The Couch Potato Report - October 13th, 2007
This week The Couch Potato Report peels a 2 DVD set from the Air Farce and a pair of Special Edition DVDs.
I have three titles to tell you about this week, and none of them really need much introduction, since they have all been around since at least 1998.
I'll start with the elder statemen in this week's group, the thirty-four year old Royal Canadian Air Farce.
The one and only Air Farce started performing under that name in 1973, and later that year their CBC radio show began.
It was on the air for 24 seasons through 1997.
The first Air Farce television special aired in 1980, and a short-lived TV series went to air in 1981.
After a long hiatus from TV, it was a 1992 New Year's Eve special for CBC television that brought the group back to our airwaves in October of 1993...where it continues to this day.
THE ROYAL CANADIAN AIR FARCE - FARCEBOOK is a double-DVD of Air Farce comedy, featuring one disc with 43 of their best sketches from last year, and another one with their entire 300th show, including some special guests.
For the record, I have done 378 episodes of my show!
Anyway, the thing that always makes me appreciate the Air Farce is the fact that always spoofs Canadian politics and politicians, Canadian trends, our commercials, and even some of our well-known institutions, like the CBC.
THE ROYAL CANADIAN AIR FARCE - FARCEBOOK is a very funny collection of Canadian comedy, and I think you'll enjoy it as much as I did.
Oh, and don't forget that you can see the AIR FARCE every Friday night at 8 pm on CBC Television.
Up next this week, just in time for the release of ELIZABETH - THE GOLDEN AGE in theatres yesterday, is a SPECIAL EDITION of the Academy Award winning 1998 film ELIZABETH.
Academy Award winners Cate Blanchett, Geoffrey Rush and Richard Attenborough star in this great movie that is loosely based on the early reign of Queen Elizabeth the first of England and it primary follows Elizabeth being courted by suitors as she deals with various threats to her reign.
Yes, there are many historical inaccuracies with ELIZABETH, so it probably shouldn't be shown in a history class as a documentary on the era, but if you enjoy costume dramas, then this is a film for you!
It is engaging, entertaining, and features some incredible acting, costumes, make-up and locations.
The film ends with Elizabeth assuming the persona of 'The Virgin Queen', and initiating England's Golden Age, and that is where the new movie - now in theatres - picks up her story.
This SPECIAL EDITION DVD includes a look at the new film, and some making of features on the first one as well.
It is a great movie to add to your library!
Another film that you can now add to your library is the 1980 Al Pacino film CRUISING as it is finally available on DVD, and as a DELUXE EDITION no less!
CRUISING stars Al Pacino as an young cop who goes under cover in New York City in the 1970s to try and find a serial killer that is targeting gay men.
His work takes a toll on his relationship with his girlfriend and leads him to question his own sexual orientation.
CRUISING is by no means a classic, and it is very homophobic at times, but it remains a film that has a hard to figure out murder mystery at it's core, one that I finally understand, but only because I listened to director William Friedkin's commentary, and watched the behind-the-scenes documentaries on the DVD.
If you are a fan of Al Pacino, and you are a completist, then this is one for you!
The DELUXE EDITION of CRUISING, the SPECIAL EDITION of ELIZABETH, and THE ROYAL CANADIAN AIR FARCE - FARCEBOOK are all available now on DVD.
And remember…you can see all-new episodes of the AIR FARCE every Friday night at 8 pm on CBC Television.
Coming up on the next Couch Potato Report
YOU KILL ME is a mafia comedy thriller made in Winnipeg starring Academy Award winner Ben Kingsley; In THE HOAX Richard Gere is a man who sells a fake biography of Howard Hughes to a premiere publishing house in the early 1970s; PLANET TERROR is director Robert Rodriguez's half of the GRINDHOUSE movie duo from earlier this year, and this is the better half; And Steve Carell from TV's THE OFFICE and THE 40-YEAR-OLD VIRGIN stars in the most expensive comedy ever made, a film called EVAN ALMIGHTY.
I'm Dan Reynish. I'll have more on those, and some other releases, in seven days.
For now, that's this week's COUCH POTATO REPORT.
Enjoy the movies and I'll see you back here next time on The Couch!
Final frontier for Cho, Pegg
John Cho and Simon Pegg have boarded the Starship Enterprise.
Cho has been cast as Sulu, the Enterprise's helmsman, while Pegg has signed on to play Scotty, the ship's Scottish chief engineer, in J.J. Abrams' "Star Trek" feature for Paramount.
The "Trek" casting deals appear to be closing at warp speed this week, with Eric Bana signing on Wednesday to play the movie's villain, Nero.
Already on board are Zoe Saldana as Uhura and Anton Yelchin as a young Chekov, the Russian-born navigator, as well as Zachary Quinto as a young Spock. Leonard Nimoy, who originated the role of Spock, is on board as well. Chris Pine is in talks to play the young Kirk.
The movie is expected to shoot from November-March.
Plot details are begin kept under wraps, but it is understood that the movie chronicles the early days of the Enterprise crew. The lead roles remaining to be cast are Christopher Pike, the first captain of the Enterprise, and Kirk's parents.
Montgomery "Scotty" Scott was the ship's third-in-command and was known for his problem-solving abilities in plot-critical situations. The role was originated by the late James Doohan.
Lt. Hikaru Sulu, known for his love of fencing, always was seen on deck piloting the ship next to Chekov. George Takei played the character in the 1960s TV series and the 1980s movies.
Cho starred as Harold in the cult hit "Harold & Kumar Go to White Castle." He is reprising the role for the sequel. Cho is repped by Gersh, Principato/Young and attorney Alex Kohner.
Pegg, repped by CAA, starred in "Shaun of the Dead" and "Hot Fuzz." He next toplines David Schwimmer's comedy "Run, Fat Boy, Run."
Slash memoir recounts Guns N' Roses mayhem
NEW YORK (Billboard) - He was the chain-smoking, Jack Daniels-drinking guitarist for one of the most explosive bands in history. But in his memoir "Slash," out October 30 via HarperEntertainment, the former Guns N' Roses member wants to set the record straight.
Fans can take note: riots, overdoses and controversies all make appearances. There are also surprises, from how Saul Hudson was dubbed Slash, to what it was like living with mercurial singer Axl Rose in their rehearsal space.
Just don't bother asking Slash, now sober and playing guitar in Velvet Revolver, if the original Guns will get back together, because he insists it won't happen. Ever.
BILLBOARD: IN THE BOOK, YOU MENTION THAT YOU FELT ROCK BIOGRAPHIES WERE "INACCURATE AND FULL OF S---." HOW DID YOU GO ABOUT SETTING THE TONE TO AVOID THIS?
SLASH: I've been approached about doing a book for probably all the wrong reasons so many times, I couldn't validate it in my own mind. For one, it seemed very self-indulgent, very self-centered and very final -- and I have no plans of retiring. Finally, I started to realize all this Guns hype that goes on, all this bull--- that surrounds that band, it's inaccurate, and most isn't even inaccurate, it's just made up. I got fed up with it. (The book will) answer a lot of these questions. I just figured, "Be as honest as possible."
BILLBOARD: DRUGS AND DRINKING ARE A BIG PART OF THE STORY. HOW DID IT FEEL TO SEE THIS DOWN ON PAPER?
SLASH: A lot of that stuff I came back and cut out because I didn't want it to be one of those books that basically bragged about how hardcore (we were), blah, blah, blah. Especially nowadays, (because) a lot of musicians and rock bands have this badge they wear that says that they can party really hard, and I hate that. But I probably talk more about that than I actually talk about music. The music was sort of a natural thing you don't have to talk about, but chemical abuse was sort of every living, breathing moment.
BILLBOARD: A HUGE PART OF THE BOOK IS GUNS AS YOU'RE TOURING AND THE TARDINESS OF AXL ROSE. WAS THERE EVER ANY EXPLANATION OF WHAT WAS BEHIND THAT?
SLASH: There's no mention of that in the book at all because it's not my place. In other words, if there was some sort of history that was common knowledge, it would be different. Because there was no real logic behind any of it, the only thing I could do was sort of put the facts there the way I saw it. There could be a lot of stuff that I don't know about that goes on even behind the scenes, behind the scenes, behind the scenes.
BILLBOARD: THERE'S TWO YEARS OF FOOTAGE FROM THE "USE YOUR ILLUSION" TOUR. ANY CHANCE A FILM WILL BE MADE?
SLASH: I know right now there's no rhyme or reason behind the business really that is the Guns N' Roses original lineup or as close to the original lineup as we ended up with. All that stuff is in such a topsy-turvy state, and there's really no relationship -- a healthy, positive relationship, at least -- between myself and Axl. (So) I really don't have any idea as to how any of that stuff will see the light of day. The situation will hopefully be rectified at one point.
BILLBOARD: ARE YOU WRITING NEW MATERIAL FOR VELVET REVOLVER? ARE THERE ANY PLANS TO ADD DATES TO THE CURRENT ITINERARY?
SLASH: We have Japan and Australia booked for November and December, and then I think we'll probably be heading to Europe at the beginning of the year. We're going until the end of next summer for sure. We just got started touring, so as a group I can't say that we're actively working on the new record, but I've got my little recording apparatus on my guitar in my room, and that's what I do during the days off on the tour. That's where I start putting ideas down.
BILLBOARD: FINALLY, (AXL ROSE'S GUNS PROJECT) "CHINESE DEMOCRACY." WILL IT EVER SEE THE LIGHT OF DAY?
SLASH: Everybody asks me that. I didn't mention that in the book because it's on Axl's watch. It'll get done, and it'll come out when he feels comfortable with putting it out. And Axl works in a different time zone than I do. So what may seem like a long time to other people is a tick of the clock to him. It'll come out though. It will.
Do superstars still need record labels?
LOS ANGELES - Prince freed himself from record labels years ago. Paul McCartney, Radiohead and Nine Inch Nails have followed. Now the Material Girl appears to be kissing her big-name record company goodbye for a cool $120 million.
Could U2 be next? Justin Timberlake? Coldplay? Do superstars even need traditional multiyear album contracts when CD sales are plummeting and fans are swiping tons of music for free online, or tuning in to their favorite bands via YouTube, MySpace and other Internet portals?
"There's a prevailing wisdom that many established acts don't need a record label anymore," said Bruce Flohr, an executive at Red Light Management, which represents artists such as Dave Matthews Band and Alanis Morrissette, and ATO Records, home to David Grey, Gomez and Crowded House, among others.
"This is the new frontier. This is the beginning of a new era for the music business," Flohr said.
Executives at the four major record labels would not comment on the record for this story. But several noted privately that their companies are still the best at artist development, promotion and physical distribution of their product — something even big acts can't entirely do without.
The four majors are Warner Music Group Corp., Vivendi's Universal Music Group, EMI Group PLC, and Sony BMG Music Entertainment, a joint venture of Sony Corp. and Bertelsmann AG. They accounted for more than 88 percent of all U.S. music album sales this year.
Still, some headliners are becoming convinced they have the clout to change the rules.
Madonna is said to be close to signing a recording and touring deal with concert promoter Live Nation Inc. after turning down an offer from her longtime label at Warner Music Group Corp.
Under terms of the new 10-year deal, Madonna, 49, would receive a signing bonus of about $18 million and a roughly $17 million advance for each of three albums. Live Nation also would have to pay $50 million in cash and stock to promote each Madonna tour.
Warner Music just couldn't afford to pay that much to re-sign Madonna, Michael Savner, an analyst with Bank of America, said in a research note.
Meanwhile, Radiohead created a stir — and plenty of publicity — when the British rockers disclosed last week they would bypass signing a new deal with a record label and make their new album available online, letting fans decide how much they wanted to pay to download it.
Earlier this year, Paul McCartney signed with Hear Music, a startup label launched by coffee retailer Starbucks Corp. and Concord Music Group, rather than going to a major.
Even the Eagles are going it alone with their upcoming album, "Long Road Out of Eden." The group, which has sold more than 120 million albums worldwide, will release the album exclusively through Wal-Mart stores.
The trend had Nine Inch Nails frontman Trent Reznor exulting over being "free of any recording contract with any label" in a recent post on his Web site.
"I have been under recording contracts for 18 years and have watched the business radically mutate from one thing to something inherently very different, and it gives me great pleasure to be able to finally have a direct relationship with the audience as I see fit and appropriate," he wrote.
Music industry insiders say the bids for independence only make sense for the most popular acts or those with devout fans who fill concert seats, buy T-shirts and seek out their music.
"These artists are in the position to basically set their own rules and set their own course," said Ted Cohen, managing partner of media consulting firm Tag Strategic and a longtime record label executive.
Meanwhile, social-networking sites and Internet distribution are making it possible for lesser-known and unsigned bands to boost their profiles and sell CDs.
"The game used to be really simple," Flohr said. "You get your record played on radio, you get your face on Rolling Stone (magazine), and you get on 'Saturday Night Live.'
"Now, it's you put your video on YouTube, you get your MySpace page happening, you do your deal with Facebook, you tour ... all these things add up, hopefully, to a successful record."
Some established major acts are using the same tactics as their new albums post lackluster sales but their concert tours keep selling out.
The strategy doesn't help record companies. The industry has seen a 14 percent drop in the number of CDs sold in the U.S. compared with the same time last year, according to Nielsen SoundScan.
Sales of digital tracks online are up 46 percent over the same period, but have yet to offset the industry's losses during the past decade.
To adapt, the major labels are trying to cut deals with artists that go beyond album sales and encompass income from concert tickets, T-shirts, music publishing and other sources.
New bands with their eyes on superstardom still need the deep pockets of the major labels to pay for the promotion, marketing and distribution necessary to get heard above the din of countless other acts.
Even superstars can use the boost.
Take Prince. Famous for scribbling "slave" on his cheek during a bitter dispute with Warner Bros. Records in the early 1990s, he has released most of his music over the Internet during the past 10 years while striking CD distribution and marketing deals with different major labels to get copies of his albums in stores.
Radiohead has said they want to get their latest album in stores in a few months and are said to be shopping for a possible major label distribution deal, if not a multiple album contract.
And it's widely expected that Live Nation will have to strike a distribution deal with an established label to handle promotion and get Madonna's upcoming albums in stores.
In theory, that could lead Live Nation back to Warner Music, home of Warner Bros. Records, where Madonna signed as a new artist in 1984.
"It comes down to, do you need a label? Possibly not. Do you need the expertise that a label traditionally brought? Absolutely," Cohen said.
Despite the turmoil in the industry, the major record companies continue to exert considerable influence in the marketplace.
Major labels are not likely to disappear or become irrelevant, although the role they play might change as digital music overtakes CDs and other physical formats, Flohr said.
"I don't think this is the death of anything," Flohr said. "I actually think this is the rebirth of all of us."