Second bank accuses singer Mary J. Blige of defaulting on loan

LOS ANGELES (Reuters) – R&B star Mary J. Blige was hit with a lawsuit on Thursday alleging the Grammy-winning singer had defaulted on a $ 500,000 loan – the second such legal action against her in three months.

According to the lawsuit filed by Bank of America in New York State Supreme Court, Blige took out the loan in 2005 and stopped making re-payments in June 2012.

Bank of America said Blige, who has sold more than 50 million albums worldwide, now owes $ 511,324 in principal and interest on the loan, which it is seeking to recoup.

Blige’s publicist did not respond to request for comment on the latest lawsuit, which was follows legal action in November 2012 by Signature Bank over an alleged default on a $ 2.2 million bank loan by the singer and her husband.

The “Family Affair” singer’s charity, The Mary J. Blige and Steve Stoute Foundation for the Advancement of Women Now, was accused in 2012 of mishandling funds and cheating scholarship students.

Blige has attributed the problems at the charity to a former staffer at the foundation and pledged to make sure that grants and scholarships are paid out to send young women to college.

(Reporting By Jill Serjeant; Editing by Cynthia Osterman)

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Unsigned singer tops MTV poll as artists call tunes

LONDON (Reuters) – Singer-songwriter Ebony Day has been named MTV‘s act to watch in 2013 before even signing a record deal, underlining how up-and-coming artists are increasingly using the internet and social networking sites to build a significant fan base.

Inspired by the viral success of Canadian teen sensation Justin Bieber, the 19-year-old Briton posted a series of online videos performing cover versions, and quickly amassed a sizeable following – 18 million views on her YouTube channel and 156,000 subscribers to date.

She mobilized that support to vote for her in MTV’s annual Brand New poll, topped in the past by Conor Maynard and Bieber.

The 92,000 votes were enough to put her ahead of several signed nominees, including Gabrielle Aplin, who already has a number one British single to her name, and Haim, the LA sister act widely tipped for the top this year and beyond.

“I think it shows that to get a fan base before you make it is really important,” Day said in a telephone interview.

“That’s been something I’ve been focusing on for three years. What the fans have done is to show how things are changing, and it is not just the record labels picking artists, but the actual public.”

The ability of musicians to reach an audience long before stepping into a recording studio or on to the stage is changing the way artists and labels interact, giving singers greater say and reducing some of the risks for music companies.

Wannabe stars like Day still gravitate towards labels, believing they can only go so far on their own no matter how large their fan base.

“For me at the minute, I have got the fan base and got probably enough to do a little tour and things like that.

“Now I need backing, mostly in terms of money, because I’m a student and have no funds to make merchandise and go on tour and make an album,” she said.

LEVEL PLAYING FIELD

Day could resort to making music from fan contributions via websites like Pledgemusic.com, but said she did not feel comfortable asking her supporters for money.

Yet having built up a following, she will have a greater say over the terms of any deal, which today frequently covers revenue streams outside record sales such as live performances, commercial use of songs, merchandising and branding.

“I think that does happen and is happening with me,” she explained. “I think now I’ve got such a backing it does make it more difficult (for the labels) because they know I’ll probably want a better deal.”

For record companies – three “majors” Sony, Vivendi’s Universal and Warner Music Group plus hundreds of others from “mini-majors” to household outfits – there can be advantages.

They do not have to build a fan base from scratch and are less likely to pay out large and risky sign-on fees, which went out of fashion a decade or so ago as revenues from music sales began to plummet.

Labels blame rampant online piracy for their woes – global recorded music sales fell from a peak of $ 28.6 billion in 1999 to $ 16.6 billion in 2011 – but there is cautious optimism that digital music revenue could return the business to growth soon.

This willingness to engage the digital revolution rather than fight it has changed the way companies unearth new talent.

A&R (artists and repertoire) managers spend more time now trawling the internet than they do traipsing from pub to club to see bands live, although most still want to see an act performing before taking the plunge.

Music managers see both upsides and downsides to the shifting models.

Nigel Templeman of Trust Management, who co-manages bands including Dexysm and Howler, believes music risks becoming a secondary consideration for A&R scouts.

“Bands are being signed if there is the necessary market research being done such as YouTube views, Twitter followers and all of that,” he told Reuters.

“The idea that bands are being signed just on the merit of the material is not the truth anymore.”

But he also argued that bands had begun to understand it was not about making a killing overnight.

“If you are going to be a musician these days, you’ve got to look at it in a different way to how you did even five years ago,” he said. “It’s about having ambition, but also about being realistic. It’s a career choice versus getting rich quick.”

“DON’T GIVE IT AWAY”

Matt Wilkinson, New Bands Editor at music magazine NME, warned up-and-coming acts to resist the temptation to give too much music away for free to earn fans and industry attention.

“I think that is the model now, undoubtedly, but I can’t say I think it’s a particularly positive thing. It makes things more difficult for record labels and the bands themselves.

“It’s quite disheartening to find a really good band and six of their songs are already out there online,” he told Reuters.

“It’s sort of giving themselves away. My advice is keep stuff back. Your fans don’t need to hear all of your material. Record labels do.”

Day, who has played covers rather than her own music, has avoided that particular pitfall.

Her music “career” started three years ago when she learned to play the guitar during a long absence from school caused by allergies which were undiagnosed at the time.

Initially she was nervous about posting videos of herself singing, but took inspiration from Canadian chart topper Bieber, an early viral sensation who was picked up by a talent agent in 2008 on the strength of his YouTube postings.

“I saw his (Bieber’s) videos right from the start when he was at home, without much money,” said Day. “He’s gone from an unknown person over the years to worldwide fame. I wanted that too.”

Day is studying at the Academy of Contemporary Music in Guildford, southern England, but aims to build her pop career in 2013.

“In the next year I would like to release my own music, because I’ve only been doing covers and want people to see what my music is like.”

She expects to release a debut single in April, and, depending on its reception there will be an EP and a British tour to follow.

For fans, being part of an online community can be appealing, be it Lady Gaga’s “little monsters”, Bieber’s “Beliebers” – both of which number more than 33 million on Twitter – or the more modest 44,000-odd “Ebonerds”.

(Reporting by Mike Collett-White)

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Chris Pratt nabs lead in “Guardians of the Galaxy”

LOS ANGELES (TheWrap.com) – Chris Pratt has scored one of the lead roles in Marvel Studios‘ “Guardians of the Galaxy.”

The “Parks & Recreation” actor will play Star-Lord, the leader of a group of intergalactic heroes, an individual with knowledge of the deal told TheWrap. Marvel and parent company Disney hope that “Guardians” can be a comic book franchise to rival the $ 1.5 billion grossing “The Avengers.”

James Gunn (“Slither”) is directing the film, which is scheduled to be released on August 1, 2014. In addition to heading the team, Star-Lord is a master strategist who wears a suit that give him superhuman strength. Together with a team that includes a raccoon, who is an expert marksman, and an oversized bramble who controls trees, the Guardians teleport around the cosmos preventing disasters.

The role might have seemed a stretch for Pratt, who was best known for his work on as a doughy shoeshine stand operator on NBC’s “Parks & Recreation,” but the actor has made a point of showing off his dramatic skills in films like “Moneyball” (2011).

He also showed he has the ability to bulk up, transforming himself physically to play a Navy SEAL in “Zero Dark Thirty” last year. While making the promotional rounds for the film, Pratt shared a photo of himself in underwear that highlighted his newly toned body and, in retrospect, could have served as an audition shot for the team at Marvel.

Pratt is represented by CAA.

Deadline first reported news of his casting.

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‘Warm Bodies’ tops box office with $20.4 million

NEW YORK (AP) — The zombie romantic-comedy “Warm Bodies” topped the box office with a debut of $ 20.4 million.

The film for Lionsgate‘s Summit Entertainment proved a solid draw particularly for female teenagers on a weekend that Hollywood largely punts to football. The moviegoing business slows down considerably on Super Bowl Sunday.

The top 20 movies at U.S. and Canadian theaters Friday through Sunday, followed by distribution studio, gross, number of theater locations, average receipts per location, total gross and number of weeks in release, as compiled Monday by Hollywood.com are:

1. “Warm Bodies,” Lionsgate, $ 20,353,967, 3,009 locations, $ 6,764 average, $ 20,353,967, one week.

2. “Hansel and Gretel: Witch Hunters,” Paramount, $ 9,423,274, 3,375 locations, $ 2,792 average, $ 34,676,068, two weeks.

3. “Silver Linings Playbook,” Weinstein Co., $ 7,738,058, 2,809 locations, $ 2,755 average, $ 80,002,616, 12 weeks.

4. “Mama,” Universal, $ 6,590,970, 2,781 locations, $ 2,370 average, $ 58,123,070, three weeks.

5. “Zero Dark Thirty,” Sony, $ 5,176,428, 2,871 locations, $ 1,803 average, $ 77,673,978, seven weeks.

6. “Bullet to the Head,” Warner Bros., $ 4,548,201, 2,404 locations, $ 1,892 average, $ 4,548,201, one week.

7. “Parker,” FilmDistrict, $ 3,202,415, 2,238 locations, $ 1,431 average, $ 12,527,297, two weeks.

8. “Django Unchained,” Weinstein Co., $ 3,002,769, 1,777 locations, $ 1,690 average, $ 150,942,958, six weeks.

9. “Les Miserables,” Universal, $ 2,420,885, 1,848 locations, $ 1,310 average, $ 141,504,130, six weeks.

10. “Lincoln,” Disney, $ 2,402,224, 1,756 locations, $ 1,368 average, $ 170,776,742, 13 weeks.

11. “Argo,” Warner Bros., $ 2,029,324, 935 locations, $ 2,170 average, $ 120,372,139, 17 weeks.

12. “The Hobbit: An Unexpected Journey,” $ 1,901,164, 1,300 locations, $ 1,462 average, $ 296,193,684, eight weeks.

13. “Life of Pi,” Fox, $ 1,872,632, 902 locations,$ 2,076 average, $ 106,106,363, 11 weeks.

14. “Gangster Squad,” Warner Bros., $ 1,843,089, 1,625 locations, $ 1,134 average, $ 43,092,147, four weeks.

15. “Movie 43,” Relativity Media, $ 1,641,849, 2,023 locations, $ 812 average, $ 7,700,123, two weeks.

16. “A Haunted House,” Open Road Films, $ 1,522,116, 1,501 locations, $ 1,014 average, $ 37,756,019, four weeks.

17. “Stand Up Guys,” Lionsgate, $ 1,486,390, 659 locations, $ 2,256 average, $ 1,486,390, one week.

18. “Broken City,” Fox, $ 1,461,321, 1,786 locations, $ 818 average, $ 18,135,411, three weeks.

19. “Parental Guidance,” Fox, $ 1,450,000, 1,480 locations, $ 980 average, $ 72,900,590, six weeks.

20. “The Impossible,” Summit Entertainment, $ 1,305,464, 765 locations, $ 1,706 average, $ 15,214,095, seven weeks.

___

Universal and Focus are owned by NBC Universal, a unit of Comcast Corp.; Sony, Columbia, Sony Screen Gems and Sony Pictures Classics are units of Sony Corp.; Paramount is owned by Viacom Inc.; Disney, Pixar and Marvel are owned by The Walt Disney Co.; Miramax is owned by Filmyard Holdings LLC; 20th Century Fox and Fox Searchlight are owned by News Corp.; Warner Bros. and New Line are units of Time Warner Inc.; MGM is owned by a group of former creditors including Highland Capital, Anchorage Advisors and Carl Icahn; Lionsgate is owned by Lions Gate Entertainment Corp.; IFC is owned by AMC Networks Inc.; Rogue is owned by Relativity Media LLC.

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Ex-Israeli security chiefs speak out in Oscar documentary nominee

NEW YORK (Reuters) – The Oscar-nominated documentary “The Gatekeepers” focuses on Israel, but its director says that all countries can gain insight about the risks that arise if secretive security agencies operate without adequate restraints.

In “The Gatekeepers,” six former heads of Israeli internal security and intelligence agency Shin Bet reflect on their failures and successes in gathering information on state enemies, orchestrating secret operations and tracking militants. They also offer some unexpected perspectives on the Israeli-Palestinian conflict.

“I found myself more attracted to those who doubt, those who ask themselves questions,” director Dror Moreh told Reuters. “I am always afraid of people who don’t have questions, who don’t doubt.”

The English- and Hebrew-language film opened in New York and Los Angeles on Friday, and premieres in the UK in April, following a brief run at the end of 2012 that qualified it for its Oscar nomination for best documentary feature.

The film will compete at the February 24 Oscar ceremony with “5 Broken Cameras,” a view of the Middle East conflict seen through Palestinian eyes, AIDS documentary “How to Survive a Plague,” military rape film “The Invisible War,” and “Searching for Sugar Man” about a U.S. folk singer who becomes a South African pop icon.

Beginning with Avraham Shalom, who oversaw the Shin Bet from 1980 to 1986, “The Gatekeepers” covers the period through Yuval Diskin, whose tenure ended in 2011.

The former security chiefs discuss events such as the agency-ordered killing of two Palestinian bus hijackers, a plot by Jewish extremists to blow up the Dome of the Rock shrine in Jerusalem, the 1995 assassination of Prime Minister Yitzhak Rabin, and the role the agency plays in the Israeli-Palestinian conflict.

DEFINING TORTURE

Always present is a struggle to balance security with ethics and politics, and several of the men discuss the scandals the agency faced over the use of what Shin Bet terms “exceptional practices” in interrogations.

Moreh draws parallels between Israel’s debates about ethical security practices and the United States’ struggle to define torture and regulate its own practices in its war on terrorism.

“I think at the end of the day any organization that has so much power like those clandestine organizations – Shin Bet, CIA, FBI, Mossad – has to have the law above it giving guidelines,” he said.

“When there was no oversight of the judicial system on those organizations, they acted as if there was no law, in terms of interrogating people, torturing, killing.”

He blames what he calls murky or non-existent regulations for practices that have sparked public anger worldwide, from the use of waterboarding to the abuse of prisoners by American soldiers at Iraq’s Abu Ghraib prison.

“They were stupid Americans who the system gave absolute power over other human beings,” Moreh said. “They weren’t trained to deal with that, they weren’t trained in interrogating, and this is what led to what happened in Abu Ghraib.”

The former security chiefs’ reflections are a mixture of affirmation and regret, but all six agree that the only way for their country to achieve peace is to work with Palestinians instead of against them.

They criticize Israeli politicians for turning a blind eye to settlements in occupied Palestinian territory, and for sometimes dealing lightly with Jewish extremists.

Ami Ayalon, who headed Shin Bet from 1996 to 2000, summed up their collective thoughts, saying, “We win every battle, but lose the war.”

Moreh believes that solving the Israeli-Palestinian conflict is the most important issue facing Israel and hopes U.S. President Barack Obama will take a more active role in diplomatic efforts in his second term.

“I think this is like two kindergarten children – the Palestinians and the Israelis – who need the kindergarten caretaker to help them,” he said. “They need a grown-up to tell them, ‘Enough! Israel, Palestine, this is what you need to do, do it.’”

(Editing by Jill Serjeant and Peter Cooney)

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Affleck wins directors award as ‘Argo’ hurtles to Oscars

LOS ANGELES (Reuters) – Actor-turned-filmmaker Ben Affleck won the top honor from his peers at the Directors Guild of America on Saturday for the movie “Argo“, cementing the Iran hostage drama’s frontrunner status for the Oscars.

The Hollywood directors‘ recognition for Affleck, however, is an awkward result for the Academy of Motion Pictures Arts and Sciences, which failed to nominate him for Best Director in what is considered one of the biggest snubs of this year’s Oscars.

Since 1948, there have been only six occasions when the Directors Guild of America (DGA) winner has not gone on to win the Oscar for Best Director.

“I have nothing but respect for the Academy,” Affleck said after collecting his first DGA award. The Hollywood star, a producer of “Argo”, said he was thrilled the film was nominated for the Oscars’ Best Picture award.

“You are not entitled to win anything,” he said.

“Argo” has picked up the three top awards from the industry’s guilds, whose members are also often members of the Academy.

Last weekend, the film was the victor at both the Producers Guild and the Screen Actors Guild awards, leaving Steven Spielberg‘s Civil War-era epic “Lincoln” in its wake.

Affleck also won Best Director at the Golden Globes while “Argo” won Best Drama. The Oscars will be held on February 24.

On Saturday, Affleck bested four directors who had all previously won the top DGA honor and gone on to win the Best Director Oscar.

It has been a particularly tough awards season for Spielberg, nominated by the DGA for the 11th time with “Lincoln” and a two-time winner for “Schindler’s List” in 1994 and “Saving Private Ryan” in 1999.

“What an incredible year for movies,” said Spielberg. “Maybe I’ve had moments when I wished it wasn’t such an incredible year.”

Affleck also beat out Kathryn Bigelow, nominated for Osama bin Laden-manhunt thriller “Zero Dark Thirty,” Ang Lee for his 3D adaptation of the bestselling novel “Life of Pi”, and Tom Hooper, for his screen adaptation of the hit musical “Les Miserables”.

In “Argo”, which is based on a real account, Affleck also plays the lead role of a CIA agent entrusted with extracting six Americans from revolutionary Iran after the U.S. embassy is stormed. The agent, with help from Hollywood, creates a fake film and makes the Americans part of the crew.

“There was a point in my life where I was really down and really confused … didn’t know what was going to happen and I thought ‘I could be a director’,” Affleck told the high-powered Hollywood crowd on Saturday.

“I don’t believe this makes me a real director, but I think I am on my way,” he said.

Another young director also collected a top award on Saturday – Lena Dunham for Best Comedy Series for “Girls”, the HBO show about four girls in Brooklyn and their travails over sex, work and making it in the big city.

“This is surreal, which I know is an over-used Los Angeles word,” said Dunham, who often appears in the show she created wearing little or no clothes.

(Editing by Pravin Char)

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Why is Beckham sitting on the bench for nothing?

PARIS (AP) — David Beckham has won league championships in three countries on two continents, earns millions of dollars in endorsements and his name is practically synonymous with celebrity itself. He has his own cologne, for goodness sake. So why is he even bothering to sit on the bench for the Paris Saint-Germain football club?

His royal highness of football doesn’t need the money — and he’s said he’ll donate his PSG salary to charity — but he does need to start thinking about life after the game. At 37, Beckham is practically a dinosaur for the sport, and he acknowledged in his welcoming press conference on Thursday that he probably won’t be in the team’s starting lineup.

Instead, Beckham may be beginning to put in place a plan for life after the final whistle. Ellis Cashmore, a sociologist who writes about sports and media culture at Staffordshire University, said that prolonged exposure is always useful to celebrities building empires. In that way, the deal with PSG does double work: It keeps his name in lights for longer and also garners extra attention for the charitable contribution.

“When he does stop playing, which is going to be quite soon, his overall brand appeal will inevitably decline because we will inevitably forget about this guy,” he said. “I think he’s probably thinking, I want to stay in the shop window for a bit longer.”

But Cashmore also cautioned against being too cynical in assessing Beckham’s motives: “The guy is an athlete. He wants to do what he loves to do.”

Bruno Satin, an independent players’ agent who was with IMG for a decade, also said that the move to PSG — even if it’s to sit on the bench — is a step up for Beckham.

“For him, to be on the PSG team, it’s a higher level than being on the Los Angeles Galaxy,” he said. “For the world of football, for real football, the Los Angeles Galaxy is nothing on the map of football.”

Some wondered if Beckham was trying to avoid the notoriously sticky fingers of the French state with his plans to donate his salary.

But Sandra Hodzic, a tax lawyer with Salans, said the deduction an individual can take on such contributions is limited. Instead, it would be smarter for PSG to directly donate the salary — and take a big tax break in the process.

Doing so would have an added benefit for the club: UEFA, the governing body for European football, mandate that clubs break even. The donation could allow PSG to essentially write off Beckham’s entire salary — a huge help for a team notorious for mega-contracts.

Beckham, meanwhile, would be better off trying to avoid becoming a French tax resident at all. So far, Hodzic said, he is making all the right moves: His family is staying in London, he plans to live only part-time in the country for less than six months, and his primary source of income —whether or not he donates his salary — isn’t being earned in France.

Beckham’s agent did not return calls for comment on specifics of the contract.

Still, the charitable contribution has raised the question about what Beckham is getting out of the deal. For one, he likely is still getting a cut of rights to his image. Jerseys with his name on them were already selling out at the PSG store on the Champs-Elysees on Friday.

Cashmore, who wrote a book called “Beckham,” calls him a “marketing phenomenon” and estimates that about 70 percent of Beckham’s income comes from endorsement deals — with Adidas, for instance. That makes salary almost irrelevant — especially for a man estimated by the Sunday Times Rich List to be worth 160 million pounds ($ 253 million).

But the football feeds the endorsements, Cashmore says.

“It makes an awful lot of business sense to perpetuate, to prolong his active competitive football career,” he said, especially with a team that’s doing fairly well this year. “It makes an awful lot of sense for him to showcase himself because it will generate more income from his various other sponsorship and licensing activities.”

But certainly this move, as any at this late-stage in his playing career, is being made with an eye on what will come next. Cashmore said that when Beckham signed with the L.A. Galaxy, there was an understanding that he would eventually become an ambassador for American soccer. That plan clearly fell by the wayside — perhaps because Major League Soccer decided it was just too expensive to keep on the star after his presence on American soil failed to generate more interest in the game.

It’s possible, Cashmore said, that Beckham is looking for a similar deal after his stint at PSG, which is Qatari owned. The tiny, wealthy nation is hosting the World Cup in 2022, and Beckham’s contract with PSG will establish a relationship with it; from there, a role as, say, an ambassador for the tournament would seem more natural.

“For his after-career conversion, it’s important to have links with major actors in the world of sports,” said Satin. And Qatar is certainly one. It has poured money into PSG, drawing major names like striker Zlatan Ibrahimovic. It also funds the satellite network Al Jazeera, which could provide Beckham with a platform. And then there’s the World Cup.

In the end, though, Satin said the clue to Beckham’s thinking may be as simple as the eternal draw of Paris.

“PSG has become a glamorous club, a pretty nice club in a beautiful city,” said Bruno Satin, an agent. “It’s just two hours on the Eurostar (train) from London.”

____

AP Sports Writer Rob Harris contributed to this report from London.

____

Follow Sarah DiLorenzo at http://www.twitter.com/sdilorenzo

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Singer Randy Travis pleads guilty to DWI, gets probation

DALLAS (Reuters) – Grammy Award-winning country singer Randy Travis on Thursday pleaded guilty to driving while intoxicated and was sentenced to two years probation for an incident in which Texas State Troopers found him lying naked near his crashed car.

Travis, 53, was ordered to serve at least 30 days at an in-patient alcohol treatment facility and was not charged for threatening the troopers who arrested him August 7 in Tioga, Texas, about 60 miles north of Dallas.

Travis’ blood alcohol level was more than double the legal limit in Texas when he was arrested, authorities said.

The guilty plea to a Class A misdemeanor in Grayson County Court ends legal troubles Travis faced in connection with several incidents last year, his attorney Larry Friedman said.

“He is ready to put all this behind him and focus on his music and his fans,” Friedman said. “He expects a trouble-free 2013.”

Travis was also fined $ 2,000 and sentenced to 100 hours of community service. Travis will have to serve six months in jail if he fails to complete the probation terms.

Grayson County District Attorney Joe Brown called the sentence “appropriate” given Travis’ level of intoxication and behavior during his arrest.

“We are all hopeful that Mr. Travis is on the road to recovery,” Brown said in a statement.

In January, Travis pleaded no contest in a case in which police said he assaulted a man on August 23 in a church parking lot while trying to intervene in a disagreement between a woman, who is now his fiancée, and her estranged husband.

Travis is serving 90 days of deferred adjudication in that case, which means the charges could be dismissed if he successfully completes the requirements, Friedman said.

The singer filed a lawsuit recently in a Collin County District Court against the man he was charged with assaulting, claiming the altercation was an attempt to injure and embarrass him.

Travis, known for such hits as “Forever and Ever, Amen,” was cited in February 2012 for public intoxication and paid a fine, Friedman said.

(Editing by David Bailey and Stacey Joyce)

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Patty Andrews of Andrews Sisters rallied troops

LOS ANGELES (AP) — Patty Andrews never served in the military, but she and her singing sisters certainly supported the troops.

During World War II, they hawked war bonds, entertained soldiers overseas and boosted morale on the home-front with tunes like “Boogie Woogie Bugle Boy of Company B” and “I Can Dream, Can’t I?”

Andrews, the last surviving member of the singing Andrews Sisters trio, died Wednesday at 94 of natural causes at her home in the Los Angeles suburb of Northridge, said family spokesman Alan Eichler in a statement.

“When I was a kid, I only had two records and one of them was the Andrews Sisters. They were remarkable. Their sound, so pure,” said Bette Midler, who had a hit cover of “Bugle Boy” in 1973. “Everything they did for our nation was more than we could have asked for. This is the last of the trio, and I hope the trumpets ushering (Patty) into heaven with her sisters are playing ‘Boogie Woogie Bugle Boy.’”

Patty was the Andrews in the middle, the lead singer and chief clown, whose raucous jitterbugging delighted American servicemen abroad and audiences at home.

She could also deliver sentimental ballads like “I’ll Be with You in Apple Blossom Time” with a sincerity that caused hardened GIs far from home to weep.

From the late 1930s through the 1940s, the Andrews Sisters produced one hit record after another, beginning with “Bei Mir Bist Du Schoen” in 1937 and continuing with “Beat Me Daddy, Eight to the Bar,” ”Rum and Coca-Cola” and more. They recorded more than 400 songs and sold over 80 million records.

Other sisters, notably the Boswells, had become famous as singing acts, but mostly they huddled before a microphone in close harmony. The Andrews Sisters — LaVerne, Maxene and Patty — added a new dimension. During breaks in their singing, they cavorted about the stage in rhythm to the music.

Their voices combined with perfect synergy. As Patty remarked in 1971: “There were just three girls in the family. LaVerne had a very low voice. Maxene’s was kind of high, and I was between. It was like God had given us voices to fit our parts.”

Kathy Daris of the singing Lennon Sisters recalled on Facebook late Wednesday that the Andrews Sisters “were the first singing sister act that we tried to copy. We loved their rendition of songs, their high spirit, their fabulous harmony.”

The Andrews Sisters‘ rise coincided with the advent of swing music, and their style fit perfectly into the new craze. They aimed at reproducing the sound of three harmonizing trumpets.

Unlike other singing acts, the sisters recorded with popular bands of the ’40s, fitting neatly into the styles of Benny Goodman, Glenn Miller, Jimmy Dorsey, Bob Crosby, Woody Herman, Guy Lombardo, Desi Arnaz and Russ Morgan. They sang dozens of songs on records with Bing Crosby, including the million-seller “Don’t Fence Me In.” They also recorded with Dick Haymes, Carmen Miranda, Danny Kaye, Al Jolson, Jimmy Durante and Red Foley.

The Andrews’ popularity led to a contract with Universal Pictures, where they made a dozen low-budget musical comedies between 1940 and 1944. In 1947, they appeared in “The Road to Rio” with Bing Crosby, Bob Hope and Dorothy Lamour.

The trio continued until LaVerne’s death in 1967. By that time the close harmony had turned to discord, and the sisters had been openly feuding.

Midler’s cover of “Bugle Boy” revived interest in the trio. The two survivors joined in 1974 for a Broadway show, “Over Here!” It ran for more than a year, but disputes with the producers led to the cancellation of the national tour of the show, and the sisters did not perform together again.

Patty continued on her own, finding success in Las Vegas and on TV variety shows. Her sister also toured solo until her death in 1995.

Her father, Peter Andrews, was a Greek immigrant who anglicized his name of Andreus when he arrived in America; his wife, Olga, was a Norwegian with a love of music. LaVerne was born in 1911, Maxine (later Maxene) in 1916, Patricia (later Patty, sometimes Patti) in 1918.

All three sisters were born and raised in the Minneapolis area.

Listening to the Boswell Sisters on radio, LaVerne played the piano and taught her sisters to sing in harmony; neither Maxene nor Patty ever learned to read music. All three studied singers at the vaudeville house near their father’s restaurant. As their skills developed, they moved from amateur shows to vaudeville and singing with bands.

After Peter Andrews moved the family to New York in 1937, his wife, Olga, sought singing dates for the girls. They were often turned down with comments such as: “They sing too loud and they move too much.” Olga persisted, and the sisters sang on radio with a hotel band at $ 15 a week. The broadcasts landed them a contract with Decca Records.

They recorded a few songs, and then came “Bei Mir Bist Du Schoen,” an old Yiddish song for which Sammy Cahn and Saul Kaplan wrote English lyrics. (The title means, “To Me You Are Beautiful.”) It was a smash hit, and the Andrews Sisters were launched into the bigtime.

In 1947, Patty married Martin Melcher, an agent who represented the sisters as well as Doris Day, then at the beginning of her film career. Patty divorced Melcher in 1949 and soon he became Day’s husband, manager and producer.

Patty married Walter Weschler, pianist for the sisters, in 1952. He became their manager and demanded more pay for himself and for Patty. The two other sisters rebelled, and their differences with Patty became public. Lawsuits were filed between the two camps.

Patty Andrews is survived by her foster daughter, Pam DuBois, a niece and several cousins. Weschler died in 2010.

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Actress Ashley Judd and race car driver Dario Franchitti split

LOS ANGELES (Reuters) – American actress Ashley Judd and her Scottish race car driver husband Dario Franchitti are ending their marriage after 11 years.

The movie star, 44, and the Indianapolis 500 race car driver, 39, married in 2001 and have no children.

“We have mutually decided to end our marriage. We’ll always be family and continue to cherish our relationship based on the special love, integrity and respect we have always enjoyed,” a representative for the couple told People magazine in a statement on Tuesday.

No reason was given for the split.

Judd, the daughter of country music star Naomi Judd, starred in movies like “Double Jeopardy” and “High Crimes.” In recent years she has turned her attention in recent years to humanitarian work with AIDS sufferers and young people.

Judd has been mentioned as a possible Democratic candidate for the U.S. Senate in 2014, although she has made no formal announcement. Media reports have said Judd, who represented Tennessee at the 2012 Democratic National Convention, might run for one of Kentucky’s seats in the Senate.

Franchitti is a three-time Indianapolis 500 champion, who has also competed in NASCAR and the American Le Mans series.

He and Judd married in Scotland in December 2001 after a two-year engagement.

(Reporting By Jill Serjeant; Editing by Stacey Joyce)

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Animal shelters are real winners of ‘Puppy Bowl’

LOS ANGELES (AP) — There will be a winner and a loser every Super Bowl Sunday. But at the “Puppy Bowl,” it’s always a win for animal shelters.

The show provides national exposure to the shelters across the country that provide the puppy athletes and the kittens that star in the halftime show, and introduces viewers to the different breeds and animals that need homes, animal workers say. Many shelters see bumps in visits from viewers who are inspired to adopt a pet.

“It raises awareness for our shelter and others that take part,” said Madeline Bernstein, president and CEO of the Society for the Prevention of Cruelty to Animals Los Angeles. “It shows dogs in a happy, playful, fun way, which makes people think, ‘Gee, I could play with a dog too.’ You hope it will also stimulate adoptions, and if not, at least a positive attitude toward dogs, rather than they are just hairy and smelly.”

The “Puppy Bowl,” an annual two-hour TV special that mimics a football game with canine players, made its debut eight years ago on The Animal Planet. Dogs score touchdowns on a 10-by-19-foot gridiron carpet when they cross the goal line with a toy. There is a Most Valuable Pup award, a water bowl cam, a new lipstick cam (it’s in the lips of the toys), slow-motion cameras, hedgehog referees, a puppy hot tub and a blimp with a crew of hamsters. Bios on each puppy player flash across the screen during close-ups of the action, letting viewers know how to find each animal for adoption.

Most of the puppies, however, are usually adopted by airtime since the show is filmed months ahead, said executive producer Melinda Toporoff, who is working on her fifth “Puppy Bowl.” But Bernstein said the point is to show that animals just like the ones on the show can be found at any shelter at any time.

“A lot of people have come in during the last year and said, ‘I want a dog just like Fumble,’” she said, referring to spcaLA’s player entry in “Puppy Bowl VIII” who earned the game’s Most Valuable Pup crown.

About 300 puppies and kittens have been featured on “Puppy Bowl” over the last decade, according to Petfinder.com, the country’s largest online pet adoption database that helps cast the show’s animal stars.

“Shelters and rescues are at capacity, and pet adoption is the responsible way to add to your family,” said Sara Kent, who oversees outreach to the 14,000 shelters and rescues that Petfinder works with.

The inaugural “Puppy Bowl,” which was promoted as an alternative to the Super Bowl, had 22 puppies and was watched by nearly 6 million viewers. Nearly 9 million tuned in last year and another 1.4 million watched via video streams, Toporoff said. “Puppy Bowl IX” will feature 84 animals, including 21 kittens from a New York shelter for the halftime show, and 63 puppies from 23 shelters.

Only four of the puppies have yet to find new homes, Toporoff said. They include Tyson, Daphne and Sacha — three pit bull mixes from the Pitter Patter Animal Rescue in Silver Lake, Wis., — and Jenny, a terrier mix from the Pitty Love Rescue in Rochester, N.Y.

“I don’t know if there’s any bigger forum for getting something out on adoption. We make sure the message gets out there. We make clear that these dogs need homes and that all animals have come to us during the adoption process,” Toporoff said.

Fumble, last year’s MVP winner, was adopted before the show aired. Michael Wright, of New York, said he found out about Fumble’s participation toward the end of the adoption process. He planned to watch this year’s show to catch any flashbacks of last year’s MVP playing his heart out.

“I’m not really a fan of football,” he said, adding that he has renamed Fumble to Toby. “He fits the name Toby. He is so cute. I like the name Fumble, but I pictured someone dropping the ball. He wasn’t a Fumble,” Wright said.

Each year, recruiting for the show is a logistical challenge for Kent and her crew of 80-plus. This year’s show was particularly worrisome because taping was scheduled for October 2012 — just after Superstorm Sandy hit the East Coast.

“We worried about the puppies, kittens and hedgehogs that may have been directly impacted or unable to travel due to Sandy,” Kent said.

The New York studio where the game was supposed to be taped lost power, but the taping couldn’t be postponed for too long given how quickly puppies grow. Another studio further uptown that had both power and space was found, and “amazingly, the crew was able to reschedule the shoot for only a week later and all the animals were still able to attend,” Kent said.

Bernstein said they try to find rambunctious, energetic puppies to enter in the bowl though even if a dog falls asleep on its way to the end zone, it can be funny. Puppies chosen for the show have to be between 10 and 15 weeks old, healthy and sturdy enough to be on the field with playmates. All breeds are considered because “we try to reflect what’s out there in the adoption world. A lot of those breeds are mixed,” Toporoff said.

Producers also were trying to find ways to incorporate older animals into the show, since shelters have more trouble finding homes for them than they do puppies and kittens, Toporoff said.

As with all reality TV shows, the behind-the-scenes casting can lead to problems. Viewers often come in seeking a dog just like one on the show, and “then the lawyer brain kicks in, and you have to make sure you let everybody know not every dog plays football,” said Bernstein, who is also an attorney. “People will adopt the kind of dog they see in the movie and they’ll expect their Dalmatian to know how to use a word processor and not understand that was a cartoon.”

“Some dogs like to play more than others. But don’t come in thinking every Chihuahua can play football,” she said.

The “Puppy Bowl” airs on Feb. 3 from 3 p.m. to 5 p.m. in all time zones and will keep repeating until 3 a.m. The Super Bowl starts at 6:30 p.m. ET and 3:30 p.m. PT.

___

Online:

http://animal.discovery.com/tv-shows/puppy-bowl

http://www.spcaLA.com

http://www.petfinder.com/petdetail/24414038 (Tyson)

http://www.petfinder.com/petdetail/24413997 (Daphne)

http://www.petfinder.com/petdetail/24413979 (Sacha)

http://www.petfinder.com/petdetail/24393351 (Jenny)

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Chris Brown investigated for possible assault

WEST HOLLYWOOD, Calif. (AP) — Grammy-winning singer Chris Brown is under investigation for an alleged assault in a West Hollywood parking lot, the Los Angeles County Sheriff’s Department said early Monday.

Deputies responding to a report of six men fighting Sunday night found the scene clear, but were told by witnesses that there had been a brief fight over a parking space.

“The altercation allegedly led to Chris Brown punching the victim,” the department said in a statement released early Monday morning.

The “victim” wasn’t identified but the celebrity website TMZ — which first reported the fight outside the Westlake Recording Studio — said it also involved Frank Ocean, one of the top nominees at Grammy Awards next month.

In a Twitter posting later, Ocean said he “got jumped by (Brown) and a couple guys” and suffered a finger cut.

It wasn’t Brown’s first problem in the run-up to the Grammys. His attack on singer Rihanna on the eve of the 2009 awards event overshadowed the show.

Last June, he was injured in a brawl with members of hip-hop star Drake’s entourage at a New York nightclub.

No arrests were made. Brown was gone by the time deputies arrived but the department said the investigation is ongoing and Brown would be contacted later.

Email messages to Ocean’s publicist and Brown’s lawyer were not immediately returned. A man answering the phone at the recording studio declined to comment.

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Hostage film “Argo” wins producers award as Oscars loom

LOS ANGELES (Reuters) – Iran hostage drama “Argo” continued its trophy-winning streak on Saturday, taking the top prize at the Producers Guild Awards in the latest boost to its chances at the Oscars.

Guild picks regularly go on to win at the film industry’s most prestigious event – for the last five years, the producers’ choice of best-produced film has taken the best picture Oscar.

“I’m really surprised. I’m not even in the PGA (Producers Guild of America),” Argo director, producer and star actor Ben Affleck said as he collected the award for the film that tells the true story of the rescue of U.S. diplomats from Tehran after the Islamic Revolution in 1979.

“I am still acting and available,” added a smiling Affleck, joined on stage by co-producer Grant Heslov. George Clooney, also a producer, did not attend the event in Beverly Hills.

The PGA prize is seen as a particularly good indicator of future success as many of the Guild’s 5,000 plus members are also members of the Academy of Motion Picture Arts and Sciences who vote for the Oscars.

Argo was nominated earlier this month for a best film Oscar, but Affleck was snubbed in the director’s category. Nevertheless, he won a Golden Globe for his direction this month and Argo also won best movie drama at the Golden Globes.

Argo won the PGA prize against nine other films on Saturday, including Steven Spielberg’s presidential drama “Lincoln”, musical “Les Miserables” and Kathyrn Bigelow’s Osama bin Laden thriller “Zero Dark Thirty”.

Also contending were Quentin Tarantino’s darkly humorous slavery Western “Django Unchained”, the James Bond blockbuster “Skyfall”, Ang Lee’s shipwreck tale “Life of Pi” and the comedy “Silver Linings Playbook”.

Many of the PGA-nominated movies are also in the running for the best picture Oscar on February 24.

The PGA handed “Wreck-It Ralph,” its honor for best animated movie.

Unlike the Academy Awards, both the Producers Guild Awards and the Golden Globes also give prizes to television dramas and comedies.

The HBO film “Game Change” about Sarah Palin’s 2008 vice presidential bid won the outstanding longform TV prize and ABC’s “Modern Family” was named best-produced television comedy. “Homeland” was named the best-produced TV drama.

“Searching for Sugar Man,” a film about an obscure singer named Rodriguez who is a hit in South Africa, won the prize for best documentary.

J.J. Abrams, who grabbed headlines this week for being named director for the “Star Wars” film received an achievement award for his television work while producers Harvey and Bob Weinstein received a milestone award.

(Reporting By Susan Zeidler; Editing by Andrew Heavens)

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Disney says JJ Abrams to direct next ‘Star Wars’

LOS ANGELES (AP) — It’s official. The force is with J.J. Abrams.

The Walt Disney Co. issued a statement Friday night confirming reports that had been circulating for two days that Abrams, Emmy-award-winning creator of TV’s “Lost” and director of 2009′s “Star Trek” movie, has been pegged to direct the seventh installment of the “Star Wars” franchise.

“J.J. is the perfect director to helm this,” said Kathleen Kennedy, the movie’s producer and president of Lucasfilm, which was acquired by Disney last month for $ 4.06 billion.

“Beyond having such great instincts as a filmmaker, he has an intuitive understanding of this franchise. He understands the essence of the Star Wars experience,” Kennedy said in the statement.

The movie will have a script from “Toy Story 3″ writer Michael Arndt and a 2015 release.

Lawrence Kasdan, who wrote “The Empire Strikes Back” and “Return of the Jedi” in the original trilogy, will work as a consultant on the new project.

Abrams has already headed the reboot of another storied space franchise, “Star Trek,” for rival studio Paramount Pictures. The next installment in that series, “Star Trek: Into Darkness,” is set to hit theaters May 17.

But he has long been known as a “Star Wars” devotee. Abrams spoke about the plot of the original “Star Wars” in the lecture series “TED Talks” in March 2007, and reportedly became enamored of “Lost” co-creator Damon Lindelof partly because Lindelof was wearing a “Star Wars” T-shirt when they first met.

In 2009, Abrams told the Los Angeles Times: “As a kid, ‘Star Wars‘ was much more my thing than ‘Star Trek‘ was.”

In Friday night’s statement he called it an “absolute honor” to get the job.

“I may be even more grateful to George Lucas now than I was as a kid,” Abrams said.

Lucas himself said in the statement that “I’ve consistently been impressed with J.J. as a filmmaker and storyteller. He’s an ideal choice to direct the new Star Wars film and the legacy couldn’t be in better hands.”

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“Hansel and Gretel” is Grimm news for weekend box-office rivals

LOS ANGELES (TheWrap.com) – “Hansel and Gretel,” a Grimm’s fairy tale on special effects and 3D steroids, is ready to wreak some box-office havoc this weekend on its way to the number one spot.

Paramount has exerted considerable marketing muscle behind the R-rated action fantasy, and it seems to be connecting. “Hansel and Gretel” will take in more than $ 25 million over the three days, industry analysts say. Jeremy Renner and Gemma Arterton play bounty hunters tracking and killing witches all over the world in this version of the classic fairy tale,

The weekend’s other wide openers, the ensemble sketch comedy “Movie 43″ and the Jason Statham-Jennifer Lopez crime thriller “Parker,” don’t figure to be among the leaders.

Last week’s top film, Universal’s horror thriller “Mama,” starring Jessica Chastain, is likely to take a hit from “Hansel and Gretel” but should still finish among the leaders. Best Picture Oscar nominees “Zero Dark Thirty” and “Silver Linings Playbook” will continue to be in the mix, too.

Renner’s star is rising on the heels of “The Avengers” and “The Bourne Legacy,” but the best thing “Hansel and Gretel” will have going for it at the box office might be the bump it will get from premium pricing at its 3D and Imax locations. Paramount has its first 2013 release in roughly 3,300 locations, a whopping 2,900 of which are 3D, and in 300 Imax theaters.

What could work against “Hansel and Gretel” is its R-rating, which will limit its reach with younger fan boys, but late tracking suggests the film’s appeal has broadened. Paramount is also opening “Hansel and Gretel” in 19 foreign markets this weekend, and a solid overseas performance will be critical if it’s to offset its roughly $ 50 million budget.

“Hansel and Gretel,” a co-production of Paramount and MGM, was written and directed by Tommy Wirkola (“Dead Snow”) and co-stars Famke Janssen and Thomas Mann. The film is produced by Will Ferrell, Adam McKay, Kevin Messick and Beau Flynn.

“Movie 43″ is unlike anything to hit the box office recently. Proudly rude and crude, Relativity‘s R-rated ensemble sketch comedy took four years to make and has 12 directors and twice that many stars.

The cast of “Movie 43″ features Oscar nominees Hugh Jackman and Naomi Watts, along with Seth MacFarlane, Halle Berry, Common, Richard Gere, Greg Kinnear, Kate Winslet, Uma Thurman, Emma Stone, Chloe Grace Moretz, Gerard Butler, Dennis Quaid, Sean William Scott, Kristen Bell and Elizabeth Banks. That’s a lot of star wattage but most of the roles are cameos.

Also appearing are Anna Faris, Liev Schreiber, Johnny Knoxville, Kieran Culkin, Kate Bosworth, Bobby Carnavale, Will Sasso, Josh Duhamel, Snooki and … you get the idea. The budget was just $ 6 million, so everyone worked for scale.

Even the sketches were solicited from agencies, actors and friends and came in the form of treatments, scripts and phone pitches.

Peter Farrelly (“Shallow Hal”), who put the project together along with Charles Wessler, a producer on most of the Farrelly brothers films, directs one of the segments. Banks, Steven Brill, Steve Carr, Rusty Cundieff, James Duffy, Griffin Dunne, Patrik Forsberg, James Gunn, Bob Odenkirk, Brett Ratner and Jonathan van Tulleken direct the others.

“It was really all about schedule with a lot of these people,” Farrelly said. “Charlie would call and they’d say, ‘Yeah, I’d love to do it, but I’m in the middle of a movie. I can do it in nine months, next September.’ And he’d just go, ‘Fine, we’ll see you in September.’ That’s why this film took four years to make – it wasn’t sitting on shelf somewhere. We’d get who we’d get when we’d get them, and that’s how it worked.”

The sketches are tied together by a storyline involving a down-and-out movie producer (Quaid), who’s pitching projects to a studio exec (Kinnear) and his boss (Common). The shorts ensue.

There haven’t been press screenings, so the critics haven’t gotten their hands on it. It’s hard to tell from the red-band trailer how funny the film will be, but there’s little doubt some will be offended – we’re not talking “Love Actually” here – by the raunch and low-brow humor.

That’s intended to be part of the appeal, of course, but points up a box-office conundrum: how successful can a film be when a large part of the audience most likely to most enjoy those kind of laughs can’t get in because of the R rating? Relativity is banking on 18-34-year-olds, and analysts and the studio see it making around $ 8 million or $ 9 million over the three days.

The film has already made more than its budget in the foreign pre-sales, which were handled by Lionsgate International. It’s among the first releases overseen by Relativity‘s new international distribution unit, Relativity International, and has taken in approximately $ 8.5 million since opening earlier this month in Russia.

In “Parker,” directed by Taylor Hackford (“Ray”), Statham plays a professional thief with a conscience, who doesn’t steal from the poor or hurt innocent people. Double-crossed after a gang heist, he heads to Palm Beach, Fla., and teams with one of their victims (Lopez) for revenge.

The presence of Lopez, who has a major music fan base, provides something of an X factor for “Parker.” She hasn’t been seen in a box-office hit since 2005′s “Monster In Law,” but her voice helped “Ice Age: Continental Drift” ring up $ 875 million worldwide last year.

Statham’s last movie was the ensemble action film “Expendables 2,” which opened to $ 28 million and went on to make $ 85 million last year. But the tracking and social media hasn’t been strong, and “Parker” will be hard-pressed to match the performance of Staham’s 2011 film “The Mechanic,” which opened to $ 11 million and made $ 29 million. Film District has it in 2,224 locations.

John J. McLaughlin adapted the script from “Flashfire,” the 19th “Parker” novel, written by Donald Westlake under the name Richard Stark.

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From bombastic to beloved, Joachim Sauer’s trip to Wagner’s “grail”

BERLIN (Reuters) – In his youth, theoretical chemist Joachim Sauer found the music of Richard Wagner “bombastic”. All that changed when he was in his early 20s with a chance encounter with Wagner’s ‘Siegfried’.

Now the annual Wagner summer festival in Bayreuth is one of the few occasions when the media-shy Sauer is seen in public with his wife, German Chancellor Angela Merkel.

This year, the bicentenary of Wagner’s birth, is a special one for the many millions of “Wagnerians” who share Sauer’s passion. It was the chance to talk about Wagner’s music, and only about music, that prompted Sauer to speak to Reuters.

“If you ask me what is the best good fortune in my life of course I say that I have seen in my lifespan the Wall coming down, the reunification,” said Sauer, 63, who grew up in communist East Germany.

“But the second, which comes with it, is perhaps that I now can go to Bayreuth.”

Sauer, considered a top expert in his field for his quantum chemical work with catalysts used in the chemical industry, and also in cars, met for an interview in English over dinner recently at the restaurant of the Deutsche Oper in Berlin where he went on to see Puccini’s “Tosca”.

“They see me all the time at Bayreuth and think I only like Wagner’s music and it’s not true,” Sauer said. He also likes Beethoven, Mozart, some of the Romantic repertoire, even the music of the 20th century, and Verdi’s “La Traviata”, which he considers a masterpiece.

But what is it about Wagner’s music that Sauer, a slender, fit and cordial man whose smiling countenance throughout the dinner of fish and a glass of white wine belied his somewhat dour image in the German press, finds so engaging, if not to say addictive?

His conversion occurred by chance when he came home one day exhausted, he said.

“I was studying chemistry and this is a physically hard job because you are in the laboratory, you work hard and you come home in the late afternoon or in the evening and you always needed a break. So I would stretch out on the sofa, switch on the radio and listen to this special radio program which has a lot of classical music and I was listening to something. I didn’t know what it was but I found it very interesting.

“And at the end it turned out it was a piece of ‘Siegfried’” – from Wagner’s “Ring” cycle. “So I told myself, ‘You’re an idiot…you should listen to it.’ So this was how it started.”

“It never ends, it’s so rich,” Sauer added, speaking of the appeal of Wagner’s operas, which include the story of the “swan knight” in “Lohengrin”, the 16-hour-long “Ring” and conclude with the quest for the Holy Grail in “Parsifal”. “And they are all so very different.”

He said Bayreuth, Wagner’s purpose-built opera house on the “Green Hill” in Bavaria, is unique in allowing busy people like himself, with a fulltime career as a professor at Humboldt University in Berlin, to get away from their daily routines and pay full attention to nothing but Wagner’s operas.

“Many people would be very proud if they had invented it. Therefore I am strictly against any good advice they would give to open it to change, to open it to other composers, to do all types of things. All wrong, because this is a unique thing and don’t touch it.”

AN UNEXPECTED FAVOURITE

Like many passionate Wagnerians, Sauer more or less throws up his hands when asked how many times he has seen the various operas – regularly since his 20s and at Bayreuth every year since 1990, when East and West Germany were reunited, was his rough estimate.

He said one of his greatest Wagner moments unexpectedly was a 1990s staging by the late Brecht disciple and leftist playwright Heiner Mueller of Wagner’s intensely romantic “Tristan und Isolde”, in which two unrequited lovers are united in death.

“It was really the best piece I have seen in Bayreuth so far…. I often have trouble with what is called the ‘regie theater’ where the director takes over but in this case it made sense not only in an intellectual way but also an emotional way,” Sauer said, still clearly passionate about a production that set part of the drama in a post-apocalypse world where the moribund lover Tristan, sung by Siegfried Jerusalem, wore dark sunglasses and was covered with concrete dust.

This year Bayreuth will unveil a new “Ring” by deconstructionist Berlin theatre director Frank Castorf, who has been known to dispense with whole sections of text in plays he directs, with the young Russian Kirill Petrenko conducting.

Sauer, who enjoyed the previous Bayreuth “Ring” under Wagner-immersed German conductor Christian Thielemann, is keeping an open mind. Little has been revealed about the Castorf version, apart from snippets on blogs and websites saying it will use a revolving stage and that Castorf is under orders not to make cuts.

“We take the risk. The music is still there,” Sauer said, with a wry hint of humor.

(editing by Janet McBride)

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Vegan pizza, smoked salmon Oscars on offer at post-Oscars ball

LOS ANGELES (Reuters) – Hollywood’s elite will chow down on vegan pizza and kale salad in addition to the traditional smoked salmon Oscars at the annual Governor’s Ball after next month’s Academy Awards ceremony, celebrity chef Wolfgang Puck announced on Tuesday.

Unveiling his menu for the year’s biggest movie party, Puck said chicken pot pie with shaved black truffles, mini Kobe burgers, Japanese baby peach salad, steamed red snapper with Thai spice, Tuna Nicoise and his signature gold-dusted mini-chocolate Oscars also would be served.

Some 1,500 guests are expected at the ball immediately after the February 24 Oscars ceremony, including nominees such as George Clooney, Steven Spielberg, Jennifer Lawrence and Jessica Chastain.

Puck’s menu could be the first chance for many of the attendees to eat since breakfast, as nominees and presenters stave off food in order to squeeze in to fitted gowns and tuxedos for the televised red carpet arrivals and ceremony.

“Nobody eats lunch that day, so by nine o’clock, anybody who would be on a diet is no longer on that diet,” Puck said.

With Oscar-nominated films ranging from dramas to comedies and musicals, guests at the ball – the Academy’s official celebration – will be dining on dishes just as varied.

“We have so many great nominated movies from ‘Argo’ to ‘Les Miserables’ to ‘Silver Linings Playbook,” Puck told Reuters. “It’s a really great year for movies with lots of variety, so we are going to serve a variety of dishes.”

Puck, who this year is marking his 19th year catering the ball, and chef Matt Bencivenga will serve over 50 dishes from hors d’ oeuvres and entrees that will be served on small plates throughout the evening.

Gastronomical items will include Chinese, French, Italian dishes and others from Puck’s many Los Angeles eateries.

The master chef told Reuters there will also be a strong focus this year on vegan dishes, including pizza, kale salad with grilled artichoke, and a beet salad with spiced walnut among others.

“If they don’t find something to eat (among our dishes) then they are really finicky,” joked Puck.

About 300 of Puck’s staff will be in the kitchen and 650 on the dining room floor, which will be laid out with small tables and booths to create a party atmosphere rather than a black tie dinner, according to Puck.

Completing the setting will be a 120-foot (37-meter)chandelier hanging from the ceiling and an 18-foot (5.5-meter) golden Oscar as the centerpiece of the ballroom floor.

Puck said food preparation will start a few days before the event with the making of dishes like smoked salmon and tortellini, but “we cook everything as if we were cooking for an intimate party of 25 – everything at the last moment.”

By midnight, Puck said the festivities would be pretty much over as attendees moved to other parties. That’s when he’ll get his first opportunity of the day to relax “and hang with a few people I know, and we sit around and have some good wine.”

(Reporting By Zorianna Kit; Editing by Jill Serjeant and Paul Simao)

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Beyonce, Hudson do star turns at inauguration

WASHINGTON (AP) — Beyonce drew a loud cheer at the inauguration Monday even before her impressive rendition of the national anthem. But in the role she played four years ago singing for the president and first lady at the inaugural ball was her “Dreamgirls” co-star Jennifer Hudson.

If President Barack Obama’s first inaugural theme seemed to be summed up by Beyonce’s “At Last,” this time it was Hudson’s version of Al Green’s “Let’s Stay Together.”

Hudson was among the entertainment at Monday night’s inaugural balls, joined by Stevie Wonder and Alicia Keys, who modified her hit “Girl on Fire” to sing “He’s the president and he’s on fire … Obama’s on fire. Obama’s on fire.”

The crowd at the official Inaugural Ball joined in with the Grammy-nominated fun. anthem “We Are Young.”

And Wonder got small knots of dancers going with crowd-pleasers such as “Signed, Sealed, Delivered I’m Yours.”

Earlier in the day, the applause for Beyonce started when she took her place with Jay-Z at the Capitol to watch President Barack Obama take the oath for his second term in office. The two stopped to chat with the Rev. Al Sharpton.

James Taylor kicked off the musical performances, strumming his guitar and singing “America the Beautiful.” Kelly Clarkson followed with a different arrangement of “My Country ‘Tis of Thee.” Then Beyonce was introduced and the crowd again roared its approval.

Beyonce had a definite fan in Supreme Court Justice Clarence Thomas, who applauded eagerly after she finished singing the national anthem. She offered R&B-esque vocal riffs as she sang on and the crowd seemed to love it, cheering loudly as she finished. Clarkson, too, hit high notes.

Beyonce may have been the star musical attraction, but she had plenty of company from Hollywood at the Capitol on Monday. Katy Perry and John Mayer sat side-by-side, with Perry in an orange-striped coat and wide hat, and Mayer in dark sunglasses. Singer-songwriter Ke$ ha was there, too.

People flocked to the colorful pop star, snapping photos. And Perry did the same, taking shots of “Girls” actress and daughter of news anchor Brian Williams, Allison Williams.

Actress Eva Longoria was seated on the platform outside the Capitol after making an appearance at a Kennedy Center performance Sunday night. Perry sang at the children’s concert the night before.

Former Boston Celtics great Bill Russell was in the crowd, too, along with actor Marlon Wayans.

___

AP writers Donna Cassata, Darlene Superville, Josh Lederman and Jocelyn Noveck contributed to this report.

__

Follow Mesfin Fekadu on Twitter at http://twitter.com/MusicMesfin

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Journalist Barbara Walters hospitalized after fall at Washington party

(Reuters) – Veteran journalist Barbara Walters was admitted to a Washington. D.C., hospital over the weekend after she fell and cut her head at the British ambassador’s residence, a spokesman for the ABC television network said on Sunday.

Jeffrey Schneider, a senior vice president with ABC News, said Walters fell on the stairs on Saturday evening while attending an event.

“Out of an abundance of caution,” Walters, 83, went to the hospital, where she remained for observation on Sunday, Schneider said.

“Barbara is alert (and telling everyone what to do), which we all take as a very positive sign,” Schneider said in a written statement.

(Reporting by James B. Kelleher, editing by Stacey Joyce)

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Chuck Workman interviews directors David Lynch, Mike Leigh for “What is Cinema?”

NEW YORK (TheWrap.com) – Oscar winner Chuck Workman has begun work on a new documentary titled “What is Cinema?” for Cohen Media Group. Seeking to explore the art of filmmaking, Workman has interviewed directors David Lynch and Mike Leigh, and will interview several filmmakers at this year’s Sundance Film Festival, which began Thursday.

Workman, who won an Oscar for his 1986 short “Precious Images,” took the title for this new documentary from a seminal book by legendary French film theorist Andre Bazin.

Bazin co-founded French film magazine Cahiers du cinema and had a major influence on French New Wave filmmakers including Francois Truffaut and Jean-Luc Godard.

“Cinema is something we all grew up with and we think we know it. Or we don’t think about it much, just sit down and enjoy the film. But it changes daily, and this is an attempt to chronicle where it is today and where it will be, or should be, tomorrow,” Workman said in a statement.

Many may know Workman’s work without realizing it. He makes many of the montages seen during the Oscar telecasts, including the In Memoriam section. He has also made documentaries including “The Visionaries” and “Superstar: The Life and Times of Andy Warhol.”

Workman and Cohen may also collaborate on a pair of other documentaries about giants of American cinema. Both “What is Cinema?” and those prospective films fit right in at Cohen, which distributes independent and foreign films. Its upcoming releases include Rachid Bouchareb’s “Just Like a Woman” and Francois Ozon’s “In the House.”

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