Beyonce as Wonder Woman?

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?

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...

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?

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

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?

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?

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.