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FETCH THE BOLT CUTTERS —(from guest-columnist Anthony Pomes) In a moment when every screen within view seems blasted by a perpetually growing vomit of death statistics due to Covid-19, one feels that insanity might be next. Then one listens to Fiona Apple’s new album, Fetch The Bolt Cutters, a staggeringly epic work of art and melody and vision and rhythmic pulses both percussive and concussive in equal parts. And one realizes that to live, and to be reminded of life through the sublimely barbaric yawp of this teasingly brilliant and self-bandaged songstress of the post-#MeToo’d trauma trough, is truly the sweetest and most thrilling gift we can have at this collective moment of held breath. Listen to this album, over and over, and get high on the exhale of this breath . . . this is genius.

Fetch The Bolt Cutters is the bravest album of the year, the first work of scary genius in this new decade of the 2020’s. The sound of an artist having fulfilled her voice in a way here that leaves the listener—this one, at least—largely speechless. Any attempts at capturing its essence in words is largely moot—but I will certainly try, if only to flag everyone down and to point them all towards this pristinely savage piece of sonic art. 

This album has even won the recent approval of the ever-irascible Bob Lefsetz, who has been so consistently anti-album and “singles only” in recent seasons that his embrace of the record seems to have surprised even him.

The album opens forebodingly with “I Want You To love Me” which starts with a robotic plasticity, then slides into an earthier and more immediate piano part, with a spare percussive part. Her voice is so close in the mix, it sounds like it’s either right near your ear—or perhaps even in your head. The vocal style is imbued with a slightly more rageful variation on Stevie Nicks, and then slides into Yoko Ono-esque shrieks towards the end. The track even has that homemade-sounding fade out to it, ala McCartney’s first solo album McCartney (the one that he recorded in relative seclusion and his own admitted near-despair out on that farm in Scotland).

The next track, “Shameika”  – which has already birthed a meme based on the lyrical refrain “Shameika said I had potential”—is similar in its singular presence of mind and lyrical ferocity to the track “Jonathan” from Apple’s previous album, The Idler Wheel (actual title: The Idler Wheel Is Wiser Than the Driver of the Screw and Whipping Cords Will Serve You More Than Ropes Will Ever Do – which is not as long a title as the one that adorned her second album, known also in shortened form as When the Pawn….) 

That album’s long title was a bit of irony from Apple at the time, in response to some critical drubbing she received following an interview in Spin magazine. This reveals something crucial, though, in the reception given to her work. If a system like conventional media—which has had to often balance its editorial word counts alongside paid advertising space—has felt the need to abbreviate the titles that Fiona Apple has given to her remarkable works, then can any of these assessments truly encompass the rich depths and contradictions that Apple has brought to every shred of her recorded brilliance? Quick answer? No. The best that any of us can do, when writing or talking about Apple’s remarkable work every time a new piece of it emerges, is to simply say, “Listen to it.”

So here in “Shameika,” Apple’s hard and earthy piano arpeggios during the verses evoke thoughts of an anxious inner voice that is edging increasingly towards a kind of breakdown. This is the sound of the inner mind, closed off to all other realities other than the one that is churning along inside of it . . . and the gift here for us is that it was captured by studio microphones.

The album’s title track – Fetch The Bolt Cutters – is perhaps the definitive anthem of the world’s current predicament, our locked-down-in-quarantine “right now,” with the lyrical refrain of “Fetch the bolt cutters—I’ve been in here too long” that might speak to all of us stuck at home. There are also poignant glimpses into the past; any past, since Apple’s created world of song achieves a kind of universality—even if coming from her own life. She sings, “Ashamed of what they did to me, of what I let get done / They stole my fun, they stole my fun.” Who among us hasn’t thought those words at least twice a month since we left behind those hazy hazing days of elementary school? And to further drive home the primal echoes in this track, we’ve even got barking dogs in the outro—done once before by Brian Wilson back in 1966 at the end of “Caroline, No” on the Beach Boys’ Pet Sounds album. These new barks are just as visionary, in their way—but these dogs of Fiona’s are also far angrier, and more insistent—even desperate, in a way that  Wilson seemed to want to escape through what he always considered his teen love masterpiece.

This new album from Fiona Apple has leapt far beyond that mark, in ways that are only going to grow and further amplify for as long as we’ve got left here on this spinning globe of frowns on which we find ourselves.

“Under The Table” starts with a very interesting and well-sung series of intervallic notes, while the chorus (“Kick me under the table all you want—I won’t shut up, I won’t shut up”) reminds one very much of the 1985 song “Voices Carry,” co-written and sung by Aimee Mann back then in the group ’Til Tuesday. This, of course, provides an interesting parallel when one recalls that Mann also provided various songs for the quasi-apocalyptic 1999 Paul Thomas Anderson film, Magnolia—and Apple was, of course, involved with Anderson at the time of that film’s inception and subsequent release, in what has been reported over the years as a fairly explosive and passionate relationship. Sometimes a cigar is just a strong song of soul survival, released 21 years later.

Then comes “Relay,” which comes at the listener like some kind of percussive boot army and is sung righteously by some kind of self-styled sister sophist from far west of this communal citadel we call here, in which the voice of held-back rage in our world spills out of the speakers (“I resent for you being raised right . . . I resent you presenting your life like some f*cking propaganda brochure”). This is beyond words and music—these lyrics are post-Ginsburg, post-Adrienne Rich, post-Anne Waldman—this here truly embodies the twist and turns of freakishly alive poetry.

To draw a parallel to rap—which remains the big moneymaker in today’s music streaming—this entire album’s lyrical output is on par with the strongest and most deeply etched lines of Eminem, of Drake, of Chance the Rapper. There is a fierce mind on display here. “Evil is a relay sport” goes the catchy chorus—think about the last decade of online trolling, and presidential politics—could the timing of this song’s release have been any better? Reaching into the past, as well, Apple ends this track in a kind of strange whispery-falsetto a cappella coda voice that feels like something ripped straight out of the song assemblage from Captain Beefheart and His Magic Band’s seminal 1969 classic 

Going deeper into the album—which never lets up, for even a second—the listener starts to find interesting spins on gender objectification—“Rack Of His,” in which a guitarist’s gear is described with a kind of sexually fetishistic glee—and “Newspaper” where we hear more barking dogs at the start, a sound collage that emerges like some kind of dark and veering machine of ugliness—“We’re the only ones who know” stands nakedly in the track as perhaps the perfect allusion to the world prior to #MeToo. “From then on, it was his big show”—how can one hear this lyric without thinking of the recent Harvey Weinstein court trial?

Apple’s vision here is far vaster than mere accusation, however. The next track, “Ladies,” finds her in playful voice and rooted in place to soothe and console and build up. Though the song has the same slow sparsity of John Lennon’s “Isolation” from his own wildly original post-Beatles album Plastic Ono Band, it differs in that Apple opens her arms wide here in embrace to the listener; whereas Lennon’s arms on “Isolation” (recently covered by Johnny Depp and Jeff Beck) still seem wrapped tightly around that withering chip on his shoulder that had been there since A Hard Day’s Night, and which he worked hard to shrug off in that last decade of his life.

The songs continue to tumble forward before the listener: “Heavy Balloon,” a sort of complement to the soundscape on Apple’s second album, “Extraordinary Machine”; “Cosmonauts,” which evokes thoughts of space travel as experienced in a vastly foreign language and culture; “For Her,” which begins with a deep intake of air, followed by ambient-room clapping and an a-cappella woman’s choir, and continues that theme of strident healing that sustains this portion of the album. “Drumset,” which begins funnily enough with a warmly sustained harp arpeggio, is the most consistently percussive track on the album and is similar in vibe to the sound and feel of Apple’s first big song, 1997’s Grammy-winning “Crimimal.”

Which brings the album to a close with the track “On I Go,” a song that blasts into one’s mind with the righteous force of some primitive incantation. We encounter the song’s recurring phrase, “But now, I only move to move,” and it signals freedom not only for Fiona Apple as the artist but also—if and when we wish it—for ourselves as listeners and as human beings.

Fiona Apple’s Fetch The Bolt Cutters is one of the greatest albums thus far in the 21st century. There is truly nothing else like it. Listen to it.

G. H. Harding is a four decades insider to the entertainment world. He’s worked for record companies; movie companies; video-production He’s worked for record companies; movie companies; video-production companies and several cable outlets. His anonymity is essential in bringing an unbiased view to his writings on pop culture. He is based in NYC.

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SANBORN RIP — I was absolutely devastated to loss another friend Monday, musician David Sanborn. Still reeling from the loss of Sam Rubin, I just could not believe the news when I heard it.

I first met David when he played with The Brecker Brothers band (brothers Michael and Randy, Will Lee, Steve Khan, Don Grolnick, Chris Parker) and we immediately hit it off and became fast-running buddies. David, who had already played with the Paul Butterfield, was on his way to super-stardom: playing with everyone from Stevie Wonder to David Bowie, with his superb sax work. When you heard his work, you immediately knew it was him. Listen to his work on Bowie’s “Young Americans.” Just stunning.


His solo work with equally as stellar. His first solo-album Taking Off was just great. His signature “Chicago Song” was sensational too. I’ll never forget his great work on Lorne Michael’s Night Music show – especially the time he paired up Eric Clapton and Robert Cray. If you’ve never seen this, take a look here: https://www.youtube.com/watch?v=BngAj8xV3Os

He also worked with the late-Michael Kamen (and sting) on the Lethal Weapon soundtrack with Sting. Just exemplary work.

Check out his work with the Letterman band on a show in Vegas with Sammy Davis, Jr.: Sammy Davis Jr. on Late Night With David Letterman in Las Vegas (1987)

He was a lot of fun to hang with. I’ll miss his company – no question. Tremendous loss for sure.

David Salidor and Gene Cornish Photo by Bobby Bank/Getty Images

SHORTS TAKES — The Rascals’ “Good Lovin'” is in Jerry Seinfeld’s Unfrosted Netflix movie. Unfortunately, the movie’s taking a heavy beating in the media. I don’t think I’ll tune in, but a great music selection for sure … The first full-trailer for Coppola’s Megalopolis has just been released. Its rather sensational. Take a look here from Roger Friedman’s Showbiz 411: https://www.showbiz411.com/2024/05/14/watch-first-full-pre-cannes-teaser-trailer-for-coppolas-biggest-gamble-ever-with-astonishing-megalopolis-images

Alicia Keys announced the album for her play Hell’s Kitchen (13 TONY noms) will be out June 7. Interesting that she said album. Good for her … MTV has canceled their movie awards presentation for 2024. Low ratings the case? I’d bet on it. Also, parent-company Paramount might have a new owner or new owners. Check this out: https://www.showbiz411.com/2024/05/12/mtv-cancels-movie-and-tv-awards-for-2024-skips-barbenheimer-movies-after-2023-ratings-debacle

I started watching the original Let It Be film on Disney and loved it, just as I did when I originally saw it in 1970. As I’ve said before, this original (from director Michael Lindsay-Hogg) would never have come out again if there wasn’t a demand for it. What Peter Jackson did was great, but it wasn’t what The Beatles and Apple wanted. I loved it. Check this terrific article out on it: https://www.soundandvision.com/content/making-beatles-let-it-be-and-peter-jacksons-get-back?fbclid=IwZXh0bgNhZW0CMTEAAR2l_MOZXCWPMg2E5gNKfin7wIVgTKlmRvGWBwOHvqM4B_dphbY2bw-JcoM_aem_AXa5zighOQPj-_fICOPXlPDJP1wXUdXEx82NiZSzlevB … Happy BDay Crispin Cioe ; Jane Blunkell and Gene Cornish.

NAMES IN THE NEWS — Savannah Guthrie; Carson Daly; Paul Pesco;Alicia Keys; Tony Mandich; Judy Libow; Amanda Naylor; Tom & Lisa Cuddy; Len Berman; Michael Riedel; Bob Feiden; Sam Rubin; Paul Cooper; Anthony Noto; Ed Steinberg; Richard Johnson; Steve Carrel; Matt Damon; Matt Drudge; Bobby Orlando; Mark Berry; Marissa Armstrong; Heather Moore; and CHIP!

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SAM RUBIN — KTLA’s Sam Rubin passed on Friday. I first met Sam in 1986 while introducing a new artist around the LA scene, Sam immediately struck me as not only a terrific reporter, but a caring one and we immediately struck up a friendship that continued until last week. Sam was the type of guy who would ask the hard questions, but also gifted with a terrific sense of humor. If you saw him on the press-line, you’d go to him first. He wasn’t snarky; wasn’t unkind; wasn’t sneaky … just an honest-to-God good guy.

He was one of the few entertainment reports who would go onto question Mel Gibson about his off-screen antics. I always admired him for that.

I actually spoke to him earlier last week about an exciting new project and he was immediately entranced and even gave me some intriguing suggestions. Stand-up guy? No question. He will be missed greatly by not only his KTLA staff, but by the whole of Hollywood.

We’ve lost one of the good guys!

Read Roger Friedman’s take on Sam: https://www.showbiz411.com/2024/05/10/rip-sam-rubin-64-legend-in-hollywood-tv-reporting-for-station-ktla

YOUNG SHELDON — I’ve been a big fan of TV’s The Big Bang Theory and when it went off (after 12 seasons), Young Sheldon appeared in its place; about the early-life of lead-character Sheldon Cooper. After 7 seasons, it’s coming to a close and I have to say that although it hasn’t generated the same sort of fervor as BBT did, it’s been just a sensational show in every way.

The cast, led by Iain Armitage (Big little Lies) has just been spot on; and last week was the penultimate episode where Sheldon’s father George (Lance Barber), suffers a heart attack and passes. It was foretold in BBT and everyone -from the cast on- knew it was coming, but it was handled so well and off-screen, that it immediately became the show’s shining moment.

Talk about the little show that could, that was Young Sheldon. Beautifully done in every way. Bravo!

SHORT TAKES — Apple TV’s Constellation has been canceled. No real surprise here as it looked great, but the story was terrifically hard to follow. Actually, we’re waiting for the channel’s Invasion to return … Cassidy Wixom (KSL.com)did a great piece on 17-year-old wunderkind Kjersti Long, who’s “Legs (Keep Dancing)” song from Vanessa Williams, hit #3 on the Billboard Dance Charts. Check it out here: https://www.ksl.com/article/51008484/meet-the-utah-teen-who-helped-write-vanessa-williams-new-single

Robert Funaro

The Soprano’s Robert Funaro was a guest on NYC’s PIX11 and talked his new projects. Check it out here: Catching up with ‘The Sopranos’ Robert Funaro (youtube.com)

David Kramer

Check out Zach Martin’s session with Director David Kramer on his Jimi Hendrix: The Documentary: https://newhdmedia.com/jimi-hendrix-medical-mysteries-wine-controversy-and-persistent-murder-theories/

Felix Cavaliere

Felix Cavaliere on WOR this morning with Len Berman and Michael Riedel. He and Gene Cornish are at SONY Hall Friday. It’ll be Gene’s 80th Bday … Happy Bday Denise Lopez … RIP Roger Corman (https://deadline.com/2024/05/roger-corman-dead-independent-filmmaker-1235912737/)

NAMES IN THE NEWS — Zach Martin; Greg Porto; Kimberly Cornell; Tom & Lisa Cuddy; Asha Puthli; Jim Burgess; Glenn Friscia; Richard Johnson; David Sanborn; Paul Butterfield; Eppy; Mitch Kanner; Bruce Schindler; Anthony Pomes; Terry Jastrow; Crimshaw; Peter Abraham; Dan Zelinski; Donna Quinter; Wayne Avers; Anthony Pomes; Peter Abraham; Dan Zelinski; and Sadie!


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SAMBORA SPEAKS — (Via Ultimate Classic Rock) Richie Sambora has only one regret regarding his exit from Bon Jovi. The guitarist, who abruptly quit the band in 2013 to spend more time with his family, was a recent guest on The Allison Hagendorf Show. When asked what he would change about his departure from Bon Jovi if he could go back in time, Sambora was forthright.

“I probably would have left earlier,” the rocker admitted. “I might have left a couple of albums before because, I think Jon [Bon Jovi] was moving into a place where he wanted to not really be a band.”

This was not the first time the guitarist sensed Bon Jovi would rather go solo.

“When we first met, he was thriving to be a kind of a solo artist in a Bruce Springsteen way or a Rick Springfield way,” Sambora explained. “And quite frankly, it was an ultimatum for me when I just before Slippery [When Wet] [was made]. I went, ‘Come on, man. Let me in. We have to do this. We have to make this a band situation if we want to invade the planet and have people accept it.’”

Elsewhere in the interview, Sambora explained his dissatisfaction with the recently-released Bon Jovi documentary Thank You, Goodnight.

“Hey, look, this obviously was [Jon’s] personal perception. And this documentary was his perception, his baby. I really had nothing to do with it,” the guitarist explained. “I disagree with a lot of stuff or whatever, but I’m not really shaken by it.”

“It could have been more of a celebration,” Sambora continued. “We could have cut that down to about two hours, because, to me, the celebration would have been the great songs that we wrote and how we sold all those millions of records and played for people. I was in the band for 32 years, which is unbelievable anyway. [That] five guys could be married for 32 years, it’s incredible. That celebration of those great songs that people really took into their lives, that’s what I believed the 40-year celebration would be myself. But, like I said, it was his baby.”

Asked what he would change about the documentary, Sambora laughed.

“Everything,” he remarked. “There’s one thing that’s not in there, and it’s everything. Like I said, to me, this is Jon’s baby.”

Interesting for sure. Again, Sambora in the doc looked haggard, confused and sort of embarrassed to even be there. Here, he essentially said the same thing. Sure, he’s clearly going through a rough patch and actually, what he says make a lot of sense. But I think it’s ironic that he’s got to say these things as a result of the doc. To be honest, he should have got out in-front of the doc and spun his story.

These days everyone has a spin-doctor.

Steve Albini

ALBINI PASSES — (via Deadline) Steve Albini a singer and guitarist best known for producing some of the most groundbreaking and influential albums of the alt-rock genre, died of a heart attack at his Chicago recording studio Electrical Audio. He was 61. Albini’s death and cause of death was confirmed by Taylor Hales of Electrical Audio.

Born July 22, 1962, in Pasadena, Albini moved to the Chicago area after high school to study journalism at Northwestern University. While there, he began writing for local punk rock ‘zines and beginning to record and engineer albums for local bands.

Stubbornly opposed to the larger music industry and its exploitation of artists, Albini formed the Chicago-based band Big Black in 1981, recording the first of several albums, an EP for the Chicago label Ruthless Records, a label he co-managed. That band last until 1987.

From 1987 to 1988, Albini sang and played guitar for Rapeman, named after a Japanese comic book. The short-lived band broke up after one album, two singles and an EP. Albini later expressed remorse over the band name, calling it “a flippant choice,” “unconscionable” and “indefensible.”

Albini formed Shellac in 1992, a band that continues to this day.

While a longstanding and active musician, Albani’s name is most closely associated with producing, or what he preferred to call engineering. In a 2018 interview, Albini estimated that he had engineered several thousand records, mostly by underground rock musicians. Albini’s more well-known collaborations were with Pixies, The Breeders, the Jesus Lizard, PJ Harvey, Jimmy Page and Robert Plant (as Page and Plant), Fred Schneider, The Stooges, Manic Street Preachers, Jarvis Cocker, the Fleshtones, The Membranes, Cheap Trick, Motorpsycho, Veruca Salt, and The Auteurs.

But in the history of rock, Albini’s name will forever be linked to Nirvana. In 1993, the band led by Kurt Cobain, who had been impressed with Albini’s production of the Pixie album Surfer Rosa and The Breeders’ Pod, hired Albini in 1993 for work on its third album In Utero.

The six-day recording went more smoothly than the perpetually-restless Cobain had anticipated, though the front man initially expressed dissatisfaction with the album and even considered re-recording it. Albini refused to re-record. The band brought in R.E.M. producer Scott Litt to remix some of the songs, with Albini later saying the finished album didn’t “sound all that much” like the record he had produced.

Accounts over the years vary about exactly how much difference can be heard in the two versions, but regardless of the inside-baseball controversy, In Utero would become a generational touchstone. Released on September 21, 1993, the album was a major commercial and critical success, featuring a roster of songs that would become among Nirvana’s best and most popular: “Serve the Servants,” “Scentless Apprentice,” “Dumb,” “Pennyroyal Tea,” and the massive hits “Heart-Shaped Box” and “All Apologies.”

SHORT TAKES — Check out Carol Ruth Weber’s  excellent interview with Felix Cavaliere in Medium:https://carolruthweber.medium.com/felix-cavaliere-relays-rascal-energy-voicing-joy-peace-8afd25a108fc

Maggie Q

Maggie Q joining the cast of the Renee Ballard sequel to Bosh: Legacy and John Malkovich and Paul Walter Hauser have been added to the cast of Marvel’s Fantastic Four to be helmed by Matt Shakman (WandaVision)  …

Fantastic Four

PR-pasha David Salidor at The Smith in NOMAD …RIP Dennis Thompson … Happy Bday Ken Dashow!

NAMES IN THE NEWS — Jeff Smith; Tom & Lisa Cuddy; David Kramer; Vinny Rich; Jim Bessman; Michael Starr; Richard Johnson; Tate Taylor; Peter Abraham; Jack Cunningham; Marsha Stern; Obi Steinman; Gene Cornish; Roger Friedman; Steve Leeds; Paul Cooper; Len Berman; Chuck Scarborough; Amanda Naylor; Bruce Haring; Roy Trakin; Harrison Jordan; and ZIGGY!

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DANIELS THE MAN IN FULL – Tom Wolfe’s A Man In Full was first published on November 12, 1998 and portrayed its lead character Charlie Crocker as a man whose real estate empire begins to crumble.

David E. Kelly

The title-card credits, in each episode (there are 6), crumble as well; which is a great, though subtle, stylistic touch.

The brilliant David E. Kelly (Big Little Lies; Picket Fences; Doogie Howser; Chicago Hope; The Practice) adapted Wolf’s book rather brilliantly. Kelly has emerged as the #1 TV-scribe to be able to capture the original essence of what he’s adapting while portraying a seamless transition. 
Also in the cast are Diane Lane, Lucy Liu, Bill Camp and William Jackson Harper, and its two directors are Regina King and veteran TV helmer Thomas Schlamme.
If you’re a Wolf-fan, you know that his stories and characters are a tad over the top; witness Bonfire of the Vanities. Daniels, whose been on a roll of late, is utterly brilliant as is Lane and Camp. Lucy Liu is typically brilliant too.
I loved it. On Netflix, definitely check this one out.
SHORT TAKES — NBC’s Law & Order Organized Crime  may have been banished to the streaming channel Peacock, but on last week’s episode there was a scene between Chris Meloni and guest-star Stephan Lang, that was just sensational.

Stephen Lang and Chris Meloni

Truth be told, this 4th season of the show has been its best. Sure there’s been 7 different showrunners and much tension on the set, but in these  crazy days of linear TV, it still takes time for a show to jell. There are people that think they’ve moved the show to Peacock to get more subscribers, but there’s also a bunch of people who have posted they will not get it. Me? I think it’s a bad decision. Stay tuned …

Graham Nash

Graham Nash and Judy Collins to tour later this year …

Edward Norton

Speaking of linear TV, actor-Edward Norton said on a recent interview that his three kids have never once come to him and said, I have to been home Thursday at 8:00 PM for a TV-show. Linear TV is dead …

Katrina Law

Monday night’s NCIS season-finale, ended with a big bang and for a show that’s been on as long as this one (21 seasons) kudos for pulling off something like this. Katrina Law’s character (Jessica Knight) was offered a new position across the country and though it looked like she’d say no, she said yes. A great performance on the show from her and Gary Cole too. Pretty stunning for sure … Takeaway from Tuesday’s Stormy Daniels testimony on the Trump-fiasco: You can talk about the sausage, but not how its made! ...  Let The Canary Sing: the Cyndi Lauper documentary is coming to Paramount+ and premiers on June 4th … Felix Cavaliere speaks to Carol Ruth Weber from Medium today and is on WOR Monday with Len Berman and Michael Riedel … Happy Bday Lindsay Rice and Rich Dart!

NAMES IN THE NEWS — Terry Jastrow; Anthony Pomes; Tom & Lisa Cuddy; Marsha Stern; Dina Pitenis; Barry Zellman;; Lush Ice; Jane Blunkell; Bruce Grakal; Josh Charles; Jimmy Fallon; Coco Dolenz; Gabe Pressman; Chuck Scarborough; Len Berman; and ZIGGY!

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NICK NICKED? — Investigation Discovery’s 5-part series Quiet On The Set has caused quite the commotion on the Left Coast. The series purports to tell the true story behind-the-scenes of Nickelodeon’s many kid-oriented shows (iCarly; All That; Zoey 101; Kenan & Kel; Drake and Josh; Sam and Cat; The Amanda Show; and more) from 1994-2019. Supposed abuse from the creators and writers and the main target is Dan Schneider who ran the whole shebang for the network.

Questionable sketches and jokes all come into play and certainly take on a whole different light now than they did back then. Schneider was in the TV show Head of the Class from 1986-1991, along with Brian Robbins and Howard Hessman and the show was a major hit for ABC.

Robbins now is the head of Paramount.

Schneider’s former Nickelodeon assistant called him a psychological tormenter.”

Schneider been accused of sexual impropriety and has just sued the producers of the show. Schneider is married to one Lisa Lillien who ran one of the most popular teen-magazines back then called Tutti Fruitti; the other was BOP run by Julie Laufer.

I watched many of the shows back then and thought they were fun and well written. But now, with #MeToo, it’s a whole different ballgame. Read Page Six’s take on the suit:

https://pagesix.com/2024/05/01/entertainment/dan-schneider-sues-quiet-on-set-producers-for-implying-he-sexually-abused-nickelodeon-child-stars/

BON JOVI GOODNIGHT — I have to say right from the start, Jon Bon Jovi’s Thank You, Goodnight is a pretty terrific doc. Sure, it’s a tad downcast as he ponders over and over his legacy and if he has to quit … as he faces vocal issues. On the other hand, what he’s gone through is definitely worth telling. Perseverance really is where it’s at and this kid from Sayreville, Jersey certainly had it.

Funnily enough, the two bands that Jon wanted to open for, if it could happen, were The Cars and Bryan Adams.

I was close to several members of the Bon Jovi-inner sanctum in the 80’s and I can tell you first-hand it was a high time in every sense. Once they became stadium headliners, anything and everything they wanted, or thought they wanted, they could get.

Bon Jovi’s wife Dorothea isn’t mentioned at all until episode three, which I found somewhat odd and a brief foray into Jon starting a management arm is needless as well. Original manager Doc McGee is mentioned too … very quickly in fact.

Richie Sambora is included and though he doesn’t come off as well as one might expected, he does finally offer an apology for leaving the band as a tour was about to begin. Still, he seems somehow haggard and still at a loss to explain what his motivation really was.

It could have been three episodes as opposed to four in the Gotham Chopra-directed series, and yes, there are tell-tale signs of it being a VH1 expose story. But I did enjoy it, being very involved in that side of developing a band,  and it is worth a view.

BTW: Jon’s new single “Legendary” is pretty fantastic and he sounds great. Take a look: https://www.youtube.com/watch?v=g83Y19JezCM

 

Duane Eddy


SHORT TAKES —
Legendary Guitarist Duane Eddy passed away on April 30. He was 86 years old. From Kent Kotal’sForgotten Hits: Between 1958 and 1963, Eddy placed sixteen songs in The National Top 40, including The Top Ten Hits “Rebel Rouser” (#6, 1958), “Forty Miles Of Bad Road” (#5, 1959), “Because They’re Young” (#3, 1960) and “Dance With The Guitar Man” (#9, 1962.)  He was inducted into The Rock & Roll Hall Of Fame in 1994. His song “Because They’re Young” was the theme song to the film of the same name … Eddy also acted in the picture, as he did in “A Thunder Of Drums” and “The Wild Westeners.” Although his version of “Peter Gunn” wasn’t the highest charting version (it peaked at #23 in 1960), it was a song long-associated with his career.  Eddy recorded a new version with British rockers The Art Of Noise in 1986 that went to #50. His style was very distinctive … and he influenced countless wanna-be guitarists thru the decades.  (When BJ Thomas recorded his 1972 hit “Rock And Roll Lullaby,” producers said that they need to find somebody who could “sound like Duane Eddy” for the guitar solo break … to which someone ELSE said, “Why don’t we just get Duane Eddy?” … which is exactly what they did … “Can’t Say No To You” is the new single from Daryl Hall. Seems Hall & Oates is officially gone.

The new single was produced by Dave Stewart-who produced Hall’s 3 Hearts In The Never Ending Machine in 1986. Check out Roy Trakin’s story for Variety: https://variety.com/2024/music/news/daryl-hall-oates-final-split-1235990460/ …

Brad LeBeau

Brad LeBeau of Pro Motion is interviewed Tuesday by Goldmine’s Tone Scott …

Peyton Reed

Months ago we heard exclusively that director Peyton Reed (Ant Man 1 and 2) was going to direct a movie on the early-days of The Monkees. First though: he’s got to do Ant Man 3 for Marvel … Felix Cavaliere and The Rascals at SONY Hall on 5/17 … Was great to see MAX’s Hacks return and in brilliant fashion. We love the show Can it really be 56 years since The Monkees’ HEAD? … Happy Bday Christopher Cross … RIP Richard Tandy

NAMES IN THE NEWS — Dan Zelinski; Bruce Grakal; Coco Dolenz; Jane Blunkell; David Kramer; Jacqueline Boyd; Tom & Lisa Cuddy; Kent & Laura Denmark; Mark Bego; Barry Fisch; Obi Steinman; Dave Mason; Jeff Lynne; Andrew Sandoval; Richard Johnson; Vinny Musetto; Neal Travis; Andrew Sandoval; and CHIP!

 

 

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