song arranger("Blessed Assurance" "Lord Will Make a Way (Somehow)" "God Said He Would See You Through" "My Faith Looks Up to Thee" "It's a Highway to Heaven" "Jesus on the Mainline" "Bringing in the Sheaves" "Amazing Grace")
Legendary New York music mogul Marty Thau has died at the age of 75. Thau, who discovered and managed the New York Dolls and Suicide, suffered renal failure and passed away in Petersburg, Virginia on Thursday (13Feb14).
The New York City native started his music career as singer Tony Orlando's manager before he was signed to Neil Bogart's Cameo-Parkway Records label in Pennsylvania as a promotion executive.
He stuck with Bogart when the music legend sold the label to Allen Klein in 1968, and created Buddah Records, which boasted the Ohio Express, the Isley Brothers and Melanie and Edwin Hawkins Singers among a roster of talent.
Thau went on to become a partner in Inherit Productions, a management/ production/publishing company that represented Van Morrison and John Cale, but it was during his tenure as head of A&R at Paramount Records that his managing career really took off after catching an early New York Dolls gig.
As New York's punk scene took off in the mid-1970s, Thau launched Red Star Records and signed Suicide, The Real Kids, the Fleshtones and Richard Hell. He also produced early demos for Blondie and the Ramones.
Gospel stars Edwin Hawkins, Tye Tribbett and Warryn Campbell are set to be honoured at an upcoming prizegiving by officials at the American Society of Composers, Authors and Publishers (ASCAP). The trio will be guests of honour at the ASCAP Presents: Morning Glory breakfast reception in Nashville, Tennessee, where Hawkins is presented with the Gospel Icon Award for his career achievements, while singer/songwriter Tribbett and producer Campbell will pick up the Spirit of Song Award.
Nicole George-Middleton, ASCAP Vice President, Rhythm & Soul/Urban, says, "We are so excited to honour an amazing group of artists as part of the Morning Glory breakfast. They have made remarkable achievements in music and have inspired so many. Artists like Edwin Hawkins, Tye Tribbett and Warryn Campbell have produced a legacy that will live on and continue to shape music."
The event will take place on 18 January (14).
Last year director Garry Marshall hit upon a devilishly canny approach to the romantic comedy. A more polished refinement of Hal Needham’s experimental Cannonball Run method it called for assembling a gaggle of famous faces from across the demographic spectrum and pairing them with a shallow day-in-the-life narrative packed with gobs of gooey sentiment. A cynical strategy to be sure but one that paid handsome dividends: Valentine’s Day earned over $56 million in its opening weekend surpassing even the rosiest of forecasts. Buoyed by the success Marshall and his screenwriter Katherine Fugate hastily retreated to the bowels of Hades to apply their lucrative formula to another holiday historically steeped in romantic significance and New Year’s Eve was born.
Set in Manhattan on the last day of the year New Year’s Eve crams together a dozen or so canned scenarios into one bloated barely coherent mass of cliches. As before Marshall’s recruited an impressive ensemble of minions to do his unholy bidding including Oscar winners Hilary Swank Halle Berry and Robert De Niro the latter luxuriating in a role that didn’t require him to get out of bed. High School Musical’s Zac Efron is paired up with ‘80s icon Michelle Pfeiffer – giving teenage girls and their fathers something to bond over – while Glee’s Lea Michele meets cute with a pajama-clad Ashton Kutcher. There’s Katherine Heigl in a familiar jilted-fiance role Sarah Jessica Parker as a fretful single mom and Chris “Ludacris” Bridges as the most laid-back cop in New York. Sofia Vergara and Hector Elizondo mine for cheap laughs with thick accents – his fake and hers real – and Jessica Biel and Josh Duhamel deftly mix beauty with blandness. Fans of awful music will delight in the sounds of Jon Bon Jovi straining against type to play a relevant pop musician.
The task of interweaving the various storylines is too great for Marshall and New Year’s Eve bears the distinct scent and stain of an editing-room bloodbath with plot holes so gaping that not even the brightest of celebrity smiles can obscure them. But that’s not the point – it never was. You should know better than to expect logic from a film that portrays 24-year-old Efron and 46-year-old Parker as brother-and-sister without bothering to explain how such an apparent scientific miracle might have come to pass. Marshall wagers that by the time the ball drops and the film’s last melodramatic sequence has ended prior transgressions will be absolved and moviegoers will be content to bask in New Year's Eve's artificial glow. The gambit worked for Valentine's Day; this time he may not be so fortunate.