Next week Walt Disney Pictures will be premiering Pixar's "Brave" in conjunction with the Los Angeles Film Festival at the newly named Dolby Theatre (formerly the Kodak) in Hollywood. But while it promises to be a fun time for the event at hand, the fact that it's the grand re-opening of the space is what has me a little bit more excited.
See, I've never actually been in that room. No concerts, no Cirque du Soleil, no Academy Awards (I've never sought Oscar night credentials). So I'm happy to finally case the joint, as it were. But Dolby taking over the naming rights of the facility has also brought in the added attraction of its aural upgrades, namely the company's new Dolby Atmos technology, which was first revealed at CinemaCon in April.
Touted by Dolby as "the most significant development in audio since the arrival of surround sound," the promise of Atmos is an important one: keeping the theatrical experience unique and superior to what can be accomplished at home.
Welcome to another week of "So You Think You Can Dance" auditions, this time from Salt Lake City.
Once upon a time, I might have scoffed about the dance talent in Salt Lake City -- Remember... Dan doesn't know anything about dance -- but thanks to The CW's "Breaking Pointe," I know that Salt Lake City is home to Ballet West and it's a regular hoofing hub.
So... Thanks, "Breaking Pointe"!
The big question involves the tease from last week's promo promising that Salt Lake City would be home to our sexiest auditions yet. Color me intrigued!
No telling if rapper Big K.R.I.T. will earn a Grammy nomination for work off of his confusingly titled studio debut "Live from the Underground" or for his guest spots on tracks from Wiz Khalifa or Curren$y. But in case he wins any award, he already has an acceptance speech worked out.
"Thank You Kindly" really is a big, simple, slobbery wet kiss from the Mississippi-bred rhymer, a one-off thank-you-note on the heels of the release of "Underground" last week. That effort, as we learned today, bowed at No. 5 with 41,000 on the Billboard 200 album sales chart today.
"I wanted to thank all the fans for the support, so I did this one for ya’ll," he wrote on the song's SoundCloud page.
"Underground" had an enormous amount of support right off the bat, at least from its guesting musicians. From artists like B.B. King to Melanie Fiona to Ludacris to 2 Chainz.
In doing so, Jepsen becomes the first solo female to send her first Hot 100 entry to No. 1 since Ke$ha did so with “Tik Tok” in January 2010, according to Billboard. The song, which has been on the Hot 100 chart for 16 weeks, has already sold more than 3.3 million downloads.
There’s only one new entry into the Billboard Hot 100 Top 10 and that also belongs to a solo female: Katy Perry’s “Wide Awake” zooms 19-9 to become Perry’s 11th career top 10.
The rest of the Top 10 remains fairly static: “Somebody That I Used To Know” featuring Kimbra slips to No. 2 after eight weeks at No. 1, while Maroon 5’s “Payphone” featuring Wiz Khalifa and fun’s “We Are Young” featuring Janelle Monae stay at No. 3 and No. 4 respectively.
One Direction’s “What Makes You Beautiful” and Nicki Minaj’s “Starships” swap places with “Beautiful” rising one to No. 5 and “Starships” dropping one to No. 6. Flo Rida’s “Wild Ones” featuring Sia remains at No. 7.
Rihanna’s “Where Have You Been,” the singer’s 22nd Hot 100 Top 10 hit, rises one spot to No. 8 this week, while Justin Bieber’s “Boyfriend” drops two spaces to No. 10. However, the news isn’t all bad for Bieber: “All Around The World” featuring Ludacris, another track from “Believe,” bows at No. 22, earning it Hot Shot Debut honors.
I loved the fifth season of "Mad Men" overall, but did not love the season finale, in part because I felt the show's creator Matthew Weiner spelled out the themes of the episode in less subtle fashion than usual.
So when Weiner was able to spare a few minutes this afternoon from the set of "You Are Here," his writing and directorial movie debut, among the things we discussed was whether or not he feels ths season has been more overt in its meaning than previous ones. We also talked about his reasons for writing Peggy out of the agency — if not necessarily off the show — how the show has changed as it's moved into the more famous half of the '60s, this season's obsession with science fiction, and more.
Given the limited amount of time we had, I tried not to rehash too much of the ground that was already covered in previous post-finale interviews Weiner gave to the New York Times and to Slate — both of them deal with Don's feelings about Megan, and about Weiner's belief that of course Joan would have accepted the indecent proposal in the Jaguar episode — and instead look at the finale, and the season, from other angles.
For the video for “Scream,” the second single from Usher’s excellent new album, “Looking 4 Myself,” the singer joined the cast of “Fuerza Bruta: Look Up,” a multimedia off-Broadway production that combines music, aerial imagery and other non-linear theatrical elements.
Usher played the part of the Running Man for two April performances and used the occasion to debut some of the new material. The result is a video that is far more interesting in conception and for the creativity of the pairing than in the actual watching.
Chris Brown has extremely rare on-camera interviews in promoting his forthcoming "Fortune" album, but he hit up "106 & Park" on Monday to unveil another new song as well as grin his way through a few softballs.
Prior to introducing the music video to "Don't Wake Me Up," Brown talked about where he keeps his Grammy Award and his neck tattoo, and thanked his fans for supporting him as he had to "go through what I went through" (his little nickname for "felony").
I'll spare you Brown's reference to Rihanna's "Birthday Cake" remix, underage girl jokes, the crotch-grab and the crying fans -- you can view each in the interview clips below. But I'd also recommend sparing yourself of the song. The generic dance tune puts Brown back into his "Transformers" voice, with a repeat of the word "up" more than five dozen times. He's actually a strong singer, so it's a surprise he's squandered a perfectly good Music Video In The Desert for a melody so tactless. Put 'er on mute and pretend you're privy to another one of Leo DiCaprio's dreams in "Inception" instead.
At this point, six of the 14 songs from the regular tracklist to "Fortune" are available for perusal. Brown will undoubtedly score another No. 1 with this effort. Since there's two more weeks before "Fortune" arrives on June 26, I'm positive there will be more songs previewed in the next few days. But do you think he should put a cap on the number of new drops? Or can it only help -- or hurt -- his bottom line?
Below the videos is the tracklist to "Fortune," and highlighted are the songs already available for stream or via video. Any of them your favorite?
Here is the tracklist for Chris Brown's "Fortune":
1. Turn Up The Music
2. Bassline 3. Till I Die (Ft. Big Sean & Wiz Khalifa) 4. Mirage (Ft. Nas)
5. Don’t Judge Me
7. Biggest Fan 8. Sweet Love 9. Strip (Ft. Kevin McCall)
10. Stuck On Stupid
11. 4 Years Old
12. Cadillac (Ft. Sevyn) 13. Don’t Wake Me Up (above)
14. Trumpet Lights (Ft. Sabrina Antoinette)
It is not every day that I am offered a sit-down interview with Vanilla Ice.
And, to be honest, I would not have expected it to go quite the way it did. After all, I remember the release of "Cool As Ice." I remember his pop culture moment and how absurd it was, and I can't claim to have been a fan.
In "That's My Boy," Rob Van Winkle shows up, once again transformed into Vanilla Ice, playing an exaggerated and ridiculous version of the persona that people know. It's one of those jokes that could easily fall flat, except he's actually very good at tweaking the public perception of him.
As we were waiting to do the interviews, my sons asked me who I was going to be talking to over the course of the day, and I listed the various people who were participating. When I mentioned "Vanilla Ice," they were immediately entertained by the name, and they started asking me questions about him.
Dispatch is back with newly recorded material after a 12-year album-making hiatus, and they have a pair of fresh tunes to show for it.
The band dropped decidedly gushy "Josephine" today, on the heels of releasing roots-rock-rap "Not Messin'" last week. Both are distinctly different flavors from the Boston-bred trio, which last released full-length "Who Are We Waiting For?" in 2000. They broke up in 2004 only to reconcile in 2009 for an impressive number of one-offs...
Dispatch, when they first split, had a farewell show that drew more than 100,000 fans at the Hatch Shell in Boston. Fast forward a few years, and they sold out three shows at New York's Madison Square Garden in 2010. This weekend was another big moment for the group, as they performed at Bonnaroo in Manchester, Tenn.; they were part of Dave Matthews Band's Caravan series last year; and they'll hit up Outside Lands in San Francisco this fall.
One of those moments when I realize how absurd my job can be took place during this year's Sundance Film Festival. I was waiting for my cameraman to set up for the interview we were about to do and standing in the lobby of the building everyone was using for interviews. I realized that Christina Hendricks was standing next to me, while in front of me, Lizzy Caplan and Alison Brie were chatting, and Teresa Palmer was at the bar on the other side of me.
And when I walked away? It was so I could sit down with Emily Blunt and Rosemarie DeWitt.
Yes, I am aware that is preposterous, and that I should count myself lucky.
Sitting down with the female leads of "My Sister's Sister" was a pleasure because (A) one can never spend enough time talking to Emily Blunt and (B) "My Sister's Sister" is kind of awesome. It's a small, tender, brutally honest movie that features great performances from all three of the leads. Playing sisters, though, requires a special sort of bond that you need to somehow communicate to an audience, and that's what I wanted to talk to Blunt and DeWitt about when we spoke.
One of the categories we did not touch in yesterday's inaugural 2012 Oscar prediction was Best Documentary Feature, a race that routinely requires a greater magnifying glass than its narrative counterparts -- and even then, tend to defy prediction. This year, however, I have less of an excuse than usual for not building up a documentary contenders list -- because for the first time, the category's eligibility schedule is more or less in sync with the US release calendar.
You may recall the recent rule adjustments the Academy, assisted by Oscar-winning firebrand Michael Moore, recently made to a beleaguered category that, on an near-annual basis, finds a way to exclude some of the year's most significant documentaries from consideration. Last year, the critical wails were as loud as ever, as acclaimed favorites like "The Interrupters," "Senna," "Page One" and "Into the Abyss" failed to make the Academy's longlist, while a number of scarcely-seen mediocrities took their place.
Kenny Chesney will perform a free concert on June 20 at the beach in Wildwood, N.J. The show, directed by Jonathan Demme, will live stream over Vevo, and YouTube, as well as other sites.
Chesney, whose latest album, “Welcome to the Fishbowl,” comes out June 19, is the tenth artist to be part of the American Express “Unstaged” series, which pairs acts with well-known directors/actors for the 75-minute concert. For example, Jack White recently paired with Gary Oldman for an “Unstaged” episode.