The Oscars may not have been as music-packed as January’s Grammy Awards, but that doesn’t mean there wasn’t room for a couple stand-out performances, and even a little award action for 30 Seconds To Mars frontman Jared Leto.
Just months after receiving a Golden Globe for best supporting actor, 30 Seconds To Mars frontman Jared Leto won an Oscar under the same category for his role in Dallas Buyers Club. In his acceptance speech, Leto not only thanked his mother, but “all the dreamers out there,” mentioning Ukraine and Venezuela, as he said “we are here and as you struggle to make your dreams happen, to live the impossible, we’re thinking of you tonight.”
Karen O of the Yeah Yeah Yeahs and Vampire Weekend frontman Ezra Koenig performed a beautiful rendition of their track, “The Moon Song” from Her. The track was up against “Happy” from Despicable Me 2, “Ordinary Love” from Mandela: Long Walk to Freedom, “Let It Go” from Frozen, and “Alone Yet Not Alone” from the film of the same name.
With all those Grammys she won in early 2012, it comes as no surprise that powerhouse soul/pop singer Adele has been dubbed Entertainer Of The Year by Associated Press. Not just singer of the year, or musician, but entertainer. That means she even beat out that guy down the street with the flaming hula hoop and the unicycle! And let me tell you, that guy is one hell of an entertainer. AP readers and staff rated her far above other major entertainers and celebrities such as Taylor Swift, E.L. James (author of Fifty Shades of Grey), PSY, and the entire Twilight cast. Now that’s some high praise.
While she did not release a new album or do a world tour this year, Adele’s singles from 2011 still remain among the most highly played tracks on radio, television, in movies, and more. We seemingly can’t get enough Adele. Her most recent accomplishment, apart from delivering a baby, of course, is the single “Skyfall,” written to be the title theme of the new James Bond film. According to Billboard, “The song recently received a Golden Globe nomination. No Bond theme has ever won the best original song Oscar, but given Adele’s awards success thus far, it wouldn’t be a stretch to think she has a chance of changing that.” Regardless of whether she wins or not, Adele has still achieved more in one year than most entertainers do in their lifetime.
If you like Adele, then check OurStage artist Brittany Campbell.
More Like This:
Calling all cinephiles! Are you the type of moviegoer who spends most weekends wondering what you HAVEN’T seen at the box office? Do you often find yourself searching throughVideo On Demand libraries hoping to see a title you might have overlooked the last time through? On Oscar night, are you the one person at the party who has seen the most nominated films? If you answered “yes” to any of these questions, then OurStage needs your help!
Judge the Short Films, Music Videos, and Game Trailers channels in our Intel® Video “Superstars” Competition, and the creators of the masterpieces you pick could win up to $5,000 in prizes, including the Intel® GoPro Camera and Vegas Movie Studio HD Platinum.
What are you waiting for? Grab some popcorn, get comfortable, and click here to get started!
Since the turn of the century, Mariah Carey’s once-seemingly indestructible career has twisted and turned, going up and down and back around like that roller-coaster ride in the video for “Fantasy,” one of her biggest songs from the last century.
Ups: The Emancipation of Mimi, the best selling album of 2005 in the US, which featured “We Belong Together,” the biggest solo single of Carey’s career, and a well-reviewed supporting performance in the Oscar-nominated 2009 film Precious. Downs: a flop film/soundtrack combo (2001’s Glitter), under-performing albums and singles and that public meltdown that sent her star shooting in the wrong direction for most of the first half of the millennium.
Now that star is in a state of flux, teetering, thanks to her last album, 2009’s Memoirs of an Imperfect Angel, which yielded mixed results. Though it received decent reviews, it launched only one Top 10 single (the Eminem-dissing “Obsessed”), and became her first studio album not to at least go platinum. A Memoirs remix album, Angels Advocate, was scrapped, and not even a tacked-on Nicky Minaj cameo could pull “Up Out My Face,” the first single from the aborted project, higher than No. 100 on Billboard’s Hot 100.
But through the rain (to quote the title of one of her downs), nobody ever accused Carey of being over. In fact, the timing might be perfect for her to launch a full-scale comeback, which unofficially began on March 1 with a forty-minute show at New York City’s Gotham Hall, her first performance since giving birth to twins Moroccan and Monroe on April 30, 2011.
Adele is helping to make the Hot 100 once again safe for sisters with voices, and the death of Whitney Houston has increased the void that she and Carey spent the ’90s filling. Like Houston, she specializes in the sort of big, melismatic R&B ballads that have been MIA from the tops of the pops for several years now. Carey could use one to claw her way back to the top of the diva heap, but she’ll need a sturdy comeback plan. Here are five guidelines she should scribble on it.
Choose your collaborators wisely. Carey has released little new music since 2009, aside from her second holiday album, 2010’s Merry Christmas II You, and a re-recording of her own “All I Want for Christmas Is You” with Justin Bieber for Under the Mistletoe, his 2011 Christmas album. Though that’s precisely the kind of collaboration she should avoid in the future (a forty-something woman need not be seen and/or heard cavorting musically with a teenager), the recent news that she’s been in the studio with Jermaine Dupri, who co-wrote and co-produced “We Belong Together,” is already music to these cautiously optimistic ears.
Sure Carey could probably score at least one quick hit by hooking up with Dr. Luke, will.i.am or David Guetta, but why chase after the scraps that all of those other pop divas have been picking on, or invite such overexposed rappers like Minaj and Lil Wayne into the studio to spice up whatever she’s cooking up? She and her longtime cohort can produce a gourmet meal that fans won’t be able to feast on anywhere else.
Keep leaving “dem babies” at home. It was wise of her to refer to her twins with husband Nick Cannon only in onstage banter at the New York City show and not actually trot them out. Sex sells, and although motherhood is sexy, nobody wants to see Carey pushing around twin baby strollers in a little black dress.
Get involved: Sign up for as many extracurricular activities as possible. It’s hard to imagine that Jennifer Lopez would have scored a comeback hit last year with “On the Floor,” or a plum spot Oscar-presenting with Cameron Diaz at this year’s Academy Awards if she’d never signed on as an American Idol judge. (Does that mean she has Idol to blame for that unfortunately exposed nipple while co-presenting Best Costume Design and Best Makeup?)
Carey was at one point mentioned to fill the Idol seat that Lopez eventually snagged. Now that Paula Abdul is gone from the US X Factor, Carey should lobby hard with Simon Cowell to take her place and then use the show to launch the first single from her next album.
And don’t forget, you’re an actress, too. After a few false starts, Carey finally proved herself in Hollywood with her small but pivotal performance as a supportive social worker in Precious. Since Whitney Houston is no longer around to reprise her role as Savannah in the planned sequel to Waiting to Exhale, Carey should make sure that she, and not Oprah Winfrey, as has been suggested, is next in line to replace her.
Act your age, not Katy Perry’s. Carey once told me during an interview, that her baby-doll persona is totally wink-wink: those sideways glances, the fluttering of her eyelids, calling fans her “lambs””all an act. I got the joke, but unfortunately, it only made it easier to believe she’d suffered a serious breakdown in early 2001, since she’d always acted a little… off.
Now that she’s in her forties, it’s time to overhaul the life-size-Barbie image. Adele became the biggest pop star in the world without a single gimmick. Carey should follow suit and rely solely on her voice. It’s still in working order, and for all her ups and downs this century, it’s the one thing that hasn’t failed her yet.
Every day, somebody once told me, deserves its own soundtrack. So, according to Hollywood, does nearly every film. But unlike the old days when the Saturday Night Fever soundtrack became as popular as the movie, and films like Dirty Dancing and The Big Chill had soundtracks so successful that they spawned sequels, movie music rarely scales blockbuster heights anymore.
On the Billboard 200 album chart for the week ending January 21, Hollywood only had two albums in the Top 40”the soundtracks for The Twilight Saga: Breaking Dawn, Part 1 and Alvin and the Chipmunks: Chipwrecked. So did Florence and the Machine!
Unless the music is linked to the TV series Glee, chart traction is no longer guaranteed, not even for songs from the biggest blockbusters. Bruno Mars scored one of the few big movie hits of recent years with his Twilight Saga track “It Will Rain” (No. 3 on Billboard’s Hot 100), which, astonishingly, was the first chart hit launched by the massively successful vampire franchise.
Nowadays, the studios and indie houses seem to use all of the best music in the movie trailers anyway. Better to hear a familiar pop song (say, Florence and the Machine’s “Dog Days Are Over”) selling a Julia Roberts rom-com (say, Eat Pray Love) than to have to sit through the millionth comic-relief/release oldie sing-along just as the main characters are triumphing over plot-driven (and driving) conflict.
Maybe I just don’t see as many mainstream films as I used to back when Goldie Hawn, Bette Midler and Diane Keaton had their I-will-survive moment in The First Wives Club while singing “You Don’t Own Me,” but thankfully, the number of soundtrack sing-alongs have been waning in recent years.
Still, despite the dearth of hit soundtracks and Motown karaoke moments, music is alive and well in the movies. Here’s how it’s being best put to use these days.
1. To Wake Up Moviegoers: The Constellations‘ “Perfect Day” in Horrible Bosses. Not that anyone needed to be roused from slumber during what was a surprisingly smart and spry comedy, but for those who did doze off and missed the sight of Jennifer Aniston wearing next to nothing, this 2010 track (watch the video here) was the perfect wake-up bomb.
2. To Illuminate the Action”: Desire’s “Under Your Spell” in Drive. Just in case you didn’t get that Ryan Gosling was digging Carey Mulligan in Drive (and the film didn’t exactly, um, drive that point home before deciding that he would die for her), this song’s opening lyric””I don’t eat/I don’t sleep/I do nothing but think of you“” told the entire love story in under twenty words. More than any film in my recent memory, Drive merges sound and vision so brilliantly that I don’t think the movie would have been nearly as effective without its perfectly placed music.
3. To Reflect the Action: Richard Wagner’s Tristan und Isolde in Melancholia. Who better than the man who wrote an entire opera cycle, Gotterdammerung, devoted to the twilight of the Norse Gods, to provide the backing track for a movie about the end of the world? I’ve always imagined that something by the nineteenth-century German composer would be playing in the background, via some invisible loudspeaker in the sky, when the end of days rolled around.
4. To bring on the waterworks: The National’s “About Today” in Warrior. If you weren’t moved, at least nearly driven to tears, by the family drama or the opening strains of the National’s 2004 track, cued right after the brothers played by Tom Hardy and Joel Edgerton re-bonded in the mixed-martial-arts ring, then check the space where your heart should be. There might be something missing.
5. To score an award”or at the very least, a Top 40 hit: Madonna’s “Masterpiece” in W.E. Its Top 40 prospects are grim, but the song Madonna wrote and sung for her second directorial effort is already a Golden Globe Best Original Song winner. Unfortunately, this is the end of its road to the Oscars. To be eligible for a Best Original Song Oscar nod, a tune must be composed specifically for the movie and appear in its body or be the first song that plays when the credits roll. “Masterpiece,” alas, was the second credits tune. By saving the best for last, Madonna killed her Oscar chances. Better luck next film song!
Mark Wahlberg already knows a thing or three about reinvention. When he first burst onto the entertainment scene in 1991 as the leader of Marky Mark and the Funky Bunk”a two-hit wonder from whom nobody expected any kind of longevity, and afterwards as a Calvin Klein underwear model”few probably thought he’d be likely to succeed past the mid-decade mark.
Yet two decades later, he’s still here. He’s a movie star and a respected actor, a successful producer (of the TV series Entourage and Boardwalk Empire, and of last year’s Best Picture Oscar contender, The Fighter) and an Academy Award acting nominee (Best Supporting Actor for 2006’s The Departed).
His next project: making Justin Bieber a film star. “I see the guy and spent time with him, and you see what he does and how he does it,” Wahlberg told MTV News last year, “and then you actually have a conversation with him, and it’s there.”
Picture this (because Wahlberg already has): Bieber in a The Color of Money-type film, which Wahlberg is developing for Paramount Pictures, with basketball replacing pool. Bieber would take the Tom Cruise role, and Wahlberg would cast a formidable screen legend like Robert DeNiro, Robert Duvall or Jack Nicholson as the grizzled vet, the Color of Money archetype that finally won Paul Newman an Oscar in 1987.
It sounds like a dream job”for someone else. If Will Smith, Queen Latifah, Justin Timberlake, Tim McGraw and Wahlberg himself have taught us anything, when making the transition from music to movies, it’s best to start small. Both Britney Spears and Christina Aguilera tried to fulfill their film-star fantasy by starring above the title the first time out (in Crossroads and Burlesque, respectively), and thus far, neither one’s Hollywood dream has come true.
Enimen has yet to find a follow-up worthy of his debut starring role in 2002’s 8 Mile; the Hollywood heat surrounding The Bodyguard star Whitney Houston, set to test the acting waters again in a 2012 remake of Sparkle, quickly cooled after three films; Beyoncé has gotten plenty of acting work, but her Hollywood career has yet to generate any kind of major excitement; and Evita aside, Madonna has been most successful onscreen in supporting roles (Desperately Seeking Susan, Dick Tracy, A League of Their Own). Former American Idol contestant Jennifer Hudson won an Oscar her first time out for Dreamgirls, but what has she done for us lately?
That Bieber’s 2011 documentary/concert film, Never Say Never, was a major box-office success ($73 million in North America) indicates that movie-ticket buyers will shell out bucks to see him on the big screen. And he’s already had a guest-starring role in C.S.I.: Crime Scene Investigation. But pop stars are always booking cameos and story arcs in hit TV shows, and in Never Say Never, Bieber was literally playing himself. If Wahlberg is going to guide him through the Hollywood jungle, he’d be wise to pull out the map that he himself used.
For now, let somebody else drive. Don’t even let him ride shotgun just yet. Bieber would be better off in the backseat, cast in an ensemble movie where he doesn’t have to do all of the heavy lifting (see Taylor Swift in Valentine’s Day”on second thought, don’t).
When Wahlberg landed his first major starring role, in 1997’s Boogie Nights, he was directed by Paul Thomas Anderson (There Will Be Blood) and surrounded by highly esteemed talents like Julianne Moore, William H. Macy, Phillip Seymour Hoffman, Don Cheadle, John C. Reilly and a soon-to-be-briefly resurgent (and Oscar-nominated for the first time) Burt Reynolds.
Even after Boogie Nights, Wahlberg’s most notable films”I Heart Huckabees, The Departed, The Fighter”have featured plenty of Oscar-caliber talent. And in The Departed, it was Wahlberg, not costars Leonardo DiCaprio, Matt Damon or Jack Nicholson who walked away with the Oscar nod.
Good luck to them both. They’ll need it. Wahlberg may have proven that he’s a miracle worker by going from rapper to underwear hunk to Oscar nominee, but Bieber holding his own with a DeNiro or a Duvall or a Nicholson sounds like an almost-impossible dream.
10 Music Stars Who Deserve a Hollywood Big-Screen Test
1. Lady Gaga
Best Performance in a Video: “Paparazzi”
2. John Mayer
Best Performance in a Video: “Who Says”
Best Performance in a Video: “Blow”
4. Mary J. Blige
Best Performance in a Video: “Be Without You”
Best Performance in a Video: “Glitter in the Air” (live at the 2010 GRAMMY Awards)
Best Performance in a Video: “Warwick Avenue”
7. Fiona Apple
Best Performance in a Video: “Fast As You Can”
8. Richard Ashcroft
Best Performance in a Video: “Break the Night with Colour”
9. Roisin Murphy
Best Performance in a Video: “Overpowered”
10. Brandon Flowers
Best Performance in a Video: The Killers’ “All These Things That I’ve Done”
On November 9, Nashville celebrated itself (again!) with the Country Music Association (CMA) Awards. For the fourth consecutive year, the event was hosted by Carrie Underwood and Brad Paisley, but the masters of ceremonies weren’t the only thing that gave me that old deja vu feeling. Hadn’t these accolades already been handed out just a few months ago?
Wait, those were the Country Music Television (CMT) Music Awards in June. And before that, there were the Academy of Country Music Awards. And, just in case that’s not enough Music City honors for you, there are the 2nd annual American Country Awards coming up on December 5.
Pop and R&B are just as self-congratulatory, offering the MTV Video Music Awards, the MTV Europe Music Awards, the Billboard Awards, the American Music Awards, the Teen Choice Awards, the BET Awards, the BET Hip Hop Awards, the NAACP Image Awards and the Soul Train Music Awards.
Then, of course, there are the GRAMMYs, which following so many other back-slapping fests, have been losing their lustre for years now”though that’s hardly the only reason. Winning one used to be the musical equivalent of snagging an Oscar, but now its just more clutter for the awards shelf.
In a few weeks (November 30, to be exact), the National Academy of Recording Arts and Sciences will announce the nominees for the 2012 GRAMMY Awards (to be held on February 12). Doesn’t it already feel like we’ve been there and done that over and over and over already this year? Am I the only one who doesn’t doubt that we’re in for another repeat of The Adele Show, with a very special appearance by Lady Gaga. Good as it is, like Christmas, I only need to sit through it once a year.
Every great screen biography of a music superstar needs three key ingredients to really sing: 1) An icon with the greatest story never told. 2) A talented lead actor or actress gunning for an Oscar nomination”singing talent and striking resemblance optional (Angela Bassett didn’t sing a word in What’s Love Got to Do with It, and she looks nothing like the film’s subject, yet she was Tina Turner). 3) Kick-ass songs.
Fantasia Barrino as gospel great Mahalia Jackson is coming soon. The Elton John Story (aka Rocketman) is reportedly finally in the works (I’d cast Justin Timberlake over mentioned favorite James McAvoy and pray that he can nail a British accent), as is Aretha Franklin’s (with or without Halle Berry, the Queen of Soul’s No. 1 choice), Anne Hathaway as Judy Garland and Sacha Baron Cohen as Freddie Mercury.
Robert Pattinson was announced as a possible Kurt Cobain at one point last year, but it’s hard to imagine that we’d get the true story as long as Courtney Love is around to kill it or put her spin on it. Ryan Gosling has the chops to pull off Cobain, but he’s already in everything and he’s several years older than Cobain was when he committed suicide. Note to aspiring biopic producers: One doesn’t have to cast a “star” as the star. Some biopics (Amadeus, starring Tom Hulce as Mozart; La vie en rose, with Marion Cotillard as Edith Piaf) do just fine without huge names.
Now that she’s gone too soon, too, it’s probably only a matter of time before we get Amy Winehouse‘s “untold” story. Note to aspiring biopic producers: Tabloid-era stars are best left alone unless, as with Eminem’s 8 Mile, the focus is on life before they were famous. Otherwise, we’ve already seen the action play out in the pages of Us Weekly and People magazine.
But what about those biopics in various stages of development and non-development? Here are six that I’m dying to see.
1) David Bowie: The star. The spectacle. The songs… Iman. I can’t think of a rock icon whose story is more deserving of the screen treatment. It would be a shoo-in for the Best Costume Design Oscar, and with a star like Jonathan Rhys Meyers (who already played a Bowie-esque figure to perfection in the 1998 film Velvet Goldmine), an actor worthy of the material.
If nearly ten seasons of American Idol have taught us anything, it’s this: To the victor do not always belong the spoils. Just ask Taylor Hicks and Kris Allen. Or Ruben Studdard. Or Lee DeWyze.
And then there was season three.
For third Idol winner Fantasia Barrino and seventh-placer Jennifer Hudson, life since 2004 has been up, down and sideways. Following a brief disappearing act, the third-season castoff nabbed a starring role as girl-group castoff Effie White in the Broadway musical-turned-feature film Dreamgirls (beating out former Idol rival Fantasia, among others, for the part) and won just about every major film prize, including the 2006 Academy Award for Best Performance by an Actress in a Supporting Role. As with so many who’ve received that particular honor, her post-Oscar acting gigs”Carrie Bradshaw’s assistant in the first Sex and the City movie, a lead in The Secret Life of Bees”have been as spotty and sporadic as Fantasia’s album releases.
Ah, yes, Fantasia’s music career. It’s been okay, but somewhat short of spectacular. When her third album, Back to Me, outdid lowish expectations last August by selling 117,000 copies in its first week and debuting at No. 2 on the Billboard 200 album chart, some blamed it on the publicity surrounding a suicide attempt weeks earlier in which Fantasia, who had been dealing with fallout from an affair with a married man, swallowed a bottle of aspirin.
Meanwhile, Hudson was going through some turmoil of her own. Following her Oscar score and the release of a self-titled debut album that ultimately went gold in the US, she suffered a triple blow in 2008 when her mother, brother and nephew were found murdered, and her sister’s estranged husband was charged with the slayings. In the two and a half years since, Hudson’s been better known for being a survivor, for being a new mom (to son David, twenty-one months), for losing a ton of weight than for her singing or acting.
Now Fantasia and Hudson have something else in common, besides self-affirming current album titles (Back to Me and I Remember Me, respectively): For their next act, both are pretending to be someone else. Hudson will star as Winnie Mandela, the controversial ex-wife of South African President Nelson Mandela in the fall biopic Winnie, and Fantasia has been cast as Mahalia Jackson in an in-the-works big-screen story based on the gospel great’s life. Hudson might have more to lose simply because as an Oscar winner, she has more to live up to”though only as an actress. She’s had respectable success making albums, but they seem almost like career filler. She should be Beyoncé’s healthy competition, making life imitate Dreamgirls, getting the best hitbound beats and ballads that money and Oscar clout can buy. I recently caught her on The Graham Norton Show, and although she sang the hell out of of the title cut from I Remember Me (even fellow guest k.d. lang seemed to be genuinely moved), she appeared strangely distant and disinterested in promoting it. Her heart didn’t seem to be as into it as her soul (singing). It’s as if she’s not sure which should get top billing”acting or albums”and music might just be holding her over until her next killer film role.
Winnie Mandela would seem to be just that, but the film still has zero buzz (not even its own Wikipedia entry) and nothing about the trailer, throughout which Hudson wears a strangely vacant expression, suggests that major accolades will be forthcoming. Fantasia, on the other hand, has lowered expectations because its her first major film role and because fewer people know anything about Mahalia Jackson. But she’s got God on her side: Her gospel singing is guaranteed to rock moviegoers and the folks in charge of creating awards buzz. And if her level of passion and commitment on the set comes close to what we’ve heard on record or seen on stage, she could very well be next to graduate from Idol contestant to Oscar nominee.
Should that fail to happen, there’s always Aretha Franklin, a role both Hudson and Fantasia may have been born to play and for which they’ll no doubt duke it out when casting commences for that Queen of Soul-sanctioned biopic.
And the season three race continues….