classic, but this album is more touching and "Freedom '90" is amazing.

2. Sinead O'Connor - I Do Not Want What I Haven't Got
Before she became embroiled in controversy, O'Connor made this stunning album of personal songs, plus an outstanding cover of Prince's "Nothing Compares 2 U".

3. Madonna - Erotica
4. Annie Lennox - Diva
5. k.d. lang - Ingenue
1992 was a great year for women in music, and these three albums are proof of that. Madonna's "Erotica" made perhaps the best albums of her career; Annie Lennox went solo and found success with "Diva" and k.d. lang abandoned the country twang for the torch twang on "Ingenue" with equal success.

6. Me'Shell Ndegeocello - Plantation Lullabies
A great album of funk, urban pop, hip-hop inflected soul.

7. Nirvana - Unplugged in New York
Nirvana made some of the greatest albums in the early '90s. I choose this unplugged album because, for me, it is their most accessible and engaging.

8. Fatboy Slim - You've Come a Long Way Baby
A surprise treat in 1998 of electronic dance.

9. Aaliyah - One in a Million
The Timbaland/Missy Elliott production on this album is outstanding.

10. New Radicals - Maybe You've Been Brainwashed, Too
A one-hit wonder who actually made a fine album. Some great songs.

11. Lauryn Hill - The Miseducation of Lauryn Hill
She may have disappeared into obscurity (or madness, depending on what story you hear), but Lauryn Hill was the Queen of Music in 1998. Ten years later, we may not know where she is, but this album is still a great player, especially the first five tracks.

12. Spice Girls - Spiceworld
In my opinion, this is the best bubblegum pop album. Every song is pop perfection.

13. Madonna - Ray of Light
Not as good as Erotica, but with ROL connected Madonna with a new generation of fans in 1998, with well-crafted songs that blended pop with electronica.

14. Radiohead - The Bends
O.K. Computer could go here as well, but I prefer this album.

15. Pet Shop Boys - Behaviour
In 1993, PSB made Very, which has become a classic, but 1991's Behaviour is even better, with lush, symphonic dance songs.

Hard Candy Unwrapped... and it's delicious!

2008-04-20T12:32:00.000-07:00

I have heard a few "leaked" tracks from Hard Candy, Madonna's highly-anticipated hip-hop-style album to be released April 29th, and all I will say at this point is that it is HOT!! It's very catchy, and two of the songs are actually quite personal. So, while it will be a fun, upbeat album, Madonna still indulges her introspective songwriting side. Many M fans were worried this would be a desperate attempt for the pop diva to sound current and remain relevant, but in fact, judging from what I've heard, she has made what is, perhaps, her best album since Ray of Light.

Underrated performances: Petula Clark in "Finian's Rainbow"

2008-04-19T14:24:00.000-07:00

Finian's Rainbow was a flop when it was released in 1968, despite being a big-budget musical and an early film in the career of budding auteur Francis Ford Coppola, who would go on to direct the Godfather series. By 1968, musicals were falling out of public favour, and Finian's Rainbow, a success on stage for many years, looked a wee bit outdated on screen with some creaky plot points. But despite its flaws, there is much to enjoy in Finian's Rainbow. One of its greatest virtues is the performance of Petula Clark, who plays Sharon, the strong-willed but loving daughter of Fred Astaire. At this point, Clark was at the peak of her music career, when she ruled the charts with hits such as "Downtown", "I Know A Place" and "Don't Sleep in the Subway". Producers were quick to get Clark on screen, and to her credit, she was a natural in film, giving fine performances in "Goodbye, Mr. Chips" and this film. As Sharon, Clark projects strength, sensuality, and a sharp sense of humour, almost stealing the film away from her co-stars Astaire and Don Francks, who plays her love interest and duets with her in this clip, "Old Devil Moon", one of the highlights of the film. When she made Finian's Rainbow, Clark was in her late '30s, yet she proved ideal casting. Just watch her in this clip, as Sharon nervously gives into a romantic suitor. She's very charming, but also very sexy. It's unfortunate Clark didn't do more films, but her short career at least gave us this excellent performance.

Yes, I bought this...

2008-04-16T20:35:00.000-07:00

Back in the '80s, I was a huge fan of Lisa Lisa & Cult Jam, the R&B/pop trio who scored with hits such as "I Wonder if I Take You Home", "Head to Toe" and "Lost in Emotion". Lisa Lisa's sweet voice combined with the urban pop of Full Force was a great match. The songs still sound hot and are perfect for an old skool party.

I purchased this compilation of their hits at a local used CD shop, and I must admit I was a little embarrassed when I approached the cashier. I mean, Lisa Lisa & Cult Jam -- it was always a strange name, and now 20 years later, the group has become a true guilty pleasure. Nobody buys CDs by Lisa Lisa and Cult Jam anymore (hence, why I purchased this in a second-had music store), but if you don't want anybody to know that you like LL&CJ, you can always download in the privacy of your own home. So, let's take a trip back 20 years and enjoy the artistry of, um, Lisa Lisa & Cult Jam.

Kylie's X flops in America

2008-04-13T07:24:00.000-07:00

Kylie Minogue may be a global superstar, particularly in Europe, Australia and Japan, but in the U.S., and to some degree, Canada, Minogue has had a more difficult time establishing a stronghold on radio and record sales.

Minogue released her latest album, X, in the U.S. last week, a few months after it was released internationally. It's been available in Canada for some months as well. X has done respectable business worldwide, not a huge hit, but good enough to continue Kylie's streak of hit albums since her international comeback with 2000's Light Years. But in the States, the sales results were devastating. The album entered the Billboard 200 at 139, selling a pathetic 6000 copies. Even Minouge's last album, 2003's Body Language, sold more in its opening week (43,000).

So, what happened? There are several factors. Firstly, Minogue's hardcore fan base in the States probably bought import copies of her album already (or downloaded it). Secondly, Minogue's record company picked the wrong song to release as the album's first single. "All I See" is a pleasant, R&B-lite, mid-tempo ballad, but it's hardly indicative of Kylie's pop/dance sound. It was probably chosen as the first single because it's the most R&B-sounding song on the album, and since R&B/hip-hop dominates U.S. radio, radio programmers would more likely play "All I See" than "2 Hearts" and "In My Arms", which have been released internationally and are perhaps too "pop" for American radio. Thirdly, while Minogue's campy appeal is popular worldwide, it's less likely to catch on in America, where camp is not mainstream and generally frowned upon. By releasing "All I See", Minogue seemed to be watering down the elements that have made her a huge superstar internationally. Where's the sass of "2 Hearts" or the sexiness of "In My Arms" or the over-the-top kitsch of "Wow"? By all accounts, Minogue is being marketed improperly to American audiences, and perhaps Minogue and her record company do not know how to market her to America, since Minogue has always had an indifferent relationship to the States. By appearing on shows like Dancing with the Stars and Craig Ferguson, Minogue was targeting older demographics and not skewering younger audiences who watch MTV. Even fawning posts by blogger (and Minogue fan) Perez Hilton failed to have an impact on Minogue's sales.

I think it's safe to say that Minogue should give up trying to break into the States. She doesn't need it. While America is still seen as a desirable market, Minogue has achieved a staggering amount of Madonna-like success without ever breaking into it. She regularly hits number one or the top 10 in Europe and Australia, and her tours sell out instantly. She's only had two top ten hits in America, "The Locomotion" in 1988 and "Can't Get You Out of My Head" in 2001 - a 13-year gap between hits. Minogue has never been able to maintain a streak of success in America, and I mostly attribute it to the fact that her sound is too European, too campy, too pop, too much of everything America does NOT like in music.

It's a bit disheartening to see a talented artist like Kylie Minogue, who has had made some fantastic pop singles and albums, courting an audience who are disinterested in her and ignore her. America, you don't know what you're missing. It's your loss.

Gremlins 3... please!

2008-04-11T13:50:00.000-07:00

I was thinking about Gremlins 2: The New Batch the other day, and was recalling how it's a great, underrated sequel. It's a little different from the first one in that it takes a lighter tone and goes completely over the top, with the Gremlins taking over a Trump Tower-like building (owned by a Donald Trump-like character, played so well by John Glover). The New Batch was not a huge hit, but it's become a cult favourite beloved by fans of the Gremlins series.

I really wish they would make another sequel, perhaps to quench my thirst for an
'80s revival, which will start next month with the next chapter in the Indiana Jones chapter. I think another Gremlins film could still work, perhaps with a mix of the dark humour from the first film, and the pointed satire of the second.

Do you think a third Gremlins film could work, or am I just having a severe case of nostalgia?

Is American radio ageist or does it just hate Madonna?

2008-04-09T06:46:00.000-07:00

Madonna's latest single "4 Minutes" from her upcoming album Hard Candy is becoming a huge hit around the world, and is a top seller on download charts. It is number one on both the American and Canadian iTunes singles charts, and the video has become a hot download as well. The song is doing exceptionally well on Canadian radio. Yet, on American radio, Madonna seems to be making little progress.

On the Billboard Hot 100, which takes into account both sales and radio play, Madonna is #3, mostly based on downloads. The number-one song is "Touch My Body" by Mariah Carey, which has received far more radio spins than Madonna's song, almost three times the amount. So, what is going on here? Why is Madonna's song, which is a top seller, getting such a chilly reception from American radio?

There seems to be a number of factors. Firstly, Madonna has not been a huge American radio presence in many years. Madonna's last big single on radio was "Don't Tell Me" from her 2000 album, Music. Madonna is now approaching 50, and American radio has always been a bit hesitant to play more established (read: veteran) artists, and it seems radio programmers are less likely to play a sexy uptempo track from an almost-50-year-old woman than the latest club jam from Fergie. Ageism is no doubt a factor here.

Secondly, Madonna's music has become increasingly European-influenced for the last decade or so, and European-style music has never been popular on American radio. For her latest album, Madonna has hooked up with hot producers Pharrell Williams and Timblaland to give the album a more American feel, which she hopes will put her back on the radio map. So far, it's been a struggle.

Thirdly, Madonna's political views and her move to England have no doubt helped distance her from American audiences. She bashed President Bush in her "American Life" video and in both her Re-invention and Confessions tours. This may also be a factor in why radio programmers are not keen to play her latest song.

Perhaps it comes down to the fact that America no longer cares for Madonna. Gone are the days of "Papa Don't Preach", "Like A Prayer" and "Vogue", when the release of the latest Madonna single on radio was an event. Yet "4 Minutes" is a huge hit on the U.S. iTunes, so obviously Madonna is still very popular in America.

Madonna may be pop royalty, and despite her strong sales, for some reason America doesn't want to set aside "4 Minutes" for the Queen of Pop.

Is George Clooney box-office poison?

2008-04-07T20:48:00.000-07:00

George Clooney's latest film, Leatherheads, which he stars in and directed, took in a disappointing $13.5 million at the box office. Clooney may be critically-lauded and admired for his directorial efforts and offbeat choices in his acting career, but he hasn't exactly been setting the box office on fire lately. For every Ocean's 11, 12, or 13, there is a Solaris, Intolerable Cruelty or Michael Clayton. Some of these are decent films and some are even great. Michael Clayton was an excellent film that, despite receiving several Academy Award nominations, including one for Clooney for Best Actor, stiffed at the box office. Clooney's past directorial efforts, Confessions of a Dangerous Mind and Good Night and Good Luck, while critically acclaimed, were not huge box office hits.

Now that Leatherheads looks to be another stiff at the box office, many are questioning Clooney's ability to pull in an audience. His suave charisma and good looks work in films like Ocean's 11 and Out of Sight, and audiences respond well to those films, but when Clooney tries something a little more obscure, like Solaris, or more low-key, like Michael Clayton, audiences stay away.

As he nears 50, Clooney is at a point in his career where he can still enjoy leading-man status, like Denzel Washington, but can also settle into interesting character roles. However, unlike Washington, Clooney has always seemed a bit indifferent to being a big box-office star. His offbeat choices, including O Brother, Where Art Thou?, are not films that are designed to bring in huge throngs to the local mulitplex. He seems less engaged in films like Perfect Storm and Batman & Robin (well, who could blame him for the last one), which are designed for mass audiences, but he obviously does those types of films either for money or to reach a wider audience. However, I think he really does those films so he can do the smaller films that he enjoys making

Clooney reminds me a lot of Clint Eastwood, who would do Dirty Harry movies and movies co-starring apes to help finance his smaller films like Bird and White Hunter, Black Heart. But the difference between Clooney and Eastwood is that the films Eastwood stars in and/or directs are generally box office hits. Films like Unforgiven, Bridges of Madison County, Mystic River and Million Dollar Baby, all did fairly well at the box office.

Clooney may be on a critical streak but his box office powers are diminishing. This leaves him in an interesting position; will he continue doing offbeat projects or will he do more mass-appeal films? And will studios continue hiring Clooney even though he hasn't had a major box office hit in the past few years aside from Ocean's 13?

I admire Clooney and his commitment to making different types of films. But he's working in Hollywood, where money talks. Clooney is going to need another hit soon if he wants to keep making his pet projects.

Revisiting the Classics: Kylie Minogue's "Impossible Princess"

2008-04-06T08:29:00.000-07:00

2008 marks the tenth anniversary of Kylie Minogue's polarizing Impossible Princess album (although it was released in some areas in 1997). I say "polarizing" because IP is one of those albums that people either love or hate. I, of course, love it and think that it's Kylie's finest album.

Kylie made IP when she was on the Deconstruction label in the '90s, following her massively successful run of hits with SAW (Stock, Aitken and Waterman). At Deconstruction, Kylie opted for a more sophisticated dance-pop sound than the bubbly, sugar pop of SAW. 1994's self-titled album (her first for Deconstruction) was a glossy dance-pop affair featuring enduring Kylie singles "Confide in Me" and "Put Yourself in My Place". IP was the follow-up album; a mix of brooding techno-pop ("Too Far", "Cowboy Style", "Breathe"), and rock ("Some Kind of Bliss", "I Don't Need Anyone"). Many refer to it as the "Indie Kylie" album, where she opted for a darker, less-poppy sound. While IP is a little darker and more brooding than the typical Kylie album, it is still, essentially, a pop album, albeit, with a darker edge. Songs like the sexy mid-tempo "Breathe", the snappy "Did It Again", and the pulsating dance track "Drunk" are as catchy as any song in Kylie's catalogue. The lyrics on this album are more introspective and obscure than say those on Light Years, Fever, or Kylie's lastest, X, which all aim to be classic pop-dance albums.

With IP, Kylie got her hands dirty and tried to create something a little edgier than her pop audience was used to. She branched out by working with the Manic Street Preachers, who provided the rock-style songs including "Some Kind of Bliss", which became a moderate hit (see the video below, as well as the fabulous video of "Did It Again").

While not a flop by any means, IP received a mostly indifferent reaction when it was released in the late '90s. This reaction pretty much motivated Kylie to return to her pop roots with 2000's Light Years. However, over the years, the album has become a favourite amongst fans, many rating it her best. In 2003, a special edition of IP was released adding b-sides and remixes. For me, the original album is all you need. It's a tight collection of 12 tracks, from the mysterious opener, "Too Far" to the haunting, stunning closer "Dreams" (a true fan favourite).

If you are a Kylie fan, but have never heard this album (which was never officially released in North America), you owe it to yourself to order an import copy or download it on iTunes. It's a true masterpiece.

Revisiting the Classics: "Circle of One" by Oleta Adams

2008-04-05T07:01:00.000-07:00

Oleta Adams was introduced to music fans as a guest vocalist on Tears for Fears' 1989 album The Seeds of Love. Adams made such an impression that a debut solo album was inevitable. Circle of One was a smash hit for Adams in 1991, bolstered by Adams' popular version of Brenda Russell's Get Here.

Circle of One remains a very fine album, and while some of it sounds dated, it still holds together thanks to Adams' stunning voice. Her soulful voice was one of the last great voices to adorn radio. Sadly, Adams is no longer a strong presence on radio, and she only records sporadically, a shame considering her talent. But in 1991, it was hard to resist Circle of One, and songs such as the up-tempo "Rhythm of Life" and the jazzy "You've Got to Give Me Room". This is definitely one album worth having in your collection.

Mariah tops Elvis record

2008-04-02T20:58:00.000-07:00

Mariah Carey's latest song "Touch My Body" has hit number one on the Billboard Hot 100, making this her 18th number-one smash, and thus, beating Elvis Presley's streak of 17 number-one songs. This makes Carey the first solo artist to score 18 number-one songs. She has yet to beat the Beatles' record of 20 number-ones.

I have to admit I have never been a big Mariah Carey fan. She produces great songs (and "Touch My Body" is another winner), but I have always found her lacking in personality. I also find her a lackluster live performer. I saw her live on her last tour in Toronto, and her voice, obviously strained and weakened after her famous breakdown in 2001, was croaky and it cracked throughout. She also seems uncomfortable on stage, flailing her arms, and walking around the stage aimlessly. For someone who has been in the biz for so long, she should be a stronger live performer.

But I've got to give props to Mariah. She has a knack for making classic songs, and while I'm not a big fan, I have bought many of her songs ("Always Be My Baby", "My All" and "Don't Forget About Us" are my favourites). She'll undoubtedly have more hits when her new album E=MC2 is released later this month.

Then, she may just beat the Fab Five's record.

TMZ is disgusting

2008-04-01T14:08:00.001-07:00

When I set out to do my blog, one of my goals was not to create a gossip site. How much more negativtiy and shameless reporting do we need? However, I am human, and I have visited some of these sites, but I don't want to write like them. Today I read on TMZ one of the most disgusting pieces of "celebrity news" that I have ever read. I have debated whether or not to post a link to this filth, but to make my point, here it is. What is sad and tragic news is treated with insensitivty, rudeness and a brazen (and failed) attempt at humour. Shame on you, TMZ!

http://www.tmz.com/2008/04/01/mom-of-former-idol-finalist-dies/#comments

**UPDATE: TMZ had a "vote" where posters could vote whether they went too far. If the overwhelming response was "yes", they would take down the offending line. They did. Perhaps this was a way for TMZ to get some publicity. Case in point, I'm writing about it :-( I will do everything in my power to make sure my blog is not like theirs.

By the way, what caused such an uproar was TMZ posted a story about American Idol Elliott Yamin's mother passing away. The closing line caused the ruckus:

"Yamin finished in 3rd place in 2006 on "Idol," behind Katharine McPhee and Taylor Hicks -- who, like Mrs. Yamin, will never be heard from again."

Disgusting!

Fierce!

2008-04-01T06:49:00.000-07:00

Last night, Canadians finally found out who won this season's Project Runway. Since the finale already aired in the U.S. weeks ago, most of us knew that Christian was the winner (thanks to the results being posted on the Net). But even if you knew what the outcome was, the finale was still enjoyable. And I believe the judges made the right decision. Christian's collection was HOT! Yes, there was too much black, but the designs were well executed, and the two-tone pieces were stunning, smartly saved for the end of Christian's collection. As for Rami and Jillian, their collections were pleasant, but they didn't wow me like Christian's did. Perhaps Christian's won because his was the flashiest, but I didn't want his collection to end. And having Victoria Beckham as one of the guest judges probably helped Christian, since his collection was best suited to her fashion sense. Christian is still very young, so it will be exciting to see his future designs.

In Praise of Linda Gray

2008-03-31T21:38:00.001-07:00

Warner Bros. has released the first eight seasons of the classic soap Dallas on DVD. Next up will be the release of the infamous Season Nine, better known as the "Dream Season". If you lived through the '80s and watched Dallas, you'll remember season nine, 1985-86, as the "dream season." In the season eight finale, Bobby Ewing (Patrick Duffy) had been mowed down and killed by crazy Katherine (played by the fabulous Morgan Brittany). But ratings fell during the '85-86 season, so it was decided that Bobby Ewing would be resurrected from the dead by having Pam (played by Victoria Principal) "dream" the entire season, so he could return in the season ten premiere in '86.

While a lot of the Dream Season was pretty silly, it did have some merit. In particular was Linda Gray's performance as J.R.'s long-suffering wife Sue Ellen. In season nine, alcoholic Sue Ellen hit rock bottom, and Gray was given some great material to work with. In previous seasons, Gray had been sensational as a drunken Sue Ellen, but she hit new peaks in season nine, giving an Emmy-worthy performance in addition to adding some grittiness to the show. So, yes, season nine may have been a dream, but Gray's performance was the real deal. Here are some highlights.

Best Album Covers

2008-03-30T09:45:00.000-07:00

I still love to collect vinyl, not just for the music, but also for the incredible album covers. There are some album covers which are more famous than the actual albums they adorn (case in point, Debbie Harry's Koo Koo). It's hard to say what makes an album cover "art", but here are some which are unforgettable; whether for great photography and/or paintings, iconic images, controversial images or simply for being bold and taking a risk. What are your favourite album covers?

Classic Film Sequences: "When A Stranger Calls" (1979)

2008-03-29T16:47:00.000-07:00

Forget the terrible 2006 remake, and stick with the superior -- and scarier -- original. This suspense film is about a young woman (played by Carol Kane in a rare dramatic role) who keeps receiving crank calls from a mysterious caller while she is babysitting two children who are asleep upstairs. The first 20 minutes of this film are perfect; so suspenseful that I would dare to call them 20 of the scariest minutes on celluloid. Whenever somebody says about a suspense film: "Don't watch this film alone or in the dark", I scoff. But in the case of the original When A Stranger Calls, I would definitely take their recommendation. Because if you want to be scared witless, the opening 20 minutes of this film will do that no problem. The film falters following its stellar opening, but it's still worth seeing.

Here is an excerpt from the first 20 minutes. To give you the whole 20 minutes would not be fair. But here's a teaser, albeit a scary one.

The Best Cover Songs

2008-03-29T15:59:00.001-07:00

It's a tried-and-true formula for singers: cover a hit song, make it your own, have your own hit with it. Some covers can never top the original, but sometimes a cover version can match or best the original. Here are 20 songs that do the latter.

1. "Satisfaction" by Otis Redding

This late soul man covered the Rolling Stone's classic, but I think his version is superior -- and sexier -- than the Jagger version.

2. "Helpless" by k.d. lang

There are many great covers of this song, but lang's version will give you goose-bumps.

3. "Proud Mary" by Ike and Tina Turner

This R&B duo recorded several fine covers including the Sly & the Family Stone's "I Want To Take You Higher" and The Beatles "Come Together", but their version of CCR's "Proud Mary" is superior to the original, thanks to the opening spoken-word intro by Tina and the kick-ass rock version that follows.

4. "Ain't No Mountain High Enough" by Diana Ross

Marvin Gaye and Tammi Terrell had a hit version with a fast, loose version of this Ashford & Simpson-penned song in the late '60s. But when Diana Ross recorded it in the early '70s, at the beginning of her post-Supremes solo career, A&S produced her version, which resulted in a dramatic, six-minute epic that has become a staple for Miss Ross.

5. "I Feel For You" by Chaka Khan

Chaka Khan had the biggest hit of her solo career in 1984 with this version of Prince's funk classic. There have been several outstanding covers of Prince songs, but Chaka's is the best.

6. "To Love Somebody" by Nina Simone

Nina Simone was famous for covering other people's songs, but if the High Priestess of Soul covered your song, it was an honour, because this woman could make the phone book sound good. To some, this Bee Gees song may be just average, but in Simone's hands, it's a classic.

7. "I Just Want to Make Love to You" by Etta James

This sizzling, smoky cover of Muddy Waters' 1954 blues song is still as hot as ever, and Ms. James is still as feisty as ever!

8. "Tragedy" by Steps

Sure, this British pop band made fluffy music (that was popular in the late '90s/early '00s), but their version of the 1979 Bee Gees disco stomper was a Hi-NRG/Europop classic even when it was released in 2000.

9. "I Will Always Love You" by Whitney Houston

Say what you will about Whitney's overplayed version of Dolly Parton's sweet ballad, you can't deny those vocal arrangements are amazing. No wonder it was such a huge hit in 1992.

10. "Respect" by Aretha Franklin

Many forget this is a cover of Otis Redding's original (he wrote it as well). Aretha decided to record it for her first album on Atlantic Records, and the rest is history...

11. "Venus by Bananarama (1986 cover of Shocking Blue's 1970 version)
12. "Desperado" by Linda Ronstadt (Eagles cover version)
13. "Always on My Mind" by the Pet Shop Boys (Dance version of Willie Nelson's country hit)
14. "Liar, Liar" by Debbie Harry (underrated cover of the 1965 original by the Castaways)
15. "Could It Be Magic" by Donna Summer (Disco version of Barry Manilow's hit song)
16. "I'm Every Woman" by Whitney Houston (Energetic version of Chaka Khan's disco classic)
17. "Hurt" by Johnny Cash (the country legend covering Nine Inch Nails? It works beautifully)
18. "No More I Love You's" by Annie Lennox (brilliant cover of an obscure song)
19. "Wild Night" by Martha Reeves (Van Morrison cover)
20. "I Wanna Hold Your Hand" by Petula Clark (a beautiful slowed-down version of the Beatles classic)

Great Performances: Diane Keaton in "Looking for Mr. Goodbar"

2008-03-29T07:32:00.000-07:00

Diane Keaton won the Oscar in 1977 for Annie Hall. She should have won the award for this, her daring performance in Richard Brooks' adaptation of Judith Rossner's controversial novel about a schoolteacher who frequents bars looking for sex and attention.

While most know Keaton for her comedic roles in Annie Hall, Love & Death and Baby Boom, many forget what a great dramatic actress she is. I think Keaton's performance as Theresa is her finest. This is not an easy role to play, considering the frequent nudity, and the film has many dark themes, but Keaton excels in the role. She's not afraid to show Theresa's promiscuous and self-destructive side, but still imbues her with tenderness and vulnerability (as she teaches her deaf students). The film is heavy-handed at times and tends to wallow in sleazy excesses more than it needs to, but Keaton's performance carries the film. She has great chemistry with her male co-stars Richard Gere (in one of his first roles), William Atherton and Tom Berenger.

Why she wasn't nominated for this film, I will never understand. If you have never seen Looking for Mr. Goodbar, it is worth watching. It is not currently available on DVD, but hopefully Keaton's masterful performance will be preserved on DVD soon.

Return of the Divas!

2008-03-27T06:30:00.000-07:00

It's official. Leona Lewis' "Bleeding Love" has ousted Usher's "Love in This Club" as the number-one song on Billboard's Hot 100. After years of hip-hop and dour rock songs, a song by a big-voiced diva has hit number one. Not only that, Madonna's new single "4 Minutes" has hit number one on Canada's iTunes, and Mariah Carey's "Touch My Body" has hit number on U.S. iTunes. The divas are back!

Donna's new song -- it's on fire!!

2008-03-21T10:21:00.000-07:00

Fans of Donna Summer are anxiously awaiting her new album, entitled "Crayons", later this spring. It's hard to believe, but it's been 17 years since Donna released an album proper (unless you count her excellent Christmas album from 1994). She's released a few singles in the interim, but not a full-length album, so you can understand her fans' anxiousness about her new project.

"I'm a Fire" is the first single from Donna's new album, and it's a great song which will undoubtedly be huge in clubs. Thankfully, Donna is not going the route of other singers of her age and releasing a - yawn - covers album. She's sticking to what she does best - dance music. After all, she is the Queen of Disco, and she's a serious contender for Queen of Dance music if it were not for Madonna. While music fans are buzzing about the upcoming releases of Madonna and Mariah Carey's new albums, I'm equally excited about Donna's. Having seen her in concert two years ago at Casino Rama, the almost-60-year-old diva still has those powerful pipes (and they sound better than ever on "I'm A Fire"). While most of her contemporaries have lost their vocal power, Donna can still hit those notes with ease. In fact, I think she sounds better than she did 30 years ago, and I attribute that to clean living and proper vocal training.

So, when "Crayons" comes out on May 20th, be sure to pick it up. And if Donna comes to your area, be sure to see her live. She's worth it!

"Release Me" from this Guilty Pleasure!

2008-03-20T20:40:00.000-07:00

I don't care what anyone says... I love Wilson Phillips' "Release Me". I was a huge fan of the female trio in the early '90s. You couldn't go anywhere without hearing their hits "Hold On", "Impulsive" and "You're in Love". But my favourite WP song has to be "Release Me", their second single. It hit number one on the Billboard Pop charts during their hot streak of chart hits. Say what you will about WP, but on their first album, they had beautiful harmonies even if the songs were a little cheesy. You could sing along with their music, and their songs actually had melodies!! (Remember them??) I think this is their best song because they really let go and SANG on this song with gusto! I never get tired of this song. Almost 20 years later, it's still a great guilty pleasure!

Smurfs!

2008-03-15T15:40:00.000-07:00

Remember Saturday Morning Cartoons? If you grew up during the '80s like myself, you'll remember shows like Muppet Babies, The New Archies, Scooby Doo, and so many more. And of course, you'll remember The Smurfs. I have a habit of collecting retro cartoons, particularly from the '80s. So when I heard that Part One of Season One of The Smurfs was going to be released on DVD, I couldn't resist buying it. I think there's a part of us that wants to tap back into the past, to a time when life was (or seemed) more innocent, when we didn't think of bills or RRSP's or mortgage payments. Essentially, I bought the Smurfs for nostalgia, not because I think it's a great cartoon.

While it was fun to watch it again, I can't say that I really want to buy the subsequent seasons. The Smurfs is cute. But I'm no longer five years old, so the show doesn't have the same hold on me at 31. I'm now into shows like The L Word or Project Runway -- they're not exactly The Smurfs.

However, there is a certain sadness watching The Smurfs. I remember the good times about my childhood, but also the tough times. And I think back to that five-year-old, full of hopes and dreams, who loved watching Smurfette tease the male Smurfs, or Gargamel trying to thwart the poor Smurfs; the boy who couldn't wait to be an adult, but had no idea what being an adult involved. All in all, I'm glad I bought The Smurfs box set, but it's been a bittersweet experience.

Found the Cure: Buy this Collection

2008-03-14T19:42:00.000-07:00

Ashford & Simpson are the extremely talented singer/songwriter duo who wrote countless Motown hits including Diana Ross' mega-hits "Ain't No Mountain High Enough" and her disco classic "The Boss". The pair went on to a successful recording career with Warner Bros and Capitol Records. Warner Bros. has just released an excellent 2-disc compilation of the duo's 70's disco-oriented material entitled "The Warner Bros. Years: Hits, Remixes and Rarities". It features disco classics such as "Found A Cure", "It Seems To Hang On" and "Over and Over", which sound as lush as ever. The second disc features new remixes of these classics, but the remixes stay faithful to the originals. This is a collection that demonstrates A&F's talents as singers and songwriters and also proves that disco did not suck!

Revisiting the classics: "Summer Rain"

2008-03-09T16:58:00.000-07:00

An Australian website recently compiled a list entitled "The 50 Gayest Songs of All Time". Of course, the usual suspects showed up: Madonna's "Vogue", Diana Ross "I'm Coming Out", and the number-one song, "Dancing Queen" by ABBA. But one of the surprises on the list was Belinda Carlisle's 1989 minor hit "Summer Rain", coming in at 34. I say "minor" because the song was not a big hit in North America (peaking at #30 on the U.S. Billboard 100), although it was a bigger hit in Australia.

The third single from Belinda Carlisle's third album "Runaway Horses", "Summer Rain" is one of her loveliest songs, and perhaps her most underrated. The song continued in the style of Carlisle's summery, feel-good pop music she did so well in the late '80s on hits like "Mad About You", "Heaven Is A Place on Earth" and "Circle in the Sand". "Summer Rain" is one of my favourites of Carlisle's, and it seems to be a favourite of many others, as it has become one of her enduring singles. Check it out!

Madonna's "4 Minutes" Leaked!

2008-03-02T15:03:00.000-08:00

Madonna's much-anticipated new single "4 Minutes" has been leaked to radio. On Friday, Madonna fansites were buzzing about the leak of her collaboration with Justin Timberlake and Timbaland on French radio, and soon enough, files were being swapped around furiously over the web.

So, what's the verdict?

Personally, I think the song is in keeping with Timbaland's skills as a producer. "4 Minutes" has great beats and solid production. But the problem with the song is that Madonna is featured very little in it. She's basically a guest on her own song. Timberlake definitely gets the spotlight here, and most shocking of all, he is the one who sings the chorus!! Many comments on the fansites chalk up Madonna's lack of presence on the track as "LQ" (low quality), but I'm not buying it. If so, then why does JT sound so crystal clear.

The cynical part of me suggests Timberlake's bigger role is a chance for Madonna to get back on American radio, where her status has declined in recent years. The days where songs like "Live To Tell", "Like A Prayer" and even "Frozen" and "Music" would get guaranteed spins on radio are long gone; Madonna is no longer a sure bet on radio. By hooking up with Justin Timberlake, arguably the hottest male singer out there right now, and Timbaland, perhaps the hottest producer in music right now, Madonna is guaranteeing herself a radio hit.

She may have a hot song, but it's not her contribution that guides the song; it's Timbaland and Timberlake. As much as I enjoy the song, as a Madonna fan, don't you want the actual superstar on her own song??

Spice Up Your Life!

2008-02-27T22:26:00.001-08:00

Last night, the Spice Girls ended their "reunion" tour in Toronto. It was a fabulous show. Musically, Mel C and Emma (Sporty and Baby) showed they had the musical chops, while Geri, Mel B and Victoria (Ginger, Scary and Posh) sang and danced sexily but proved they are better in a group than going out solo.

I have always loved the Spice Girls and I am sad to see them stop recording and performing together. During their peak, the Spice Girls made some of the best pop music of the past 25 years in my opinion. But I think they have the right idea. Last night, Mel C surprised the other girls by performing an impromptu back-flip. She did very well, considering she's well into her 30s. In ten years, if they reunite, Sporty may not be so agile to do such flips. And those "Stop" moves may not look so sharp down the line. Perhaps they want to go out on top. Or maybe, they made enough money from this tour that they simply don't need to do it anymore.

Sure, it was a cash-grab tour, but even when rolling in the dough, the Spice Girls gave their fans everything they wanted in a show: giddy, campy fun with confetti, lights, cute boy dancers and a seemingly endless run of classic pop songs. By popping out $135, fans got what they wanted -- and more. Entering the show, you could have been a stone-cold cynic, but last night the Spice Girls did exactly what they did in 1996-98; they made music fun and for a few hours, let us forget the pain of a troubled world.

Team Marion!

2008-02-18T10:25:00.001-08:00

Last night I finally watched La Vie En Rose, the docudrama of Edith Piaf's life. The film is very well made, but the film is really a showcase for the incredible talents of its lead actress, Marion Cotillard, who more than plays Edith Piaf, she IS Edith Piaf. As much as I admire Sissy Spacek as Loretta Lynn in Coal Miner's Daughter or Jamie Foxx as Ray Charles in Ray, I don't think I've seen a finer performance of a musical legend on film than Cotillard's. Every rave review and award (plus Oscar nomination) she has received for her performance is justly deserved. She makes Piaf such a complex woman, and is not afraid to make her unlikable.

Going into next Sunday's Oscars, Julie Christie is the frontrunner to win the award for her performance in Away From Her. As much as I love Julie Christie (she is one of my favourite actresses) and her performance, she simply can't hold a candle to Cotillard's rich, multi-layered performance. Also, Christie's role is more of a supporting one, as the film is anchored by Gordon Pinsent's moving, and underrated, performance.

I hope the Academy recognizes Cotillard next Sunday. She deserves the award.

"Queen" Tina

2008-02-16T11:49:00.000-08:00

In 1984, Tina Turner made a huge comeback with her Private Dancer album. The first song on the album is called "I Might Have Been Queen". After a number of rocky years, many due to her tumultuous marriage to guitarist Ike Turner, and others due to her long struggle back to the top, the lyrics were spiritual, yet accurately described Tina's struggles and triumphs:

I'm a new pair of eyes everytime I am born
An original mind because I just died
And I'm scanning the horizon
For someone recognizing that I might have been queen
For every sun that sets there is a new one dawning
For every empire crushed there is a brand new nation
Let the waters rise, I have ridden each tide
From the gates of the city where the first born died

And I might have been queen
I remember the girl in the fields with no name
She had a love
But the rivers wont stop for me
No, the rivers wont stop to me

During the recent Grammy Awards, Beyonce performed a duet of "Proud Mary" with the still-going-strong-at-68 Turner. During her introduction, where she paid tribute to the prolific jazz and soul singers before her, Beyonce introduced Turner as "the Queen". When Aretha Franklin got wind of this, she was more than just a little miffed. For years, Franklin has been referred to as "the Queen of Soul". Although not an official title, most of the press and music industry refer to her as this.

There is no doubt that Aretha Franklin has been a trailblazer in soul music. Her Atlantic material from 1967 to 1974 is unsurpassed in its power. However, for the past 30 or so years, Franklin has never matched her groundbreaking work from that time period. But she still is bestowed the "Queen of Soul" title. The very fact that she got upset that another female singer was referred to as a "queen" only shows how insecure Franklin is (if you don't believe me, read her autobiography, where she comes off as petty and catty towards other female singers, particularly Gladys Knight).

Franklin also must think of herself more than just the Queen of Soul. She apparently thinks she IS the Queen. After all, Beyonce never said Queen of Soul. She just said "Queen". And how can anyone NOT think of Tina Turner as a queen? This woman is simply music royalty.

Of course, many think Tina Turner is a queen simply for surviving her marriage to Ike Turner and for defying age by selling out world tours in her '60s and keeping up with dancers half her age. But Turner also has an incredible musical legacy behind her. Check out the recent Time Life compilation of Ike & Tina Turner's music partnership in the box set entitled The Ike & Tina Turner Story: 1960-1975 for proof of that. While many credit Ike as the musical genius behind the duo and Tina as the star, many forget that their greatest hits can be attributed to Tina herself. She helped their version of "Proud Mary" to become a huge hit by steering away from Ike's penchant for rhythm and blues to a more rock and roll sound; she wrote one of their biggest hits "Nutbush City Limits", a tribute to her hometown. And Tina herself was the star of Ike and Tina Turner. Watch any clips on Youtube and you'll see why.

Tina Turner's solo material may not match the power of her music with Ike, but she has successfully updated her sound with the times, particularly in Europe where she is massively popular. Watching Tina on the Grammys, she can still kick. She may be a little bigger, and her kicks may not be as sharp as they were in her 40s (or even 50s), but she is a survivor.

Tina Turner may sing she "might have been queen", and Aretha Franklin may get annoyed that another female contemporary is bestowed a royal title, but there is no denying this: Tina Turner IS Queen.

Thriller 25 Years Later

2008-02-10T16:22:00.000-08:00

Technically, Thriller is turning 26 this year, since it was released in 1982. But, as it is, Michael Jackson's mammothly successful album Thriller is being released this week in a 25th anniversary edition. It seems MJ is finding any opportunity to celebrate his back catalogue, particularly his crowning achievement of Thriller. Sony, MJ's record company has released countless anthologies of MJ's work for the past few years: a number-ones collection, a box set, even a DVD-single collection called Visionary. In 2001, Thriller was re-released in time for its 20th anniversary. Now it's being re-released again with updated versions of classic hits such as Beat It.

Looking back, Thriller is an album that had incredible singles, but as a whole, it's not Jackson's best album. That distinction belongs to Off the Wall, Michael's first full-length album collaboration with Quincy Jones. Off the Wall was a superb mix of R&B, disco, and pop. Thriller continued that tradition, but it almost tried too hard; too hard to be the best pop album of its time, that it lost the spontaneity and fun quality that made Off the Wall so enjoyable. Thriller also pushed itself into more rock territory with "Beat It" (featuring Eddie Van Halen on guitar), so it's a bit more varied in its sound than Off the Wall.

But unlike Off the Wall, Thriller features a few duds. In particular, The Girl is Mine, a duet with Paul McCartney, is cheesy as ever, even 25 years later. Much better is their duet a year later, Say, Say, Say. Album filler like Lady in My Life remains unmemorable in 2008.

But Thriller released amazing singles, no doubt about it: Wanna Be Startin' Somethin', Human Nature, P.Y.T, and course, Billie Jean. The videos themselves are still amazing to this date and rarely have been topped. And who can forget from 1982 to about 1985, Thriller's endless run of singles on the radio?

Thriller is, of course, an important album to have. But don't forget Jackson's other masterpieces, Off the Wall or even the underrated Dangerous. When you listen to these albums, you'll forget "Wacko Jacko" and remember when Jackson really was the King of Pop.

More B-Stars than you could ever want!!

2008-02-03T10:23:00.000-08:00

I have to admit I have a love for bad movies. You know, the types that just have the aroma of stinker, but are nonetheless entertaining. Like Showgirls. The Lonely Lady. Supergirl.

Sometimes you know a movie will be bad just by the cast or the film's star. After Mommie Dearest, most films starring Faye Dunaway were generally bad (with the exception of Cold Sassy Tree and Barfly). You'd be hard-pressed to find a good movie starring Sean Young, although in the '80s she starred in Blade Runner and No Way Out, two fine films.

The strange this is these two stars were once (ie. Dunaway), or could have been (ie. Young), A-list stars. But they've lost that status, and now star in straight-to-video movies or cable flicks.

Currently in theatres is a movie featuring a number of B-list actors. In the Name of the King: A Dungeon Siege Tale... starring Jason Statham! Ray Liotta!! Leelee Sobieski!!! Claire Forlani!!!! And Mr. Burt Reynolds!!!

Okay, so this cast does not exactly scream out Brad Pitt or Julia Roberts star power. I haven't seen a film with so many actors whose careers appear to be washed up. Remember when Ray Liotta was touted as the next big thing in Hollywood after his amazing performance in Something Wild? Remember when Leelee Sobieski was becoming the next big young thing? Where did she go, except to Z flicks like this? And Burt Reynolds. Ten years ago, he scored an Oscar nomination for Best Supporting Actor for Boogie Nights. Ten years later, his face has been pulled so tightly back, you're afraid it will snap. Perhaps that's why he's getting roles like "King Konreid" to add to his resume.

What happened to their careers? Bad choices? Probably. Lack of good roles? Maybe. Drugs? Who knows? Perhaps, as in the case of Sobieski, the momentum was never really that strong in the first place. I thought Liotta would have a long career, and while he's worked throughout his 20+ career, he has had a lack of great roles aside from Something Wild and Goodfellas.

Will these "stars" ever get back on the A-list? Who knows? Perhaps starring in reality tv shows or getting arrested may seem the only route these days for B-list stars to regenerate some buzz, as sad as that may sound. Sean Young's surprising outburst at the Director's Guild Awards was shocking not because she was supposedly drunk and heckling the award winners, but because she was at an A-list event. Why was she even there? She hasn't had a box-office hit in almost 20 years. It's somewhat sad because in the '80s, Young showed promise and talent, but nowadays you'd never know it.

I wonder what the cast of "A Siege Tale" was thinking when they were making that film? Perhaps it was a decent pay cheque, so they didn't have to think about the fact they were starring in a B-film. Or maybe Sobieski or Forlani dared to think, "Just maybe... one day I'll get to work with Martin Scorsese!"

Although Ray Liotta was probably thinking, "Just maybe... one day

I'll get to work with Martin Scorsese... again!"

Heath Ledger R.I.P.

2008-01-27T19:30:00.000-08:00

With so much already said about the unexpected and tragic death of actor Heath Ledger, all I can really say is what a great actor he was. I will be most grateful for his incredible performance in Brokeback Mountain. This is simply one my favourite film performances. Ledger captured the inner struggles and pain of a man repressing his homosexuality. It was a tortured performance, and it will be even more heart-wrenching to watch it now that Ledger is gone. I won't be able to watch it for some time. His death is a major loss to film.

Diane Keaton... Razzie Nominee?

2008-01-21T20:54:00.000-08:00

Since it's Oscar time, it's also Razzie time, which means the worst of the worst in filmdom is nominated for the Golden Raspberry Awards, better known as the Razzies. As expected, Lindsay Lohan's I Know Who Killed Me was nominated, and the film's star, who hasn't had a hit in years, was also nominated. Eddie Murphy was nominated for the terrible Norbit - no surprise there.

But there was a surprise amongst the nominees this year... Diane Keaton for Worst Actress in Because I Said So. Could this be? Diane Keaton, an Oscar-winning actress who gave brilliant performances in Annie Hall, Looking for Mr. Goodbar and Marvin's Room, shined alongside Woody Allen in his early films and has had a successful film career well into her 60s, nominated for WORST actress?

2007 was not a good year for Keaton. Last year we got Because I Said So and Mama's Boy. Keaton has always had a unique appeal on the screen, but in the last year, terms such as "shrill" and "annoying" were being used to describe her performances. I admit I saw Because I Said So last year in theatres, only because my friends wanted to see it and nobody was interested in my film choices. It wasn't as bad as I expected, but it still sucked. Keaton should have known better -- when Mandy Moore is playing your daughter, you know your film is in trouble (what was the last good Mandy Moore film? Is there a good Mandy Moore film?).

I found Keaton's performance as Moore's overbearing mother overdone, and yes, shrill. The script was terrible, for sure, but her performance was overindulgent and she gave into her excesses at every opportunity. I know it's harder for actresses in their 60s to find good roles, but Keaton generally has good taste. She still looks fab, and she has has given some great performances in the past few years. How about 2003's Something's Gotta Give or 2005's underrated The Family Stone? So, perhaps this was a simple misstep in a mostly sparkling career.

However, 2008 is not looking much better. Keaton's latest movie, Mad Money, is bombing in theatres. I haven't seen it yet, but judging from the previews, it looks like a stinker.

I hope Keaton finds a role worthy of her talents. For a woman who has had such an impressive career, it's unfortunate that she finds herself amongst nominees like Lohan and Jessica Alba.

La-di-dah!

Freemasons

2008-01-19T13:42:00.001-08:00

In the past few years, the remix/production team of the Freemasons have added their magic touch to dance remixes of Faith Evans' "Mesmerized", Luther Vandross' "Shine", and most notably remixing a number of Beyonce's hits including "Deja Vu" and "Ring the Alarm". Their mixes are high energy, great for both club dancing and working out at the gym.

Now, they are not on remixing songs for the clubs, but producing for artists' albums, and they've come up with a real winner for Kylie Minogue's latest album, X. Their collaboration on "The One" is arguably the best song on Kylie's comeback album. Driven by a pulsating electronic beat, "The One" has a great euro '80s touch to it. I hope it is released as a single.

The Freemasons also produce some of their own songs. Their latest is a dance cover of Alanis Morissette's "Uninvited" featuring vocals by Bailey Tzuke. Surprisingly, Morissette's brooding song works very well as a dance song, although I do prefer Morissettes's anguished vocals to Tzuke's sweet voice. But, once again, the Freemasons provide an irresistible beat.

Go to www.amazon.com or iTunes to hear/download the Freemasons.

Where is the Oscar buzz for Gordon Pinsent?

2008-01-14T07:27:00.001-08:00

Last night, Julie Christie won a Golden Globe for Best Dramatic Performance by an Actress for Away From Her. This is yet another step closer to Oscar for Ms. Christie. I think Christie was great in Away From Her, but where are the accolades for Gordon Pinsent, who plays Christie's husband in Sarah Polley's directorial debut? As good as Christie is in Away From Her, Pinsent is the one who carries the film, and is the film's emotional anchor.

I suspect the snubbing of Pinsent has to do with the fact that he has not made it a habit of appearing in many American productions, film or television. If you look at his resume on IMDB, you will see a long list of Canadian productions. Perhaps many people in America do not know who he is, but after watching his performance in Away From Her, how can anyone not think his performance ranks up there with George Clooney in Michael Clayton or Johnny Depp in Sweeney Todd?

Is this a snub of Canadian talent? After all, Sarah Polley herself has not been nominated in many directorial categories. Although Away From Her has received much praise from critics, and has made many top ten lists for '07, I believe that the film's awards will go mainly to Christie.

But next Tuesday, let's hope that there will be a few surprises when the Oscar nominees are announced. And let's hope one of those surprises is Gordon Pinsent.

Janet Jackson's "Feedback"

2008-01-12T12:10:00.000-08:00

So, what's the feedback on Janet Jackson's latest single and video "Feedback"? Well, the song is getting more radio play than previous flops "I Want You" and "So Excited". But, overall, "Feedback" is looking to be one of Janet's more successful singles in her post-"Nipplegate" career. Personally, I think the song is a step back for Miss Jackson. It's catchy, but it's also overproduced, with no trace of Jackson's real voice, and it can only be a disappointment when you know she's capable of so much more.

Remember Jackson's Rhythm Nation 1814 from 1989? What about The Velvet Rope from 1997? Both great albums with strong production values, good song-writing and a clear vision.

Singles like "Nasty", "Let's Wait Awhile", "Escapade" and "Together Again" had great hooks and you could sense Jackson's individuality and personality shine through. But since 2001's All For You, Janet Jackson is not trying to raise the bar, she's trailing along with the other sexy R&B and pop singers. The only thing is Janet is older, and now in her 40s, she is trying too hard to look, and sound, younger.

The Janet from the '80s and '90s was tougher, sexier, more independent. But now she just tries too hard to be sexy. Look at the video for "Feedback". It's a silly space opera where it appears Janet is dancing in milk. It looks cheap, and it's a disappointment from an artist who made groundbreaking videos such as "Miss You Much", "Rhythm Nation" and "If" throughout the late '80s and '90s.

Let's hope Janet's upcoming album Discipline will have a little more depth than what we've heard from her recently. But I suspect Janet will be playing it safe this time, and will be going for a more youthful sound, similar to Britney's Blackout and Gwen Stefani's The Sweet Escape.

But Janet Jackson is a talented artist -- she did have an amazing career from 1986 to about 2000 until she started trying to hard to be as sexy and controversial as Madonna. But, Janet, what have you done for us lately?

Oscar Buzz: Jennifer Garner

2008-01-06T12:20:00.000-08:00

Over the past few weeks, Juno has become the sleeper hit of the holiday season and is looking to be a front-runner for the Oscar nominations this season. Both the film's star, Ellen Page, and screenwriter, Diablo Cody, are getting both the Oscar buzz and the praise, and deservedly so. But Jennifer Garner, one of the film's co-stars, is also worthy of praise and an Oscar nomination for Best Supporting Actress.

In the film, Garner plays Vanessa, a seemingly uptight yuppie married to Mark, played by Jason Bateman. When Page's character of Juno gets pregnant, she decides to give up her unborn baby up for adoption to Vanessa and Mark. Throughout the film, we see Vanessa's overwhelming desire to be a mother, a desire that warms both Juno and the audience's heart. The film's best scene is set in a mall, where the expecting (and showing) Juno and Vanessa unexpectedly run into each other, and share an unexpected bond. Garner is simply astonishing in this scene, conveying her character's emotion without uttering a single word. It's the film's emotional highlight.

I'm afraid Garner's performance will get overlooked in favour of Page and Cody. But hopefully the Oscar ballots will include Garner's name.

R.I.P. Music World

2008-01-05T16:18:00.001-08:00

As you have probably heard, Canadian music store chain Music World has closed. The past few weeks, its various stores have been having clearance sales, much to the delight of bargain-hunters. I do not consider the closure of Music World as significant a loss as the closing of Sam the Record Man last June because MW was never more than a chain that sold the popular music of the day. It carried the latest chart hits, but never carried an extensive (or varied) catalogue as Sam or HMV, so you could not rely on MW to carry local Canadian talent or that import from England. But the closing of MW once again reaffirms the Canadian music retail scene is on its last legs, and forcing collectors who like to purchase their music via vinyl and CD to switch over to digital formats. What does the closing of Music World mean for HMV and Sunrise?

Gorgeous!

2007-12-31T09:43:00.000-08:00

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

2007-12-30T15:45:00.000-08:00

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!

2007-12-29T07:42:00.000-08:00

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

2007-12-26T15:01:00.001-08:00

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

2007-12-24T10:37:00.000-08:00

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

2007-12-23T19:56:00.000-08:00

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

2007-05-31T22:12:00.000-07:00

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

2007-05-31T21:39:00.000-07:00

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"

2007-05-24T07:45:00.000-07:00

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

2007-05-16T22:12:00.000-07:00

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

2007-05-15T19:04:00.000-07:00

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

2007-05-11T21:51:00.000-07:00

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!