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November Christine, Carmel Dean and Madeline Myers Win The Billie Burke Ziegfeld Award

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Ziegfeld Club, Inc., one of New York City’s first performing arts charities to benefit women, is thrilled to announce November Christine, Carmel Dean and Madeline Myers as the 2021 recipients of the sixth annual Billie Burke Ziegfeld Award. These prestigious grants, given to promising female musical theater composers, are presented in partnership with New York Stage and Film. Past recipients of the Billie Burke Ziegfeld Award include the composers Masi Asare, Julianne Wick Davis, Anna K. Jacobs, Rona Sidiqqui and Shaina Taub.

The Billie Burke Ziegfeld Award, with grants in the amount of $5,000, aims to celebrate emerging female composers or composer/lyricists who compellingly demonstrate outstanding artistic promise in musical theater composing.

“In a break from past practice, we decided this year to recognize the achievements of the three finalists from last year’s award process,” said Ziegfeld Club Executive Director Laurie Sanderson. “Our decision to confer this year’s award on three composers reflects the tremendous depth of talent among the community of female composers and lyricists.”

“We are honored to continue our partnership with the Ziegfeld Club,” said Chris Burney, Artistic Director of New York Stage and Film. “The annual support of the Billie Burke Ziegfeld Award is very meaningful to the recipient. As theatres reopen, it is very exciting the committee agreed to support three incredible composers this year.”

Described by The New York Times as one of “New York’s pioneering feminist institutions,” and “Broadway’s best kept secret,” The Ziegfeld Club is among the first not-for-profits in the Broadway community. Founded in 1936 by Billie Burke in honor of her late husband Florenz Ziegfeld, musical theater impresario and producer of the legendary Ziegfeld Follies. The organization was originally formed to provide help to Ziegfeld Girls who had fallen on hard times. As all of the Ziegfeld Girls have now passed away, the Ziegfeld Club’s mission remains to help women of today’s musical theatre.

Additionally, the Ziegfeld Club has preserved exciting theater history in their treasured archives that include unique Ziegfeld memorabilia. Today the Ziegfeld Club is expanding its legacy of helping women in the theatre by establishing The Billie Burke Ziegfeld Award, a $5,000 grant and a year of professional mentorship which is awarded to one or more emerging, female composer-lyricists who compellingly demonstrate outstanding artistic promise in musical theater composing and who can clearly show how the grant money and mentorship will further their artistic careers, and the Liz Swados Inspiration Grant, a $5,000 grant awarded to a NYC based female music educator.

For more information about The Ziegfeld Club, Inc. or about the Billie Burke Ziegfeld Award, please visit www.TheZiegfeldClubInc.com.

NOVEMBER CHRISTINE (she/her/hers) holds a degree in Cellular Biology and Molecular Genetics from the University of Maryland, as well as a BM in Musical Theatre from the East Carolina University School of Music. Christine produced her award-winning musical MIRROR, MIRROR at the 2015 Hollywood Fringe Festival, followed by a three-week run in Los Angeles. Christine’s historical hip-hop drama, LEGACY THE MUSICAL, was showcased in London in 2017 and won “Best of Fest” at the 2018 New York Musical Festival. She was commissioned by Artistic Stamp Inc. to write her latest piece, IDA, a six-part epistolary play on the early years of Ida B. Wells. Christine is also a BMI Lehman Engel Musical Theatre Workshop Lyricist and 2021 NYCLU Artist Ambassador.

CARMEL DEAN is an Australian-born, New-York based composer/lyricist, musical director, and arranger. Her compositional debut, RENASCENCE, (with a book by Tony Award-nominee Dick Scanlan) was produced Off- Broadway by the acclaimed theatre company Transport Group, and subsequently won the 2018 Off-Broadway Alliance Award for Best New Musical. Her song cycle Well-Behaved Women, about bad-ass, game-changing historical women, premiered at Joe’s Pub in January 2020 to sold-out performances, and recently received rave reviews for its production in Sydney, Australia. She has been commissioned to write a new musical with Mindi Dickstein (Little Women) for New Works Provincetown/Mark Cortale. Dean is a Fulbright Scholar, holds an MFA from New York University’s Graduate Musical Theatre Writing Program, and is a current member of the BMI Lehman Engel Musical Workshop.

MADELINE MYERS is a composer and lyricist for musical theater in New York City. Her musicals include DOUBLE HELIX, FLATBUSH AVENUE (UNC-Greensboro commission), THE DEVIL’S APPRENTICE (world premiere Copenhagen, Denmark, 2018), and MASTERPIECE (O’Neill Musical Theater Conference 2018 semi- finalist). Myers is a 2020 Billie Burke Ziegfeld Award Finalist, a 2020, 2019, 2018, and 2017 Jonathan Larson Grant finalist, a 2019 York Theatre Company NEO Writer, a 2020, 2019, 2018, and 2017 ASCAP Plus Award recipient, and a 2016-2017 Dramatists Guild Fellow. Her musicals have been developed at the York Theatre, Goodspeed Musicals (Johnny Mercer Writers Grove), the New Dramatists Composer-Librettist Studio, the Fingerlakes Musical Theater Festival, Musical Theater Factory, the NMI Disney Imagineering New Voices Project, the New York Theatre Barn, and the Johnny Mercer Songwriting Project. Myers is a proud member of ASCAP and the Dramatists Guild.

New York Stage and Film is a not-for-profit company dedicated to both emerging and established artists in the development of new works for theater, film and television. Since 1985, New York Stage and Film has played a significant role in the development of new plays, provided a home for a diverse group of artists free from critical and commercial pressures, and established itself as a vital cultural institution for residents of the Hudson Valley and the New York metropolitan region. The New York Times calls the company a “formidable breeding ground for new work,” and dozens of notable works trace their developmental roots to NYSAF, including the Tony Award winners HAMILTON, HADESTOWN, SIDE MAN and THE HUMANS; Broadway productions such as AMERICAN IDIOT, HEAD OVER HEELS, JUNK, BRIGHT STAR and DIANA; and Pulitzer winners and finalists such as DOUBT, The WOLVES and TAYLOR MAC’S A 24-DECADE HISTORY OF POPULAR MUSIC. www.newyorkstageandfilm.orgpage2image42723072page2image42724800page2image42728064

Magda Katz has been in the entertainment world for most of her life as a child actress, assistant to the head publicist of Avco Embassy Pictures, theatrical print agent. She went on to manage the show business career of her 2 children for over 15 years. For the last five years Magda has been filming and editing video trailers of live performances as well as celebrity interviews. Broadway After Dark was the first website to feature her video trailers. She contributed in creating a star studded 90th birthday party for Mickey Rooney at Feinstein’s at the Regency Hotel. Her video trailers have a large international following. Videos are featured on www.t2conline.com. All of Magda’s videos can be viewed at http://www.youtube.com/user/MagdaCorrespondent

Events

Billy Joel and Roger Sichel Quiet Brunch Turned Newsworthy Thanks to Justin Timberlake

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The night before Justin Timberlake was busy drinking and talking with his friends. Timberlake was stopped by police just after midnight on Tuesday. Billy Joel and artist Roger Sichel the next morning were having brunch at their usual hang out at the American Hotel, next to each other. Joel and Sichel were bombarded by photographs due to the late breaking news. What was scheduled to be a  quite afternoon turned out to be what has taken over the news.


Timberlake who is in the middle of a world tour that includes upcoming Madison Square Garden told the officers he had just “one martini.” According to sources he was inhibited on them and refused to take the sobriety test.

Billy Joel is busy working and lives within walking distance of the hotel.

Sichel just finished an art show in Beverly Hills and will be opening in Sag Harbor Kramois’s art gallery two doors down from the American Hotel next week.

Seems that the American Hotel is the place to hang this summer, well it always was.

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Broadway

The Glorious Corner

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G.H. Harding

GIAMATTI’S TREK — (via DEADLINE) Paul Giamatti has joined the cast of the upcoming Paramount+ original series Star Trek: Starfleet Academy in a recurring role. He will play the Season 1 villain, a man with an ominous past connected to one of our cadets.

“Sometimes you’re lucky enough to discover that one of the greatest actors alive is also a huge Star Trek fan, and meeting Paul was one of those miraculous moments for us. The sheer delight with which he dove in on Starfleet Academy is only surpassed by the gratitude we feel about him joining our incredible cast,” shared co-showrunners and executive producers Alex Kurtzman and Noga Landau in a joint statement.

He joins previously announced Holly Hunter, who will star in the series as the captain and chancellor of Starfleet Academy. The series will begin production later this summer.

Star Trek: Starfleet Academy follows a young group of cadets who come together to pursue a common dream of hope and optimism. Under the watchful and demanding eyes of their instructors, they discover what it takes to become Starfleet officers as they navigate blossoming friendships, explosive rivalries, first loves and a new enemy that threatens both the Academy and the Federation itself.

Alex Kurtzman and Noga Landau serve as co-showrunners and executive producers of the series alongside executive producers Gaia Violo, Aaron Baiers, Olatunde Osunsanmi, Jenny Lumet, Rod Roddenberry, Trevor Roth, Frank Siracusa and John Weber. The series premiere episode is written by Gaia Violo.

Star Trek: Starfleet Academy is produced by CBS Studios in association with Secret Hideout and Roddenberry Entertainment and is distributed by Paramount Global Content Distribution.

HEART STOPPED — (Via Deadline) The Heart of Rock and Roll, the struggling musical built around the hits of Huey Lewis, will play its final performance at a matinee on Sunday, June 23. The show will have played 24 previews and 72 performances.

In a statement, producer Hunter Arnold said, “It was pure joy working on the show with the team of creatives headed by writer Jonathan A. Abrams, director Gordon Greenberg, choreographer Lorin Latarro, music arranger and orchestrator Brian Usifer and special gratitude to the support and participation of the iconic music legend Huey Lewis.

The musical began previews on March 29 and opened on April 22.

“We were honored,” he continued, “to have an amazing cast and crew who brought their immense enthusiasm, commitment and talent to each and every performance. With our original cast album just released and talks underway for a national tour and international productions, the musical will continue to delight audiences for years to come.”

The musical, received by critics with lukewarm reviews, did not received any Tony Award nominations and has been struggling at the box office, sometimes with the James Earl Jones Theatre just more than half-full with audience members. For the week ending June 9, the show grossed a tiny $272,051.

SHORT TAKES — Francis Ford Coppola’s Megalopolis will be released through Lionsgate. Tepid reviews? Not really. Face it, Coppola’s a genius. Check out Roger Friedman’s (SHOWBIZ 411) take: https://www.showbiz411.com/2024/06/17/coppola-leases-megalopolis-to-lions-gate-for-september-release-in-distribution-only-deal

Darius Rucker said that the bandmates in Hootie and the Blowfish tried to outparty each other? Interesting. Check this out here: https://www.yahoo.com/entertainment/darius-rucker-says-hootie–the-blowfish-bandmates-tried-to-outparty-each-other-that-was-just-how-we-lived-214135068.html

Add one more Jon Bon Jovi-intervene to the list. NBC’s Sunday With Willie Geist. Was good, but nothing on Richie Sambora and nothing new. He’s not going to tour; he wants to tour; a surprise gig in Nashville ….

Micky Dolenz and Michael Stip (R.E.M.)

what’s going on? More kudos for his PR-man Brad Cafarelli … Congrats to R.E.M. on their Songwriters Hall of Fameinduction … HAPPY BDAY Michelle Toscas!

NAMES IN THE NEWS — Tom & Lisa Cuddy; Mark Adelman; Christine Nagy; Race Taylor; Anthony Noto; Robert Funaro; Al Roker; Tony LoBianco; Les Moonves; Les Schwartz; Marion Perkins; Mary Wilson; Tony Seidel; Bob Schartoff; Julie Laufer; Liza Lillien; Richie Ridge; William Schill; Dan Zelinski; Carol Ross; Gary Gershoff; David Adelson; Roy Trakin; Lee Jeske; Anthony Mason; and BELLA!

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Cabaret

Jumaane Smith Plays To Sold Out Crowd at Birdland

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This past week Jumaane Smith and his quartet performed for a full house at Birdland in New York City. Jumaane is one of the greatest trumpeter performing today. Like Louis Armstrong he is strong on both trumpet and vocals, playful on stage.

Jumaane has collaborated with Quincy Jones, Aretha Franklin, and Stevie Wonder, andperformed with Michael Buble for 17 years. and Harry Connick Jr. Smith is stepping onto center stage with the release of his new album “Come On Home” on August 16. This deeply emotional and predominantly original work traverses the rich landscapes of jazz, blues, and contemporary soul, echoing the timeless influence of classic albums from these genres. Known for his exceptional talent and versatility, the LP and his performance encapsulates themes of love, loss, overcoming challenges, redemption, and joy.
A highlight if the night was”I Know,” about finding your soulmate—the one person who stands by you against the world, the person you long to see at the end of the day.
Smith was backed by outstanding musicians Chris Lewis – Saxophone, Al Street – Guitar, Carmen Intorre Jr – drums, Will Gorman – organ.
It’s always a treat to be in the audience enjoying an evening with Jamaane Smith and his incredible music
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Entertainment

Summertime—don’t let the livin’ get too easy! Part I

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So tempting, isn’t it, to while away the summer in a cozy hammock or beach chair.  But then by Labor Day you have nothing to show for all that valuable time.  Here are a few suggestions that you might find enticing:

Be a Pioneer!

Or at least take a ride on one!  The 1885 Schooner Pioneer leaves from the South Street Seaport and a sunset ride around lower Manhattan is not to be missed.  https://southstreetseaportmuseum.org

Or Be a Reader!

There are many lists of what you should/could be reading, but I’d rather recommend authors you’ll be grateful to get to know.

NYC-based Amor Towles has a new book out Table for Two, a collection of short stories, the final of which is a prequel to his first novel.  Each of his four books is a complete joy, leaving one with a most satisfying experience.  If you plan to travel, his middle books are perfect companions.

A NYC transplant from Virginia, the brilliant Tom Wolfe wrote many long, and worthwhile, novels. But for a rather jaundiced peek inside the NYC art world, try his uncharacteristically short yet powerfully revealed The Painted Word. You’ll never see museums in the same light again.

Transsexuality is a topic that can be difficult to understand. Jan Morris, who wrote many books as James Morris, tells a tale of transition in Conundrum, a brief book detailing his motivation in a way that was intelligent and easy to understand.

If you’ve ever wondered about what it takes to produce a musical, composer Douglas J. Cohen reveals all the travails and joys of the experience in How To Survive a Killer Musical, about what it took to produce his musicalization of No Way to Treat a Lady.  It’s a must-read for anyone seriously interested in theatre.

Fill a Day with Fun and Games and Music

Many remember when it was known as “Needle Park”, but Bryant Park is now approaching amusement park status. A quick check of their website reveals a cornucopia of events to please every palate. Movie nights, concerts, theater and games galore are offered—all for free! A recent visit provided a relaxing respite of ragtime in the middle of an afternoon provided by Terry Waldo and his band.

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Celebrity

The Glorious Corner

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G.H. Harding

CAMPBELL’S KITCHEN — (Via Ultimate Classic Rock) Mike Campbell  has been making records since the ’70s, most famously as a member of Tom Petty and the Heartbreakers.

“I’m grateful that I was part of that whole experience,” Campbell recently told UCR, speaking to his Heartbreaker days. It’s been a full decade since the band released their last album, 2014’s Hypnotic Eye, and six and a half years since Petty’s passing, which effectively ended the Heartbreakers.

Campbell describes himself as “still grieving,” but tries not to spend too much time dwelling. “If I think about it too hard, I’ll just get sad,” he says. In the past four years, he’s kept himself busy with new work, recording and performing with his band the Dirty Knobs. As Campbell sees it, their third album, Vagabound, Virgins & Misfits (out June 14 via BMG), marks “huge growth” for him both lyrically and vocally. After years of operating as Petty’s right-hand man and usually taking the backseat when it came to singing — Campbell sang lead on exactly one Heartbreakers song, “I Don’t Wanna Fight” from 1999’s Echo — it’s taken three albums worth of work to reach a place where he feels self-assured of his ability to front a band. “A lot of it is confidence,” he says.

UCR caught up with Campbell and talked about Vagabonds, Virgins & Misfits, including its various guest stars.

This is your third album with the Dirty Knobs, but obviously you’ve been in this business a long time. How would you say your approach to songwriting has changed from your early days to this new album?

Well, my approach to songwriting is the same as it’s ever been. Except when I was partnered with Tom, I mostly just did music. I would make music tracks and give them to him and if he liked it, he would write the words. Now that he’s gone, I have my own band, I’m exploring the lyrics and the characters, as well as the music. So that’s a new frontier, but I’m really taking to it and I’m just trying to get good at it, you know? I see a huge growth in three albums. This new album, I think, has some really good lyrics, and the band, as always. And just, you know, the music is just — it’s always there. I write all the time, you know, and that hasn’t waned at all.

I would like to mention though, just to carry on what you said before about the female’s perspective. (This writer spoke with Campbell previously about another upcoming album, Petty Country: A Country Music Celebration of Tom Petty.) One thing on this album that I love, which was an afterthought, was Lucinda Williams’ addition of her words in the song “Hell or High Water.” [I] cut it as a Dirty Knobs song, and then listening back, it occurred to me and George Drakoulias, the producer: Wouldn’t it be great if this female character in the song actually came in and sang on the song? When I thought of Lucinda, I thought, God, if she would do it, that would be perfect. And she came through with flying colors, she put so much heart and soul into that verse. So, there’s an example [of a] song from a woman’s perspective adding much more depth to the song.

Totally. It would have been an entirely different track without that. It’s great that you have these contacts at your disposal that you can call up.

The guests on the record were not me going out and cherry-picking people. They’re just people who seemed to show up. Like Graham Nash, who did an incredible job. He was doing an interview with me and I got up the courage to ask him if he would maybe sing on one song (“Dare to Dream”), which he did. Chris Stapleton, I think was in town that weekend getting a Grammy or something and he came by the house. Here, would you sing on this song? And [Benmont Tench came over] and put piano on it, you know. So, the guests were kind of afterthoughts, but in each case, they made the song way better.

Did Graham record his parts remotely or did he also come by your studio? I know he lives in New York and you’re in L.A.

No, I had already cut the song. It was finished. And I did the interview with him, and you know, I’m a huge Hollies fan, the ’60s, all those bands. So just being able to have a conversation with him was wonderful. And I was really kind of sheepish like, I didn’t think he would say yes. … I said “Would you be interested maybe in trying to sing on something?” And he goes, “Sure, I’ll make your song better.” [Laughs] So I had the track. He went back to New York. I sent him the track, as a lot of people do now, he did his vocals and mailed it back to me and I lost my mind. It was so good.

There were several tracks on this album that when I heard them, I thought “Wow, Mike’s voice sounds great.” You’ve really grown into your role as lead singer, from the first Dirty Knobs album (2020’s Wreckless Abandon) to this one. How do you feel about your singing now?

Wow, can I send you some flowers? [Laughs] I thank you for saying that. I’m getting used to it, you know? And I have a little Florida slang that comes through now and then. But I don’t sound like Tom. When I first started singing…I actually did sound a lot like him because we talk a lot the same and stuff. But I think I’ve worked hard to kind of filter that out through the three albums, and there will always be little bit of that Southern thing in there. I think I found a voice that I’m comfortable with. I’m not a Roy Orbison, [but] I have the personality of certain characters that I put across. And a lot of it is confidence, Allison. If you get confident and work on the voice a little bit and believe that you pulled it off, you know, that’s a lot of the game right there. So, my confidence has grown as I keep working on it. But thank you for that compliment, that was wonderful.

And that goes for live shows, too. I would imagine that you also feel some confidence when you’re up in front of a crowd that’s encouraging you.

Oh, yeah. You know, it’s interesting, because I play with the Dirty Knobs, it’s our songs, it’s our trip, but I’m still a member of this legacy. And I sometimes will do a few Heartbreakers songs just out of respect for Tom because the crowd likes them and I like singing some of them. But the crowd, yeah. When they’re there for you and supporting you…I get the sense that a lot of the people in the audience that know me and my years are pulling for me. … I’m trying to find my own way and they’re supporting me and they’re helping me get there

Speaking of singing, your wife, Marcie, sings some backing vocals on the song “Hands Are Tied.” Is that the first time she’s done that on one of your albums?

That’s a funny story. Because, you know, she usually sings around the house. She’s not a singer per se, but all through my life — you know, I’ll be doing a demo and I’ll say “Why don’t you come in and put a little part on this?” “No, no, no, I don’t sing.” On this album…she goes, “You know what? I think I’d like to sing on this one.” And I said “Really?” I was in shock. I said “Okay, well, we got this song. All you got to do is go ahhhhh.” [Laughs] And her sound and her feel on it really helped the song a lot.

You have a note in your credits thanking Stevie Nicks for the “cool dulcimer.” And you’re actually holding the instrument on the cover of the album. Can you tell me about that?

Yeah, I hope she sees the cover, ’cause I think she will appreciate it. There’s a story with that. When I was doing the Mac project, we were at rehearsal one day, and Mick Fleetwood came in with one of those customized dulcimers, just beautiful. And I was talking to him about it and saying “Oh, this is really a nice instrument.” I guess she overheard the conversation and a week later, I walk in and she says “Here, this is for you.” She went and bought one just like it for me. I was blown away. In fact, I even wrote the song — “Innocent Man” was written on that dulcimer, on the album. But the funny thing is, I took it home and played it — it’s in my studio — and then a couple of weeks later, she came up, she said, “You probably never even play it, do you?” [Laughs] I said “I play it all the time!” You know, that’s so Stevie. So, I hope that she sees the cover and knows that I covered it and used it.

You’ve had a number of full circle moments, so to speak, in the last few years. I’m thinking of your time touring with Fleetwood Mac and reconnecting with Stevie Nicks, or playing with Bob Dylane at Farm Aid last year. You also shot the “Dare to Dream” music video with the Dirty Knobs at the Church Studio in Tulsa, Oklahoma, which was where the Heartbreakers signed their very first record deal. Is there anything else along those lines you’d like to do? Anything you want to revisit?

Well, I enjoyed the Tulsa thing quite a bit. That was not my idea, but the idea came up [from] management. And I thought it was very touching to go back where Tom and I had passed through on the way to get a record deal and to revisit that energy and those ghosts in the studio there. I enjoyed that a lot. But to be honest with you, I’d rather like, think forward and not think backward because sometimes nostalgia can be sad, you know? I’m real proud of that video, though. But I think I want to move forward and think forward.

Speaking of blasts from the past: The Wallflowers are going to be playing a show in L.A. later this year and the plan is for them to perform the entirety of their album Bringing Down the Horse, which you played on, and also the entirety of the Heartbreakers’ Long After Dark. What do you think about that?

You know, it’s wonderful that people are pulling out this music and revisiting it, you know, and I love Dylan — Jakob Dylan. I played on their first single, “Sixth Avenue [Heartache],” which was really fun and I’ve always been proud of his career. And I think he’s taken on a lot to do all those songs in one set, but more power to him. I’m sure he’ll do a great job.

What are you most looking forward to about touring with this new Knobs music?

I’m thrilled beyond to go out on the road with my band and play the new album. I’m real proud of it and the songs sound great in rehearsal. And the show will be a lot of the new album, and I’ll be throwing in a couple of surprise Heartbreaker songs that I think people will like here and there.

Howie Mandel

SHORT TAKES — Why does Howie Mandel seem to be channeling Boy George’s fashion-look on the new America’s Got Talent season. A cry for help for sure …

I got a memo about a co-op for sale located at 12 West 21st Street in NYC. It took me a minute to recall that that was the address for the long gone and much missed Private Eyes club; where Scott Blackwell was DJ. Great memories for sure: https://en.wikipedia.org/wiki/Private_Eyes_(nightclub)

The Eagles will do a residency at the Sphere in Las Vegas: https://www.forbes.com/sites/hughmcintyre/2024/06/13/the-eagles-announce-new-residency-at-las-vegas-sphere/

Seth Meyers

Is NBC really cutting the 8G band (led by Fred Armisen) for the Late Night with Seth Meyers? Read Roger Friedman’s exclusive take on this development: https://www.showbiz411.com/2024/06/12/nbc-cheaps-out-cuts-seth-meyers-live-band-from-show-beginning-in-september ..

PR-pasha David Salidor called to tell  us about a new book project. Steven J. Immerman’s In Search of Pleasure Island.  Here’s the logline: “In Search of Pleasure Island” delves into the bowels of ‘international sex trafficking’ as Dr. MATHEW NOBLE (a professor of criminology and retired special warfare operator) journeys across the globe in the search for his daughter and the men responsible for her abduction and his wife’s murder – stay tuned for more on this … Happy Bday Roger Friedman …

Mark James

RIP Tony LoBianco and Mark James, who wrote “Suspicious Minds” and “Hooked On A Feeling.”

NAMES IN THE NEWS — Tony Seidel; Mark Bego; Robert Shalom; Anni Bella; Terry Guerin; Terry Jastrow; Deb Caponetta; Melissa Davis; Dan Zelinski; Adam White; Glenn Friscia; Glenn Friscia; Vito Bruno; Lush Ice; Tom & Lisa Cuddy; Mitch Dolan; Race Taylor; Kent & Laura Denmark; Kevin Costner; Tony King; Elton John; Freddie Mercury; Donald Fagen; Warner LeRoy; and CHIP!

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