Jefferson Starship rocker Pete Sears is celebrating after the discovery of his custom-made guitar, which was stolen from a concert venue in Germany 40 years ago. The bassist's one-of-a kind instrument, crafted by Grateful Dead star Jerry Garcia's guitar maker Doug Irwin, went missing during a riot at the Lorelei Festival in 1978, and Sears had resigned himself to the fact he'd never see the axe he dubbed the Dragon again.
He tells Rolling Stone magazine, "It was always in the back of my mind... I thought it was sitting in someone's basement."
One of Irwin's colleagues posted a request for information about the missing guitar on the Grateful Dead's website forum in 2009, and last month (Apr13), a German musician came forward and revealed he was the new owner of Sears' stolen instrument.
He claimed he bought it between 1990 and 1991 from a studio musician in the Netherlands, who claimed it once belonged to the bassist of 1980s band Golden Earring.
The German agreed to part with the bass for $3,200 (£2,100) and shipped it to America for restoration.
Sears says, "It's an antique now, like I am. I just can't wait to get it back and hold it again."
S6E12: After last week’s mishap of an episode, I began to wonder if 30 Rock would ever fall back into the form of its glory days. While it might never really reach the same caliber of its first three years on air, 30 Rock does prove that it still has potential. This week’s episode “St. Patrick’s Day” is an example of the quality the show still has at its disposal.
All too often this season, 30 Rock has exhibited an abandonment of a cast of characters we once called “human.” This week, however, our old friends Liz and Jack do seem to fall back in step with their relatable, believable incarnations. For the first time in quite a while, Liz experiences some real emotional growth. And Jack takes a legitimately interesting professional step.
"If it wasn't for the Germans, we wouldn't have any of the Indiana Jones movies." - Liz
It’s St. Patrick’s Day in New York City, and Liz has big plans: stay home with Criss, completely avoiding the madness outside, and lambasting everything related to Irish culture. Liz’s plans are interrupted when her least favorite piece of Irish culture shows up on her doorstep: Dennis Duffy, one of the greatest sitcom characters in TV history. After suffering a minor head injury, Dennis takes up on Liz’s couch to recuperate. But Liz wants him out immediately, knowing that Dennis is a toxic force who will only serve to damage her relationship with Criss. Dennis’ presence does bring up a touchy issue that Liz and Criss are dealing with: her emotional unavailability. Whereas Criss is secure and sweet and capable of expressing his feelings for Liz, she is closed-off, anxious, and phobic over saying “I love you,” much to Criss’ dismay. Side note: the last two times or so when Dennis has been on 30 Rock, his material has not really lived up to that of earlier episodes featuring the character. Tonight’s Dennis dialogue is perfect—misguided, oblivious, generous with misinformation. After Liz learns that Dennis has managed to pick up his own life—finally getting married to a girl far better suited for him than Liz ever was—she also realizes that maybe it’s time for her to change and grow up. As such, she finds Criss and apologizes, vowing to open up more, just before telling him that she loves him. We haven’t seen Liz really grow in quite some time. Although I’d never have pegged Criss for her “perfect man”—Floyd, Carol, pre-“The Bubble” Dr. Drew Baird, even good ol’ Cousin The Hair—any vehicle for Liz to experience any sort of fleshing out or examination is a worthy one. "We all have faces that people just want to punch." - FrankEver since Kabletown took over, Jack has been a shell of his old self. The show has alluded to that lately, hinting that his new, soft persona is not just due to his daughter or kidnapped wife. It’s because his job is no longer a challenge—no longer something he can live for or define himself by. But maybe he can change that. Jack discovers a Dungeons and Dragons-style game being played by the TGS writers. Due to the nature of the game—there’s a lot of trading, business planning, conquering, the works—Jack takes immediate interest, drawing parallels between the isles in the game and his real life companies and such. Jack quickly becomes champion of the game, even managing to solve one of the hardest puzzles (thanks to some advice from a light-hearted priest), and realizes that he can do the same for Kabletown. He doesn’t want to sit idly by, working for a company like this. So, he won’t. The writers shower Jack with fake gold coins while he deliberates his next move for his real company. Kabletown will be Jack Donaghy’s. "I'll treat them like my own children. Which is a bad example, because I left my kids at a Sears in 2004." - HazelMeanwhile, Hazel is not doing so hot at keeping Tracy and Jenna from fighting with each other. When Jenna is billed first on NBC’s St. Patrick’s Day special, Tracy throws a fit, and cue an eruption of excessive pettiness and name-calling. Pete has a conniption, NBC suffers, and Hazel just can’t seem to figure out what to do. Only one person can solve a problem like this: Kenneth. And after countless denials (from himself) of his right to do so, Kenneth gives in and vows always to be there for Tracy, Jenna and Hazel. It may no longer be his job, but it’s his passion. So, Liz has made personal steps and Jack professional. Both of these characters are exhibiting growth, and are suggesting some interesting stuff in the near future. What do you think will happen with Liz? Will she and Criss stay together? Get married? Have kids? And as for Jack, how far will his reign take him? Let us know in the comments section, or on Twitter @MichaelArbeiter.
Though ostensibly successful 2009’s The Final Destination represented to many a horror franchise on its last hackneyed legs. Rote uninspired and humorless it scored a (modest) hit only by virtue of the novelty -- and added ticket price -- of its 3D transfer. Two years later Final Destination 5 arrives with a slightly tweaked formula a beefed-up storyline actors you might actually recognize and genuine honest-to-goodness 3D. It’s still schlock mind you -- but artful schlock and a marked improvement over the preceding entry.
The story begins in familiar fashion with a cursory introduction to the characters followed by a grisly premonition that sees them perish wholesale. An assortment of cubicle-dwellers at a paper factory are being bused to a corporate retreat when one of them Sam (Nicholas D’Agosto perpetually bug-eyed) dreams of a massive bridge collapse in which he and his co-workers are impaled beheaded bisected crushed by cars singed by tar -- however many ways a suspension bridge can kill a person the film’s opening set-piece explores it gruesome detail. Sam awakens duly horrified and demands the bus be evacuated. Seconds later the employees watch in horror from the sidelines as Sam’s vision comes to fruition.
You know what happens next. One-by-one death stalks the survivors who meet their fate in a series of elaborately-staged incidents. Some are relatively straightforward; others involve fiendish head-fakes and red herrings. The range of victims is older and more colorful than in previous Final Destination films in which death preyed exclusively on attractive nubile teenagers but the end result is invariably the same. (Not to give anything away but those considering acupuncture or laser eye surgery would be wise to avoid the film entirely.) As death’s scheme becomes achingly evident Sam his lachrymose girlfriend Molly (Emma Bell) and his increasingly unhinged buddy Peter (Miles Fisher) become increasingly desperate. Enter the ever-ominous Tony Todd returning to the franchise after (wisely) taking the previous film off offering a potential way out. But is it genuine or just another of death’s cruel tricks?
Director Steven Quale a James Cameron protege hired principally for his 3D expertise takes full advantage of the added dimension delivering some of the most vivid and immersive 3D sequences in recent memory. Unlike The Final Destination which seemed little more than a amalgam of crude one-liners Final Destination 5 feels like a real movie one with a discernible plot an element of suspense and a handful characters who are more than just punchlines. Most of the actors are surprisingly competent save for Fisher a credible doppelganger for Tom Cruise (he parodied him 2008’s Superhero Movie) who imbues every line with couch-jumping intensity.
Final Destination 5 ends with a twist that while genuinely unexpected feels like a Hail Mary for a franchise that can’t forestall its inexorable descent into stale irrelevance despite the best of efforts from Quale. Its trademark formula has simply lost its potency -- a problem no amount of cosmetic upgrades however welcome can fix. That the film is bracketed by two pointless and time-consuming montages -- the first an animated sequence that hurtles various hazardous objects at the audience the second a greatest hits compilation of memorable kills from previous Final Destination films -- is a telltale sign that the saga’s creativity is on life support. Perhaps it’s time to pull the plug.
Last we heard in last year’s Diary of a Mad Black Woman Madea (Tyler Perry) was solving social cultural and familial problems. What a busy lady! Well she’s done gone and done it again after a whole new crop of problems pop up that need fixing. This time the conflicts revolve primarily around two sisters Vanessa (Lisa Arrindell Anderson) and Lisa (Rochelle Aytes) both of whom are wary of their financial-minded mother Victoria (Lynn Whitfield). Vanessa is deathly afraid to love again after her husband left her and two kids and fears she might’ve met Mr. Right in the form of a bus driver (Boris Kodjoe). Meanwhile Lisa is in a physically abusive relationship with Carlos (Blair Underwood) “Atlanta’s most eligible bachelor ” but is afraid to leave him. Madea the antithesis of gold-digging Victoria solves these and many more problems as the family reunion nears. After Mad Black Woman’s surprise box office take last year bigger names were less reluctant to sign on. Accordingly the new actors in Reunion are very solid—borderline stellar collectively. The lone exception is Perry as Madea (as well as a few other characters) whose over-the-topness although expected reduces the air of professionalism from the rest. Underwood is so damn good at being so damn bad as the abusive fiancée Carlos while Whitfield matches him chill for chill in a very icy performance. The relative unknowns/newcomers are the most pleasant surprises however. Aytes has breathtaking beauty that would normally overshadow acting but not here. Anderson whose last film was ‘95’s Clockers is equally beautiful and evocative as a single mother torn. And for the female eyes there’s Kodjoe whom girls will likely fall for even more when they learn he can actually act. Perry wears many hats in Family Reunion: writer director producer star--and oh yeah he also wrote the popular stage production from which the film is adapted. Perhaps Perry’s workaholic attitude contributes to the film’s thematic overkill. There are a number of kinks in the film’s completely uneven story and the way it is told but perhaps the biggest problem stems from the fact that it still feels like a stage play. Sometimes that’s a plus for a film but it’s hard to think it was intended. This feeling is elicited by the sum of the story’s parts. Perry will be in one scene telling the tale of a beleaguered battered woman amid a linear and conventional storyline and in the next scene become Madea in her cartoonish and campy getup dishing out her tough love techniques. No doubt Reunion is an enjoyable play--only if you agree with Perry’s comedic remedies for serious issues.
Luke (Steven Strait) and Brier (Pell James) first cross paths on a New York City subway before the doors shut on their instant attraction to one another. Of course it is immediately and abundantly clear that they will naturally meet up again before long but where and how? The answers: L.A. and well it's complicated. Each having forgotten about the other Brier a top model in NYC decides she needs a change of scenery and tells her agent (Carrie Fisher clearly in it for the paycheck) she's heading out to L.A. to pursue acting while Luke and his brother Euan (Kip Pardue) decide to move to the West Coast as well. Once there Brier befriends Clea (Ashlee Simpson) and on her first night in town takes Brier to a local dive bar where Luke works as a struggling "musician." Wow that's some coincidence. There is an instant re-connection between Luke and Brier but she refuses to get involved with musicians since her rock-star ex mistreated her. Instead she shifts her focus on generating buzz for Luke. Eventually Luke gets the big recording contract becomes the rock-star jerk he'd swore he'd never become and loses it all. But all is well when Brier decides she can no longer resist Luke's ballads and Metallica-guitarist-circa-'85 hair.
The theme of Undiscovered could apply to its cast. Each of the four leads are on the cusp of being on the cusp and certainly they hope this movie will take them one step closer. For James that might happen. She is a natural on screen and gives a breakthrough performance as the comely Brier. Strait is also a relative newcomer. After turning his debut performance in this summer's Sky High he holds his own in Undiscovered but seems to be relegated to taking his shirt off to make the teenyboppers swoon. Finally there's Simpson who is also making her major-role debut. It's awkward to see her on-screen and yes subconsciously you wait for her to make a noticeable mistake (or butcher a voice-over due to acid reflux). Of course it doesn't happen; she moves along pretty smoothly but is at times subjected to dialogue that seems beyond her especially when she has to words big words such as "banter." And certainly it's not her fault when she describes Luke--a musician best left struggling--as "a cross between Jeff Buckley and Elvis Costello." That's just someone else's words she reciting.
Prolific music-video director Meiert Avis is making his feature film directorial debut with Undiscovered--and his obvious greenness shows. At times the film is more like a music video surrounded by a weak storyline than a cohesive film. His expertise in the rather linear realm of music videos doesn't exactly qualify him for the complexities of a 90-minute film contrived and straightforward as his debut may be. Avis tries to employ every possible clichéd obstacle for the characters to overcome--which reeks of inexperience but could also be the screenwriter's fault. No doubt Avis feels at home with newcomers such as Strait and Simpson who--for all intents and purposes--sing and act but the plethora of singing scenes feel forced. That is forced into the script to showcase the soundtrack when the movie goes undiscovered at the box office.