Harvey Atkin Passes Away At 74

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The Canadian actor’s breakout role was Morty in Ivan Reitman’s 1979 comedy, opposite Bill Murray.

Harvey Atkin, best known for playing staff sergeant captain Ronald Coleman on Cagney and Lacey and Judge Ridenour on the NBC crime drama Law and Order: Special Victims Unit, has died. He was 74.

His longtime agent Larry Goldhar on Tuesday announced that Atkin died Monday night in Toronto after a long illness. “It is with great sadness that we can confirm our beloved friend, husband, father and grandfather, Harvey, passed away peacefully last night following his battle with cancer,” Goldhar said in a statement.

Born in Toronto on Dec. 18, 1942, Atkin turned in his breakout role as camp director Morty Melnick in Ivan Reitman’s 1979 comedy Meatballs, in which he starred opposite Bill Murray, Kate Lynch and Chris Makepeace. From 1981-88, Atkin also appeared regularly on TV’s Cagney & Laceyopposite Tyne Daly and Sharon Gless.

The CBS drama also starred Al Waxman, with whom Atkin appeared back in Canada on the long-running CBC comedy King of Kensington. Famous for his glasses, nose and mustache combination, Atkin also had film and TV credits that included Ticket to Heaven, Beetlejuice, Silver Streak and Atlantic City.

His voice acting included work on a slew of TV commercials, including a long-running gig as the voice of Leon’s Furniture.

Atkin is survived by his wife, Celia; daughter, Lisa; son, Danny; three sisters; and five grandchildren.

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Written by hollywoodreporter.com


‘Curb Your Enthusiasm’ Season 9

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The Larry David comedy returns for its first season in six years this October.

After years of “cautious” optimism from the powers that be at HBO, Curb Your Enthusiasm is officially set to return for it’s long-awaited ninth season this October.

The revival of Larry David’s acclaimed comedy comes six years after the season eight finale aired. Suffice it to say, there’s a lot of speculation about the details surrounding the return of TV’s favorite “social assassin.”

To help keep track of all the season nine details as they emerge, The Hollywood Reporter has compiled all the details — so far — and will continue to update this post as more emerge. Bookmark this page for the latest updates.

The Creative Team

David will return as showrunner, along with series star and longtime exec producer Jeff Garlin as well as veteran Curb exec producer-writer-director Jeff Schaffer. Not returning are fellow exec producers-writers-directors David Mandel and Alec Berg, likely because of their commitments to HBO comedies Veep and Silicon Valley, respectively, on which they serve as showrunners.

Episode Count

Like every other season of the Emmy-winning series, season nine will consist of 10 episodes. The new season kicks off Sunday, Oct. 1 at 10 p.m., airing after HBO’s new David Simon drama The Deuce.

The Cast

Returning series regulars include Garlin, as well as his TV wife Susie Essman and JB Smoove, who memorably joined the cast later in the show’s original run as Larry’s roommate and friend Leon. Former series regular Cheryl Hines, who played David’s TV wife until their on-screen divorce at the beginning of season eight, is also set to return. Other returning faces include real-life Hollywood power couple Ted Danson and Mary Steenburgen, as well as longtime fan-favorite Richard Lewis, who will once again play fictional versions of themselves. Confirmed new additions include Lauren Graham, although details about whom she will play are not yet known.

Overall Theme

Like past seasons of the series, details about upcoming plot points and storylines are being under tight wraps. However, one thing cast members have been able to tease about the upcoming season is that things will take an unexpected turn (to say the least.) “It’s coming back with all the things about it that people love,” Garlin said in May. “But it’s not following any big formula. The storyline is rather insane. Like people are gonna go, ‘I can’t believe they’re doing this!’ That’s what they’re gonna say. And I don’t often think that with our show.”

Steenburgen echoed those sentiments. “It will definitely cause people to ask me questions. We’re going to stir up a little bit of a hornet’s nest with it, I’m afraid, but it’s how he saw it and what he wanted to do,” she said in March. “There are aspects of it that are a little challenging for me. And I think for Ted, too. But it will be interesting. It will be really interesting.”

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Written by hollywoodreporter.com

Martin Landau Passes Away At 89

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His résumé includes ‘Mission: Impossible,’ ‘Tucker: The Man and His Dream’ and ‘North by Northwest.’ It does not, however, include ‘Star Trek.’

Martin Landau, the all-purpose actor who showcased his versatility as a master of disguise on the Mission: Impossible TV series and as a broken-down Bela Lugosi in his Oscar-winning performance in Ed Wood, has died. He was 89.

Landau, who shot to fame by playing a homosexual henchman in Alfred Hitchcock’s 1959 classic North by Northwest, died Saturday of “unexpected complications” after a brief stay at Ronald Reagan UCLA Medical Center, his rep confirmed to The Hollywood Reporter.

After he quit CBS’ Mission: Impossible after three seasons in 1969 because of a contract dispute, Landau’s career was on the rocks until he was picked by Francis Ford Coppola to play Abe Karatz, the business partner of visionary automaker Preston Tucker (Jeff Bridges), in Tucker: The Man and His Dream (1988).

Landau received a best supporting actor nomination for that performance, then backed it up the following year with another nom for starring as Judah Rosenthal, an ophthalmologist who has his mistress (Angelica Huston) killed, in Woody Allen’s Crimes and Misdemeanors (1989).

Landau lost out on Oscar night to Kevin Kline and Denzel Washington, respectively, in those years but finally prevailed for his larger-than-life portrayal of horror-movie legend Lugosi in the biopic Ed Wood (1994), directed by Tim Burton.

Landau also starred as Commander John Koenig on the 1970s science-fiction series Space: 1999opposite his Mission: Impossible co-star Barbara Bain, his wife from 1957 until their divorce in 1993.

A former newspaper cartoonist, Landau turned down the role of Mr. Spock on the NBC series Star Trek, which went to Leonard Nimoy (who later effectively replaced Landau on Mission: Impossibleafter Trek was canceled).

Landau also was an admired acting teacher who taught the craft to the likes of Jack Nicholson. And in the 1950s, he was best friends with James Dean and, for several months, the boyfriend of Marilyn Monroe. “She could be wonderful, but she was incredibly insecure, to the point she could drive you crazy,” he told The New York Times in 1988.

Landau was born in Brooklyn on June 20, 1928. At age 17, he landed a job as a cartoonist for the New York Daily News, but he turned down a promotion and quit five years later to pursue acting.

“It was an impulsive move on my part to do that,” Landau told The Jewish Journal in 2013. “To become an actor was a dream I must’ve had so deeply and so strongly because I left a lucrative, well-paying job that I could do well to become an unemployed actor. It’s crazy if you think about it. To this day, I can still hear my mother’s voice saying, ‘You did what?!’

In 1955, he auditioned for Lee Strasberg at the Actors Studio (choosing a scene from Clifford Odets’ Clash by Night against the advice of friends), and he and Steve McQueen were the only new students accepted that year out of the 2,000-plus aspirants who had applied.

With his dark hair and penetrating blue eyes, Landau found success on New York stages in Goat Song, Stalag 17 and First Love. Hitchcock caught his performance on opening night opposite Edward G. Robinson in a road production of Middle of the Night, the first Broadway play written by Paddy Chayefsky, and cast him as the killer Leonard in North by Northwest.

In Middle of the Night, “I played a very macho guy, 180 degrees from Leonard, who I chose to play as a homosexual — very subtly — because he wanted to get rid of Eva Marie Saint with such a vengeance,” he recalled in a 2012 interview.

As the ally of James Mason and nemesis of Saint and Cary Grant, Landau plummets to his death off Mount Rushmore in the movie’s climactic scene. With his slick, sinister gleam and calculating demeanor, he attracted the notice of producers and directors.

He went on to perform for such top directors as Joseph L. Mankiewicz in Cleopatra (1963) — though he said most of his best work on that film was sent to the cutting-room floor — George Stevens in The Greatest Story Ever Told (1965), John Sturges in The Hallelujah Trail (1965) and Henry Hathaway in Nevada Smith (1966).

Landau met Bruce Geller, the eventual creator of Mission: Impossible, when he invited the writer to an acting class. Bain was in the class as well, and Geller wrote for them the parts of spies Rollin Hand and Cinnamon Carter. Landau earned an Emmy nomination for each of his three seasons on the series.

He could have starred in another series.

“I turned down Star Trek. It would’ve been torturous,” he said during a 2011 edition of the PBS documentary series Pioneers of Television. “I would’ve probably died playing that role. I mean, even the thought of it now upsets me. It was the antithesis of why I became an actor. I mean, to play a character that Lenny (Nimoy) was better suited for, frankly, a guy who speaks in a monotone who never gets excited, never has any guilt, never has any fear or was affected on a visceral level. Who wants to do that?”

Landau found a kindred spirit in Burton, who also cast him in Sleepy Hollow (1999) and as the voice of a Vincent Price-like science teacher in the horror-movie homage, Frankenweenie (2012).

“Tim and I don’t finish a sentence,” Landau told the Los Angeles Times in 2012. “There’s something oddly kinesthetic about it. We kind of understand each other.”

Landau played puppet master Geppetto in a pair of Pinocchio films and appeared in other films including Pork Chop Hill (1959), City Hall (1996), The X-Files: Fight the Future (1998), Rounders (1998), Edtv (1999), The Majestic (2001), Lovely, Still (2008) and Mysteria (2011).

On television, he starred in the Twilight Zone episodes “Mr. Denton on Doomsday” and “The Jeopardy Room,” played the title role in the 1999 Showtime telefilm Bonnano: A Godfather’s Storyand could be found on The Untouchables, Bonanza, Gunsmoke, Maverick, Wanted: Dead or Alive, Wagon Train, I Spy and The Man From U.N.C.L.E.

More recently, Landau earned Emmy noms for playing the father of Anthony LaPaglia’s character on CBS’ Without a Trace and guest-starring as an out-of-touch movie producer on HBO’s Entourage. He portrayed billionaire J. Howard Marshall, the 90-year-old husband of Anna Nicole Smith, in a 2013 Lifetime biopic about the sex symbol, and starred for Atom Egoyan opposite Christopher Plummer in Remember (2015).

And Landau appeared opposite Paul Sorvino in The Last Poker Game, which premiered at this year’s Tribeca Film Festival.

Landau worked as director, teacher and executive director at the Actors Studio West. He has been credited with helping to guide the talents of Huston, Warren Oates and Harry Dean Stanton in addition to Nicholson.

A documentary about his life, An Actor’s Actor: The Life of Martin Landau, is in the works.

Survivors include his daughters Susie (a writer-producer) and Juliet (an actress-dancer) from his marriage to Bain; sons-in-law Roy and Deverill; sister Elinor; granddaughter Aria; and godson Dylan. Donations can be made to the Actors Studio West.

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Written by hollywoodreporter.com

Inside John Lennon’s Long History With Rolling Stone

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On December 8th, 1980, Annie Leibovitz arrived at the New York apartment building of John Lennon and Yoko Ono to photograph the couple for a cover of Rolling Stone. She urged them both to take their clothes off, a flashback to their first Rolling Stone cover, in 1968, when they appeared naked to promote their Two Virgins album. Ono declined, but Lennon was game, and stripped down before getting on the floor near their bed and curling up in a fetal position next to the woman he called “Mother.” “I remember peeling the Polaroid and him looking at it and saying, ‘This is it. This is our relationship,’ ” Leibovitz recalled. Hours later, Lennon was shot dead in front of the building.

The image (which in 2005 was voted the best magazine cover of the previous 40 years by the American Society of Magazine Editors) appeared on the cover of Rolling Stone’s January 22nd, 1981, issue. It was the heartbreaking end of a 13-year relationship between Lennon and the magazine. In his Rolling Stone interviews over the years, Lennon was startlingly open. He explained the Beatles’ breakup to the world, fought Richard Nixon’s attempts to deport him, shared the stories behind his songs, and talked about everything from his macrobiotic diet to primal-scream therapy. In Rolling Stone, Lennon saw a magazine that shared his passions and his worldview; in turn, he shined a light on the young magazine. “John, more purely than anybody else at the time, symbolized rock & roll,” says Rolling Stoneeditor and publisher Jann S. Wenner. “He was the most natural heir to Elvis. Everything he and Yoko did to support Rolling Stone added a little of their luster. It gave us credibility and authority.”

The relationship started with Rolling Stone’s first issue. When Wenner needed an image for the cover of RS 1 (November 9th, 1967), he saw a publicity shot of Lennon as Private Gripweed in Richard Lester’s film How I Won the War. “It was a day before deadline,” says Wenner. “This was the best thing we had on hand. It was incredibly fortuitous, symbolic and prophetic of the future.”

A year later, Wenner heard record stores were selling Two Virgins in a plain brown wrapper, since Lennon and Ono appeared naked on the album’s cover. Rolling Stone editor emeritus Ralph Gleason suggested the magazine contact Beatles publicist Derek Taylor and ask to see the images in full. “They said OK and sent it over,” says Wenner. “It was as simple as that.”

The cover – accompanied by an interview by Jonathan Cott – caused a national scandal. Featuring Lennon and Ono naked from behind (the full-frontal shots were inside), it hit newsstands on November 23rd, 1968. A New Jersey postmaster general stopped issues from going to East Coast subscribers. One San Francisco newsstand employee was arrested for selling obscene material. (nude beat-le perils s.f., declared a San Francisco Chronicle headline soon after.) Wenner was exuberant. “The point is this,” he wrote in the next issue. “Print a famous foreskin and the world will beat a path to your door.”

Lennon realized Rolling Stone was the perfect medium for communicating with his fans. He wrote an account of the chaos that surrounded the proposed 1970 Toronto Peace Festival, and when Lennon and Ono staged their “Bed-in for Peace” in Montreal in 1969, Rolling Stone writer Ritchie Yorke was by their side. “It was the early days of John and Yoko together, and John was anxious to make his own statement,” recalled Yorke, who died in February. “I was very impressed by what he was trying to say.”

A year after the Bed-in, Lennon and Ono went to California to study primal-scream therapy with Dr. Arthur Janov. They decided to stop by the Rolling Stone office, a tiny loft space above a printing press in San Francisco. “The office was totally agog,” says Wenner. “The Beatles were like distant gods. People didn’t meet them.”

Wenner and his wife, Jane, wanted to show Ono and Lennon around the city. Let It Be, which chronicles the band’s contentious studio sessions in 1969, was playing at a theater. Somehow, none of the four had seen it. “The ticket taker did a double take,” says Jane. “When Paul sang ‘Let It Be,’ John began to cry, and then Yoko started to cry. Pretty soon we were all crying. They were just so raw from the primal-scream therapy.”

Around this time, Wenner was gently urging Lennon to agree to an interview. Finally, in late 1970 – eight months after Paul McCartney had announced the breakup of the Beatles in a press release – Lennon decided it was time to talk. Wenner was summoned to New York, where Lennon and Ono talked to him for four hours at the office of Beatles manager Allen Klein. “My goal was to get the story of the Beatles from his point of view,” says Wenner. “The story of the band’s breakup really hadn’t been told.”

What he got was one of the most revealing interviews in rock history. Lennon showed sides of himself the public had never quite seen: grown-up, clear-eyed, even a little bitter. He admitted to using heroin, blasted the utopian “myth” of the Beatles, and outlined the band’s breakup in shocking detail: “That film [Let It Be] was set up by Paul for Paul. That is one of the main reasons the Beatles ended. I can’t speak for George, but I pretty damn well know we got fed up of being sidemen for Paul.”

The 36,000-word interview, divided into two cover stories in early 1971, was front-page news all around the world. The New York Timesdevoted massive space to the more explosive quotes the paper ran next to a surreal drawing of Lennon ripping a ball and chain from his head. “This was the first time we really broke news,” Wenner recalls. “That was the single launch that shot us into the big time.”

The interview captured both Wenner and Lennon at pivotal points in their lives. “I was just 25,” says Wenner. “He had just turned 30. Being in the Beatles is not an experience you can fully integrate and assimilate and understand and put into perspective when you’re that young and it just stopped. Similarly, I’m still a young kid just learning journalism.”

In the following years, the magazine was side-by-side with Lennon in his new cause: fighting the Nixon administration’s attempts to deport him for his anti-war efforts. Rolling Stone ran editorials and covered the legal battle in detail. In 1975, Lennon’s deportation order was reversed. “We couldn’t have done it without you,” Lennon and Ono wrote to Rolling Stone in October ’75. “Thanks to all the wellwishers who sent cards, ‘grammes, gifts, etc., for the great triple event (judges decision/baby Sean/on J.L.s’ birthday)!!!”

In late 1980, after Lennon had taken half a decade away from the spotlight to raise his son Sean, word came that Lennon and Ono had completed Double Fantasy, and would agree to an interview at their apartment building, the Dakota. Wenner again assigned the story to Cott. Lennon was optimistic and blunt during the interview, full of enthusiasm and strong opinions. “[The press] only like[s] people when they’re on the way up, and when they’re up there, they’ve got nothing else to do but shit on them,” Lennon said. “I cannot be on the way up again. What they want is dead heroes, like Sid Vicious and James Dean. I’m not interested in being a dead fucking hero.”

Cott accompanied Lennon and Ono to the recording studio as they worked on a remix of “Walking on Thin Ice.” They would finish it three nights later, minutes before he was killed. “The night they met, they made Two Virgins,” Cott recalls. “Their first and last dates were both musical collaborations. I find that extraordinary.”

Like much of the country, Wenner learned about Lennon’s shooting from Howard Cosell’s announcement on Monday Night Football.Wenner walked across Central Park to the Dakota in
a daze to join a throng of mourners. “There was a bit of singing and people holding candles,” he says. “People genuinely didn’t know what to do.”

The next morning, the Rolling Stone staff began work on a tribute issue celebrating Lennon’s life. “They were mocking up [cover] photos with John’s portraits,” said Leibovitz. “I said, ‘Jann, I promised John the cover would be him and Yoko.’ And Jann backed me up. I said it was the last promise.” In the following years, Wenner grew close to Ono, and Rolling Stone became a leading voice in the campaign against handguns. Even in death, Lennon is still an important part of the magazine. “He put the imprimatur of John Lennon on this magazine,” says Wenner. “And he remains a North Star for us.”

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Written by rollingstone.com

 Emily Blunt Is Mary Poppins

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Emily Blunt took the stage for the presentation of Mary Poppins Returns at D23 with director/producer Rob Marshall today, sharing a new motion poster for the much anticipated sequel to the 1964 Mary Poppins. Watch it below.

original. A teaser trailer was also unveiled, though it hasn’t been publicly released yet.

“I needed to try to pay homage to Julie Andrews but carve out a new space for myself. And we were very loyal to the books,” said Blunt.

Marshall shared, “I was incredibly honored to be approached by Disney about directing a sequel. This is a brand new original film musical from top to bottom, which is very rare, and it is a wonderful opportunity to create something specifically for the screen.”

The new moving image of the practically-perfect nanny in a cobalt blue nanny coat and red hat with her iconic parrot head umbrella in hand was released on Facebook.

In addition to the moving image, Blunt and Marshall shared an exclusive look at a new teaser trailer with the D23 audience, which has yet to hit the internet.

The new trailer, which received an enthusiastic ovation from the crowd, shows Blunt floating in on her umbrella as per the original 1964 film. Other nods to the original included Blunt playing with cartoon birds in her hand and synchronized dancing in the streets of London a la Dick Van Dyke’s original chimneysweep number. Van Dyke himself also made an appearance in the trailer, along with Colin Firth, who plays heartless bank manager Mr Wilkins.

Also starring in the movie are Lin-Manuel Miranda, Ben Whishaw, Emily Mortimer, Julie Walter, Meryl Streep, Angela Lansbury, and the aforementioned original cast favorite Dick Van Dyke. The movie is set for a December 25, 2018 release date.

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Written by deadline.com

Leonardo DiCaprio And Martin Scorsese Are Teaming Up Again

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Martin Scorsese and Leonardo DiCaprio are developing a film adaptation of true-crime thriller “Killers of the Flower Moon: The Osage Murders and the Birth of the FBI” as the director’s next project after “The Irishman.”

Scorsese’s longtime production designer, Dante Ferretti, told Variety that Scorsese hoped to start shooting “Flower Moon” in the spring of next year. The project is based on the bestselling book by David Grann, a staff writer for the New Yorker and author of “The Lost City of Z.”

Rights to “Flower Moon” were snapped up by Imperative last year for a reported $5 million, and a script has reportedly been drafted by veteran Oscar-winning scribe Eric Roth (“Forrest Gump,” “The Curious Case of Benjamin Button”).

Ferretti, who has worked with Scorsese on nine movies from “The Age of Innocence” through “Silence,” said he was going to “go to Oklahoma” to do preliminary location scouting for “Flower Moon.” The story, set in the 1920s, focuses on a string of murders of members of the Osage nation in Oklahoma after oil was discovered beneath their land. The chilling series of slayings was one of the fledgling FBI’s first major homicide investigations.

Scorsese and DiCaprio have been eyeing the project for months, and are developing it together with Imperative Entertainment.

John Atwood, Imperative’s chief financial officer, said in an e-mail that “we are currently conducting preliminary research on the film, but there are no formal attachments nor confirmed start date at this time.”

Ferretti said that “the whole 1920s world of the Indians who lived there needs to be reconstructed” for “Flower Moon,” adding that he expects to “start preparing this film in September, because Scorsese will shoot it immediately after finishing ‘The Irishman.’”

Scorsese is currently getting ready for an early September shoot on “The Irishman,” a gangster movie centered on the life of mob hit-man Frank “The Irishman” Sheeran, played by Robert De Niro. Several sources have confirmed that “The Irishman” will be financed by Netflix, though the deal has yet to be officially announced.

There is no word whether Netflix would give “The Irishman” a wide theatrical release, but “I don’t think Martin would accept the fact that one of his movies would just be seen on a small screen and not in movie theaters,” said Ferretti, who is not working on the film.

The triple-Oscar-winning production designer recently completed work on his first rock musical, “Divo Nerone,” staged in a unique open-air venue atop the Palatine Hill in the ancient Roman Forum, with a rotating proscenium and 28 scene changes. Although the show was mostly panned by Italian media and has been temporarily shut down after nuns in a nearby monastery complained about its high decibel levels, Ferretti noted that “critics praised the set design and costumes,” which were created by his wife and working partner, Francesca Lo Schiavo. The pair was recently honored by the American Academy in Rome with its McKim Medal.

Ferretti and Lo Schiavo also recently designed the set for Mozart’s “Don Giovanni,” which opened the Spoleto Festival in June – “my third opera there in three consecutive years,” he said.

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Written by variety.com

Steve Whitmire, Kermit The Frog Muppeteer, Fired By Disney

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“As I am sure you can imagine, I have experienced every possible emotion,” Steve Whitmire wrote.

Kermit the Frog muppeteer Steve Whitmire says he was unexpectedly let go by Disney after voicing the iconic character for 27 years.

Early this week, news broke that Whitmire, who had been working with the Muppets Studio since 1978, would be replaced as the beloved talking frog, originally voiced by creator Jim Henson.

In a post on his personal blog, verified as Whitmire’s site by The Hollywood Reporter, he told fans he was sorry they were let down.

“As I am sure you can imagine, I have experienced every possible emotion since October 2016, when I received a phone call from The Muppets Studio’s executives to say they were recasting,” Whitmire wrote. “Through a new business representative, I have offered multiple remedies to their two stated issues which had never been mentioned to me prior to that phone call. I wish that we could have sat down, looked each other in the eye, and discussed what was on their minds before they took such a drastic action.”

A Disney spokeswoman said in a statement: “The Muppets Studio thanks Steve for his tremendous contributions to Kermit the Frog and The Muppets franchise. We wish him well in his future endeavors.” No comment was given on the blog’s content.

Muppeteer Matt Vogel will take over as Kermit the Frog. His first time as the character will be in a “Muppets Thought of the Week” video next week, Disney confirmed.

It was Henson who personally asked Whitmire to take over the role of Kermit before his untimely death in 1990.

“For me the Muppets are not just a job, or a career, or even a passion,” he wrote. “I feel that I am at the top of my game, and I want all of you who love the Muppets to know that I would never consider abandoning Kermit or any of the others because to do so would be to forsake the assignment entrusted to me by Jim Henson, my friend and mentor, but even more, my hero.”

Whitmire still has hope, he wrote.

“I have remained silent the last nine months in hopes that the Disney company might reverse their course,” he wrote. “Doing what is best for the Muppets is the lens through which all my interactions have been filtered. Given the opportunity I remain willing to do whatever is required to remedy their concerns because I feel my continued involvement with the characters is in the best interest of the Muppets.”

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Van Morrison Announces New Album

Categories: Top Stories

Van Morrison detailed his 37th studio album. Roll With the Punches, out September 22nd, contains covers of old blues and soul classics along with five new compositions from Van Morrison.

“The songs on Roll With the Punches– whether I’ve written them or not – they’re performance oriented,” the singer said in a statement. “Each song is like a story and I’m performing that story. That’s been forgotten over years because people over-analyze things. I was a performer before I started writing songs, and I’ve always felt like that’s what I do.”

Roll With the Punches includes tunes by Bo Diddley (“I Can Tell,” “Ride on Josephine”), Lightnin’ Hopkins (“Automobile Blues”) and Little Walter (“Mean Old World”). Several of Van Morrison’s selections are popular post-war standards, like “Stormy Monday,” which has been recorded by Lou Rawls and the Allman Brothers and lead single “Bring It on Home to Me,” originally performed by Sam Cooke and later rendered as a duet by Otis Redding and Carla Thomas.

The version of “Bring It on Home to Me” on Roll With the Punchescould have been recorded in the 1960s around the same time as the Thomas/Redding rendition. The guitar works up and down the scale in a predictable pattern, as if played by Stax stalwart Steve Cropper, and the drummer taps out a light beat in 6/8 time. Van Morrison stretches syllables in remarkable ways, making the word “bring” last for several measures, and background singers add controlled doses of gospel power.

“The thing about the blues is you don’t dissect it – you just do it,” Van Morrison said. “I was lucky to have met people who were the real thing, people like John Lee Hooker, Jimmy Witherspoon, Bo Diddley, Little Walter and Mose Allison. I got to hang out with them and absorb what they did. They were people with no ego whatsoever and they helped me learn a lot.”

Van Morrison self-produced Roll With the Punches, which features contributions from Jeff Beck, Paul Jones, Jason Rebello, Chris Farlowe and Georgie Fame. Following the album’s release, Van Morrison will embark on a short tour. He plays two gigs in the U.S. in September and four more in October. Starting in November, he has a series of performances scheduled in Scotland and England before wrapping up with two shows in Belfast, Ireland.

Roll With the Punches Track List

  1. “Roll With the Punches” (Van Morrison & Don Black)
    2. “Transformation” (Van Morrison)
    3. “I Can Tell” (Bo Diddley & Samuel Bernard Smith)
    4. “Stormy Monday / Lonely Avenue” (T-Bone Walker / Doc Pomus)
    5. “Goin’ To Chicago” (Count Basie & Jimmy Rushing)
    6. “Fame” (Van Morrison)
    7. “Too Much Trouble” (Van Morrison)
    8. “Bring It on Home to Me” (Sam Cooke)
    9. “Ordinary People” (Van Morrison)
    10. “How Far From God” (Sister Rosetta Tharpe)
    11. “Teardrops From My Eyes” (Rudy Toombs)
    12. “Automobile Blues” (Lightnin’ Hopkins)
    13. “Benediction” (Mose Allison)
    14. “Mean Old World” (Little Walter)
    15. “Ride On Josephine” (Bo Diddley)

Van Morrison Tour Dates

September 10 – Hershey, PA @ Hersheypark Stadium
September 14 – Nashville, TN @ Ascend Amphitheater
October 13 – Rancho Mirage, CA @ The Show at Agua Caliente Casino Resort Spa
October 14 – Rancho Mirage, CA @ The Show at Agua Caliente Casino Resort Spa
October 20 – Oakland, CA @ Fox Theater
October 21 – Oakland, CA @ Fox Theater
November 6 – Edinburgh, SCT @ Edinburgh Playhouse
November 7 – Glasgow, SCT @ Glasgow Royal Court
November 12 – London, U.K. @ Eventim Apollo
November 13 – Birmingham, U.K. @ Birmingham Symphony Hall
November 15 – Liverpool, U.K. @ Liverpool Philharmonic Hall
November 20 – Cardiff, U.K. @ St. David’s Hall
November 21 – Bristol, U.K. @ Colston Hall
November 24 – Torquay, U.K. @ Princess Theatre
November 25 – Plymouth, U.K. @ Plymouth Pavilions
December 4 – Belfast, IRL @ Europa Hotel
December 5 – Belfast, IRL @ Europa Hotel

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Written by rollingstone.com

Quentin Tarantino Prepping New Movie Tackling Manson Murders 

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The director is already meeting with A-list talent for the project.

Quentin Tarantino is quietly starting to put together his latest project, and is talking to A-list actors for what is promising to be a unique take on the Manson Family murders.

The project, whose title is unknown, was written by Tarantino, who would also direct. Harvey and Bob Weinstein, who have produced and executive produced the previous Tarantino films, are involved, sources tell The Hollywood Reporter.

WME is said to be in the early stages of shopping the project to studios to co-finance and co-distribute the venture. The move apes the way Tarantino and the Weinsteins made the filmmaker’s 2009 movie Inglourious Basterds, which had Universal Studios as a financial and distributing partner.

Sources say that Tarantino is putting the finishing touches on the script and that Brad Pitt, who worked with the filmmaker on Basterds, and Jennifer Lawrence have been approached. Studios could receive the package after Labor Day, according to one source. The plan is to shoot in 2018, possibly in the summer.

Script details are fuzzy but one of the stories centers on Sharon Tate, the actress and wife of director Roman Polanski who was murdered by Manson and his followers in 1969.

Manson had ordered a group of his followers to attack the inhabitants of a house in the Benedict Canyon part of Los Angeles, believing it was owned by a record producer who earlier had rejected him.

Over the course of several hours on the night of Aug. 8, the four followers, using guns and knives, brutally killed Tate, who was eight months pregnant, and four other occupants.

In 1971, Manson and certain members of his crew were sentenced to life imprisonment for these and several other murders committed that summer.

If the Manson-Tate project does become Tarantino’s next film, it becomes unique in that it will be his first movie to be based on true events. Tarantino has molded his career into taking his favorite genres such as crime, Westerns and blaxploitation and elevating them to A-list status while also paying homage to them.

He also has proven to be able to create strong and memorable female roles, from the title character in Jackie Brown to the Bride in Kill Bill to the female characters on display in Death Proof.

Tate could be the latest to join that list.

Any actor involvement is on the early side, and one insider said that Lawrence is not considering the Tate role.

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Written by hollywoodreporter.com

Ringo Starr’s New Album Has A Little Help From His Friends

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Paul McCartney and Ringo Starr will be reunited again on Starr’s forthcoming album, Give More Love, coming Sept. 15 on CD and digital formats from UMe, the Beatles drummer announced Friday (July 7), his 77th birthday.

A vinyl version of the album will be out Sept. 27. McCartney, along with Edgar Winter, Joe Walsh and Steve Lukather, perform on “We’re on the Road Again,” co-written by Starr and Lukather, which leads off the album. McCartney contributes bass and also backing vocals.

The album features a host of famous names on its 10 main tracks, including Peter Frampton, Benmont Tench, Timothy B. Schmit, Richard Page, Nathan East, Steve Dudas, Dave Stewart and Don Was. The album in digital and CD form also includes four remakes of past Ringo songs: “Back Off Boogaloo,” “Don’t Pass Me By,” “You Can’t Fight Lightning” and “Photograph.”

“Back Off Boogaloo,” taken from the original recently rediscovered record, features Jeff Lynne. “You Can’t Fight Lightning” is sung by Ringo and Alberta Cross, while “Photograph” and “Don’t Pass Me By” has Ringo and Vandaveer. Cross and Vandaveer performed at Ringo’s 2016 Peace and Love event.

Starr told writer David Wild in the announcement for the album that he and Dave Stewart had originally planned to do a country album, but that was scrapped after he decided to tour again with the All-Starr Band. “That’s how I ended up making another album at home and writing all kinds of songs with all kinds of friends — everybody giving more love and just letting the music flow,” he told Wild. “We do it in the guesthouse. I don’t know exactly what I’m going to get each time, but this one seemed to have its own great energy from the start.”

This year’s annual Peace and Love event to celebrate Ringo’s birthday with friends and fans was held at the Capitol Tower in Los Angeles. The friends on hand included brother-in-law Joe Walsh, filmmaker David Lynch, former Ringo All-Starr Edgar Winter and current All-Starr Band drummer Gregg Bissonette.

Ringo Starr, ‘Give More Love’

Album track list and credits:

Produced by Ringo Star
Recorded by Bruce Sugar
Mixed by Ringo Starr and Bruce Sugar
Pro Tools Editing: Bruce Sugar
Recorded at Roccabella West
Mixed at Roccabella West

“We’re on the Road Again”
Richard Starkey, Steve Lukather
​Ringo Starr: Drums, Vocals and Percussion
Paul McCartney: Bass
Steve Lukather: Guitar and Keyboards
Jim Cox: Piano
Backing Vocals: RS PM JW GN GB GM EW RM SL

Richard Starkey, Peter Frampton
​Ringo Starr: Drums, Vocals and Percussion
Peter Frampton: Guitar, Background Vocals
​Benmont Tench: Keyboards
Timothy B. Schmit, Richard Page, Amy Keys: Backing Vocals
Matt Legge: Additional Engineering:

“Show Me the Way”
Richard Starkey, Steve Lukather
​Ringo Starr: Drums, Vocals and Percussion
Steve Lukather: Guitar and Keyboards
Paul McCartney: Bass
Jim Cox: Organ
Timothy B. Schmit, Richard Page, Amy Keys: Backing Vocals

“Speed of Sound”
Richard Starkey, Richard Marx
​Ringo Starr: Drums, Vocals and Percussion
Richard Marx: Acoustic Guitar, Backing Vocals
Steve Lukather: Guitar
Peter Frampton: Guitar, Talkbox guitar solo
Nathan East: Bass
Windy Wagner, Amy Keys: Backing Vocals

“Standing Still”
Richard Starkey, Gary Burr
​Ringo Starr: Vocals, Percussion, Claps
Nathan East: Upright Bass
Gary Burr: Acoustic Guitar and Backing Vocals
Georgia Middleman: Backing Vocals
Greg Leisz: Dobro
Steve Dudas: Guitar
Bruce Sugar: Drum Programming, Claps

“King of the Kingdom”
Richard Starkey
​Ringo Starr: Drums, Vocals and Percussion
Nathan East: Bass
Dave “Wawa” Stewart: Guitar
Edgar Winter: Tenor Sax
Steve Dudas: Guitar
Bruce Sugar: Keyboards, Synth Programming
Windy Wagner, Amy Keys: Backing Vocals

Richard Starkey, Glen Ballard
​Ringo Starr: Drums, Vocals and Percussion
Joe Walsh: Guitar
Don Was: Bass
​Benmont Tench: Keyboards
Glen Ballard: Rhodes Piano, Backing Vocals
Windy Wagner, Amy Keys: Backing Vocals

“So Wrong for So Long”
Richard Starkey, Dave Stewart
​Ringo Starr: Drums, Vocals and Percussion
Dave Stewart: Guitars
Nathan East: Upright Bass
Greg Leisz: Pedal Steel Guitar
Jim Cox: Keyboards
Gary Burr, Georgia Middleman: Backing Vocals
Ned Douglas: Additional Engineering

“Shake It Up”
Richard Starkey, Gary Nicholson
​Ringo Starr: Drums, Vocals and Percussion
Don Was: Upright Bass
Steve Dudas: Guitars
Gary Nicholson: Acoustic Guitar
Edgar Winter: Piano
Windy Wagner, Amy Keys: Backing Vocals

“Give More Love”
Richard Starkey, Gary Nicholson
​Ringo Starr: Drums, Vocals and Percussion
Steve Dudas: Guitars
Matt Bissonette: Bass
Greg Bissonette: Hang Drum
Jim Cox: Keyboards
Timothy B. Schmit, Richard Page, Amy Keys: Backing Vocals

“Back Off Boogaloo”
Richard Starkey, George Harrison
​Ringo Starr: Drums, Vocals, Percussion, Guitar
Joe Walsh: Guitar
Jeff Lynne: Acoustic Guitar
Nathan East: Bass
Bob Malone: Piano
Steve Jay: Additional Engineering

“You Can’t Fight Lightning” – Ringo Starr and Alberta Cross
Richard Starkey
​Ringo Starr: Vocals
Petter Ericson Stakee: Guitar, Backing Vocals and Percussion
Matthew Pynn: Guitar and Lap Steel
​Fredrik Aspelin: Drums and Percussion
Erik MacQueen: Bass Guitar
Pete Remm: Piano and Hammond Organ
Viktor Buck and Peter R.Ericson: Backing vocals
Track produced and arranged by Petter Ericson Stakee and Peter R Ericson
Engineers: Viktor Buck and Fred Appelvist
Recorded at Fred’s Kitchen Studios in Stockholm

“Photograph” – Ringo Starr and Vandaveer
Richard Starkey, George Harrison
​Ringo Starr: Vocals
Mark Charles Heidinger: Vocals, Acoustic guitar, Bass guitar
Rose Guerin: Vocals
J. Tom Hnatow: Resonator Guitar, Electric guitar
Robby Cosenza: Drums and Percussion
Track produced and engineered by Duane Lundy

“Don’t Pass Me By” – Ringo Starr and Vandaveer
Richard Starkey
​Ringo Starr: Vocals, Piano
Mark Charles Heidinger: Vocals, Acoustic Guitar, Bass Guitar
Rose Guerin: Vocals
J. Tom Hnatow: Resonator Guitar, Acoustic Guitar
Robby Cosenza: Drums, Percussion, Harmonica
Track produced and engineered by Duane Lundy

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