Cellar victim Kampusch raped, starved in film of ordeal

VIENNA (Reuters) – A new film based on the story of Austrian kidnap victim Natascha Kampusch shows her being repeatedly raped by the captor who beat and starved her during the eight-and-a-half years that he kept her in a cellar beneath his house.

Kampusch was snatched on her way to school at the age of 10 by Wolfgang Priklopil and held in a windowless cell under his garage near Vienna until she escaped in 2006, causing a sensation in Austria and abroad. Priklopil committed suicide.

Kampusch had always refused to respond to claims that she had had sex with Priklopil, but in a German television interview on her 25th birthday last week said she had decided to reveal the truth because it had leaked out from police files.

The film, “3,096 Days” – based on Kampusch’s autobiography of the same name – soberly portrays her captivity in a windowless cellar less than 6 square metres (65 square feet) in area, often deprived of food for days at a time.

The emaciated Kampusch – who weighed just 38 kg (84 pounds) at one point in 2004 – keeps a diary written on toilet paper concealed in a box.

One entry reads: “At least 60 blows in the face. Ten to 15 nausea-inducing fist blows to the head. One strike with the fist with full weight to my right ear.”

The movie shows occasional moments that approach tenderness, such as when Priklopil presents her with a cake for her 18th birthday or buys her a dress as a gift – but then immediately goes on to chide her for not knowing how to waltz with him.

GREY AREAS

Antonia Campbell-Hughes, who plays the teenaged Kampusch, said she had tried to portray “the strength of someone’s soul, the ability of people to survive… but also the grey areas within a relationship that people don’t necessarily understand.”

The British actress said she had not met Kampusch during the making of the film or since. “It was a very isolated time, it was a bubble of time, and I wanted to keep that very focused,” she told journalists as she arrived for the Vienna premiere.

Kampusch herself attended the premiere, looking composed as she posed for pictures but declining to give interviews.

In an interview with Germany’s Bild Zeitung last week, she said: “Yes, I did recognize myself, although the reality was even worse. But one can’t really show that in the cinema, since it wasn’t supposed to be a horror film.”

The movie, made at the Constantin Film studios in Bavaria, Germany, also stars Amy Pidgeon as the 10-year-old Kampusch and Danish actor Thure Lindhardt as Priklopil.

“I focused mainly on playing the human being because… we have to remember it was a human being. Monsters do not exist, they’re only in cartoons,” Lindhart said.

“It became clear to me that it’s a story about survival, and it’s a story about surviving eight years of hell. If that story can be told then I can also play the bad guy.”

The director was German-American Sherry Hormann, who made her English-language debut with the 2009 move “Desert Flower”, an adaptation of the autobiography of Somali-born model and anti-female circumcision activist Waris Dirie.

“I’m a mother and I wonder at the strength of this child, and it was important for me to tell this story from a different perspective, to tell how this child using her own strength could survive this atrocious martyrdom,” Hormann said.

The Kampusch case was followed two years later by that of Josef Fritzl, an Austrian who held his daughter captive in a cellar for 24 years and fathered seven children with her.

The crimes prompted soul-searching about the Austrian psyche, and questions as to how the authorities and neighbors could have let such crimes go undetected for so long.

The film goes on general release on Thursday.

(Reporting by Georgina Prodhan, Editing by Paul Casciato)

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Cellar victim Kampusch raped, starved in film of ordeal

VIENNA (Reuters) – A new film based on the story of Austrian kidnap victim Natascha Kampusch shows her being repeatedly raped by the captor who beat and starved her during the eight-and-a-half years that he kept her in a cellar beneath his house.

Kampusch was snatched on her way to school at the age of 10 by Wolfgang Priklopil and held in a windowless cell under his garage near Vienna until she escaped in 2006, causing a sensation in Austria and abroad. Priklopil committed suicide.

Kampusch had always refused to respond to claims that she had had sex with Priklopil, but in a German television interview on her 25th birthday last week said she had decided to reveal the truth because it had leaked out from police files.

The film, “3,096 Days” – based on Kampusch’s autobiography of the same name – soberly portrays her captivity in a windowless cellar less than 6 square metres (65 square feet) in area, often deprived of food for days at a time.

The emaciated Kampusch – who weighed just 38 kg (84 pounds) at one point in 2004 – keeps a diary written on toilet paper concealed in a box.

One entry reads: “At least 60 blows in the face. Ten to 15 nausea-inducing fist blows to the head. One strike with the fist with full weight to my right ear.”

The movie shows occasional moments that approach tenderness, such as when Priklopil presents her with a cake for her 18th birthday or buys her a dress as a gift – but then immediately goes on to chide her for not knowing how to waltz with him.

GREY AREAS

Antonia Campbell-Hughes, who plays the teenaged Kampusch, said she had tried to portray “the strength of someone’s soul, the ability of people to survive… but also the grey areas within a relationship that people don’t necessarily understand.”

The British actress said she had not met Kampusch during the making of the film or since. “It was a very isolated time, it was a bubble of time, and I wanted to keep that very focused,” she told journalists as she arrived for the Vienna premiere.

Kampusch herself attended the premiere, looking composed as she posed for pictures but declining to give interviews.

In an interview with Germany’s Bild Zeitung last week, she said: “Yes, I did recognize myself, although the reality was even worse. But one can’t really show that in the cinema, since it wasn’t supposed to be a horror film.”

The movie, made at the Constantin Film studios in Bavaria, Germany, also stars Amy Pidgeon as the 10-year-old Kampusch and Danish actor Thure Lindhardt as Priklopil.

“I focused mainly on playing the human being because… we have to remember it was a human being. Monsters do not exist, they’re only in cartoons,” Lindhart said.

“It became clear to me that it’s a story about survival, and it’s a story about surviving eight years of hell. If that story can be told then I can also play the bad guy.”

The director was German-American Sherry Hormann, who made her English-language debut with the 2009 move “Desert Flower”, an adaptation of the autobiography of Somali-born model and anti-female circumcision activist Waris Dirie.

“I’m a mother and I wonder at the strength of this child, and it was important for me to tell this story from a different perspective, to tell how this child using her own strength could survive this atrocious martyrdom,” Hormann said.

The Kampusch case was followed two years later by that of Josef Fritzl, an Austrian who held his daughter captive in a cellar for 24 years and fathered seven children with her.

The crimes prompted soul-searching about the Austrian psyche, and questions as to how the authorities and neighbors could have let such crimes go undetected for so long.

The film goes on general release on Thursday.

(Reporting by Georgina Prodhan, Editing by Paul Casciato)

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‘Argo’ wins best picture on scattered Oscar night

LOS ANGELES (AP) — Just as Oscar host Seth MacFarlane set his sights on a variety of targets with a mixture of hits and misses, the motion picture academy spread the gold around to a varied slate of films. “Argo” won best picture as expected, along with two other prizes. But “Life of Pi” won the most awards with four, including a surprise win for director Ang Lee.

“Les Miserables” also won three Academy Awards, while “Django Unchained” and “Skyfall” each took two.

Among the winners were the front-runners throughout this lengthy awards season: best actor Daniel Day-Lewis for his deeply immersed portrayal of Abraham Lincoln in Steven Spielberg‘s epic “Lincoln,” best actress Jennifer Lawrence as a troubled young widow in “Silver Linings Playbook” and supporting actress Anne Hathaway as the doomed prostitute Fantine in the musical “Les Miserables.” Christoph Waltz was a bit of a surprise for supporting actor as a charismatic bounty hunter in Quentin Tarantino‘s “Django Unchained,” an award he’d won just three years ago for Tarantino’s “Inglorious Basterds.”

The 22-year-old Lawrence, who got to show her lighter side in the oddball romance “Silver Linings Playbook” following serious roles in “Winter’s Bone” and “The Hunger Games,” gamely laughed at herself as she tripped on the stairs en route to the stage in her poufy, pale pink Dior Haute Couture gown. Backstage in the press room, when a reporter asked what she was thinking, she responded: “A bad word that I can’t say that starts with ‘F.’” Keeping journalists in hysterics, she explained, “I’m sorry. I did a shot before I … sorry.”

That’s the kind of raunchiness MacFarlane himself seemed to be aiming for as host while also balancing the more traditional demands of the job. There was a ton of singing and dancing during the three-and-half-hour broadcast — no surprise from the musically minded creator of the animated series “Family Guy” — including a poignant performance from Barbra Streisand of “The Way We Were,” written by the late Marvin Hamlisch, during the memorial montage. But MacFarlane also tried to keep the humor edgy with shots at Mel Gibson, George Clooney, Chris Brown and Rihanna.

An extended bit in which William Shatner came back from the future as his “Star Trek” character, Capt. James T. Kirk, had its moments while a joke about the drama “Flight” being restaged entirely with sock puppets was a scream. A John Wilkes Booth gag in reference to “Lincoln” was a bit of a groaner, perhaps intentionally, while MacFarlane relied on his alter ego, the cuddly teddy bear from his directorial debut “Ted,” to make a crack about a post-Oscar orgy at Jack Nicholson’s house. (MacFarlane already has indicated he’s one-and-done with Academy Awards hosting.)

But it was Day-Lewis who came up with the kind of pop-culture riffing that’s MacFarlane’s specialty. In accepting his record third best-actor award from presenter Meryl Streep, he deadpanned that before they’d swapped roles, he originally was set to play Margaret Thatcher “and Meryl was Steven’s first choice for ‘Lincoln,’ and I’d like to see that version.”

Besides best picture, “Argo” won for Chris Terrio’s adapted screenplay and for William Goldenberg’s film editing. Affleck famously (and strangely) wasn’t included in the best-director category for his thrilling and surprisingly funny depiction of a daring rescue during the 1979 Iranian hostage crisis. But as a producer on the film alongside George Clooney and Grant Heslov, he got to take home the top prize of the night.

“I never thought I’d be back here, and I am because of so many of you in this academy,” said Affleck, who shared a screenplay Oscar with pal Matt Damon 15 years earlier for their breakout film “Good Will Hunting.”

Among the wisdom he’s acquired since then: “You can’t hold grudges — it’s hard but you can’t hold grudges.”

Lee, who previously won best director in 2006 for “Brokeback Mountain” (which also didn’t win best picture), was typically low-key and self-deprecating in victory. His “Life of Pi” is a fable set in glorious 3-D, but Spielberg looked like the favorite for “Lincoln.” The film also won for its cinematography, original score and visual effects.

“Thank you, movie god,” the Taiwanese director said on stage. Later, he thanked his agents and said: “I have to do that,” with a little shrug and a smile.

“Les Miserables” also won for sound mixing and makeup and hairstyling. The other Oscar for “Django Unchained” came for Tarantino’s original screenplay. Asked about his international appeal backstage, Tarantino was enthusiastic as usual in saying: “I’m an American, and a filmmaker, but I make movies for the planet Earth.”

Speaking of global hits, the James Bond action thriller “Skyfall” won for its original song by the unstoppable Adele (with Paul Epworth). It also tied for sound editing with “Zero Dark Thirty,” the only win of the night for Kathryn Bigelow’s detailed saga about the hunt for Osama bin Laden.

Among the other winners, “Searching for Sugar Man,” about a forgotten musician’s rediscovery, took the prize for best documentary feature. Pixar’s fairy tale “Brave” won best animated feature.

One of the biggest moments of the night came at the end, as First Lady Michelle Obama announced the winner of the best picture prize. Backstage, Affleck described how surreal it was when he heard her say the word: “Argo.”

“I was sort of hallucinating when that was happening,” he explained. “In the course of a hallucination it doesn’t seem that odd: ‘Oh look, a purple elephant. Oh look, Michelle Obama.’”

___

Contact AP Movie Critic Christy Lemire through Twitter: http://twitter.com/christylemire

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Romanian cinema triumphs again with top Berlin award

BERLIN (Reuters) – Romania claimed another major scalp on the European film festival circuit this weekend when “Child’s Pose” won the Golden Bear in Berlin, underlining the country’s emergence as a powerhouse of hard-hitting cinema in the post-Communist era.

The film, directed by Calin Peter Netzer, tells the story of Cornelia, an obsessive mother who uses every trick in the book to prevent her son from going to jail after he kills a boy in a car accident.

It is the latest in a long list of critical hits that have enjoyed startling success at festivals like Berlin and Cannes in recent years, helping to bring Romania‘s cinema to a wider audience.

Some of Romania‘s top directors, who have enjoyed the artistic freedom that flourished after the death of Communist dictator Nicolae Ceausescu in 1989, dismiss talk of a cinematic “new wave”, saying it lumps together very different styles and stories.

But ever since Cristi Puiu’s “The Death of Mr. Lazarescu” hit Cannes in 2005, and two years later his compatriot Cristian Mungiu won the coveted Palme d’Or there for the harrowing abortion drama “4 Months, 3 Weeks and 2 Days”, Romanian cinema has been firmly on the map.

“It is an acknowledgement, I think, that Romanian cinema is still producing good quality cinema and has been for a few years and it is a good endowment that it is still like this,” Netzer told Reuters after receiving the Golden Bear for best film.

UNFLINCHING STORYTELLING

While each film differs, there is a common thread of unflinching storytelling and compelling human drama often laid out against the backdrop of a cold and uncaring society.

Netzer said “Child’s Pose” was not a critique of Romania today, despite its unflattering portrayal of flashy materialism and casual corruption among the nouveau riche.

“I think basically this is about a relationship, a kind of pathological relationship between mother and son,” he told reporters in Berlin after the closing ceremony late on Saturday.

“The rest – the corruption, the framework, the context, all of that is on a separate level and is really only a backdrop.”

Victory in Berlin is likely to give the movie a major boost in terms of distribution in Romania and beyond, although some critics wondered whether the alienating figures of both mother and son might limit its appeal.

“There’s an instant bond the audience has with the two young women in ’4 Months…’ which we are deliberately not supposed to have in ‘Child’s Pose’,” said Jay Weissberg, critic at trade publication Variety.

“The mother is a monstrous figure and her son is even worse.”

However he, like many others, was impressed by Luminita Gheorghiu’s portrayal of Cornelia, one of several standout performances in Berlin-nominated films by mature actresses making the most of the kind of parts rarely written in Hollywood.

Paulina Garcia was the popular winner of the best actress Silver Bear for her turn in Chilean film “Gloria”, in which she plays a 58-year-old divorcee who sets out to live life to the full despite her setbacks.

“We all face crossroads in our lives where we can retreat into ourselves or we can hit the dance floor,” said “Gloria” director Sebastian Lelio of his character.

The biggest surprise at the Berlin awards ceremony was the best actor prize going to Nazif Mujic, a Bosnian Roma who had never acted before and had to be talked into playing himself in a drama based on his real-life ordeal.

“An Episode in the Life of an Iron Picker”, made for just 30,000 euros ($ 40,000), tells the story of how Bosnian hospitals refused to operate on his wife after she miscarried because she was not insured, despite the fact that her life was in danger.

Best director went to U.S. filmmaker David Gordon Green for his quirky road movie “Prince Avalanche” and Iranian entry “Closed Curtain” picked up the best script prize for directors Kamboziya Partovi and Jafar Panahi.

Panahi made the movie in secret in defiance of a 20-year filmmaking ban and was not allowed to travel to Berlin to collect his award.

“Tradition and culture remain, politicians come and go,” Partovi told reporters after receiving the honour.

(Reporting by Mike Collett-White; Editing by Andrew Heavens)

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Eric Church leads line-up for country music awards

NASHVILLE, Tennessee (Reuters) – Singer-songwriter Eric Church grabbed the lead in one of the biggest events in country music on Wednesday with seven nominations for the Academy of Country Music Awards while country-pop darling Taylor Swift received five nods.

Church, 35, was nominated as Male Vocalist of the Year and received his second consecutive nod for Album of the Year, this time for his widely acclaimed 2011 album “Chief”, in the 48th annual Academy of Country Music Awards.

He was also nominated for Single Record and Song of the Year for “Springsteen”, which became his second No. 1 single last year, and for Video of the Year for “Creepin’”.

Newcomer Hunter Hayes, 21, garnered six nominations, including New Male Vocalist of the Year and Video of the Year for “Wanted.” Hunter is new to the country scene, having released his self-titled debut album last year.

Country music favorites Swift and Miranda Lambert, 29, whose hits include “The House That Built Me and “Over You,” received five nominations each.

Swift received her fourth consecutive nomination for Entertainer of the Year. If she wins, it will be the 23-year-old singer’s third consecutive claim to that title which is decided by country fans’ voting.

Swift is also nominated for the sixth time for Female Vocalist of the Year and for the fourth time for Video of the Year for “We Are Never Ever Getting Back Together.”

Swift was ranked last year by Forbes as the second top-earning woman in music after bringing in an estimated $ 58 million from her album, endorsements and a perfume in the past year. She was beaten to top slot by Britney Spears.

Lambert’s country singer husband Blake Shelton and Luke Bryan will co-host the annual award ceremony in Las Vegas on April 7. Shelton has hosted the show for the past three years.

(Reporting by Vernell Hackett, Editing by Belinda Goldsmith)

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Why Netflix has “no motivation” to release ratings for “House of Cards”

NEW YORK (TheWrap.com) – Netflix has ‘no motivation’ to disclose viewership numbers for its original shows regardless of their success, chief creative officer Ted Sarandos said on Tuesday. Speaking at AllThingsD’s conference in Laguna Beach, Sarandos both mocked Nielsen numbers and insisted that Netflix has no need to toot its own horn.

“I honestly have no motivation to do it,” Sarandos said of releasing numbers. “I don’t sell ads, so ratings don’t matter in that way.”

The question has surfaced repeatedly since Netflix released “House of Cards,” an expensive and well-received original show created by Beau Willimon and starring Kevin Spacey. While Sarandos said the show has been the most watched show on Netflix in every country where the service is available, he would not go much further.

Entertainment executives are particularly curious about the show’s performance to gauge Netflix’s foray into original programming and to compare its audience to that of shows on regular TV. Netflix will soon release other new series from successful Hollywood talent, including a new season of “Arrested Development.” The show’s creator Mitch Hurwitz and cast member Will Arnett joined Sarandos on stage during the session as well.

Sarandos gave several explanations for why Netflix has no reason to get into the numbers game. For one, they don’t sell advertisements against specific shows, so ratings have no impact on their bottom line. They don’t sell their shows to cable operators either, so they don’t need ratings to justify charging a certain fee. They make money from subscriptions and ratings have no impact on those numbers.

Netflix customers also watch the shows differently than they do normal television since they can watch them at any time on many devices. Sarandos said comparing Netflix ratings and TV ratings would be like apples and oranges.

When a reporter pressed Sarandos on the issue, he remarked that actors don’t believe in Nielsen numbers anyways. Arnett then commented that creative people just want to tell stories and welcome a new way of doing so.

When asked what he does when Spacey calls to ask about numbers, Sarandos replied, “I don’t tell him. I just tell him I’m thrilled.”

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Rhythm & Hues filing for bankruptcy after deal with Prime Focus collapses

LOS ANGELES (TheWrap.com) – Oscar-winning visual effects company Rhythm & Hues Studios will seek Chapter 11 bankruptcy protection, according to an individual with knowledge of the situation.

A deal for Indian-based Prime Focus to buy the Oscar-winning visual effects studio collapsed, forcing the company to file, the individual said.

The news comes as Rhythm & Hues is being honored for its artistry. The company is nominated for two Oscars for its effects work on “Snow White & The Huntsman” and “Life of Pi,” and won a British Academy of Film and Television Arts award last weekend for its contributions to the latter film.

Representatives for Rhythm & Hues and Prime Focus did not immediately respond to requests for comment.

There are still several suitors interested in buying Rhythm & Hues after it emerges from bankruptcy, the individual said.

Rhythm & Hues had hoped to avoid bankruptcy and had secured a $ 20 million bridge loan from three studios to keep it afloat until its sale to Prime Focus could be completed. The money would have been used to keep Rhythm & Hues running through April so it could finish its work on several major projects, including “The Hunger Games: Catching Fire,” “R.I.P.D.” and “Percy Jackson & the Sea of Monsters.” It is not certain how the loan will be affected.

Under that pact, Universal, Twentieth Century Fox and Warner Bros. planned to step in to float cash to the company, according to a different individual with knowledge of the deal. Though the studios were poised to lend the money, at least one of the them believed that it would be wiser for Rhythm & Hues to go through the bankruptcy process, the individual said.

Rhythm & Hues boasts more than 1,400 employees and has branches in India, Malaysia, Taiwan and Canada. It is headquartered in Los Angeles.

VFX Soldier, an effects industry blog that broke the news of the filing, reported that Rhythm & Hues has told employees that payroll is delayed.

Rhythm & Hues’ difficulties became grave after a major project canceled work with the company last year. The visual effects industry is a low-margin one, insiders tell TheWrap. It is also a business that has been hard-hit by runaway productions that have been lured away by lucrative film tax incentives offered by foreign and state governments.

Several effects shops have succumbed to financial difficulties in recent years, including Digital Domain, which filed for bankruptcy and was acquired by Galloping Horse America and Reliance Mediaworks last September.

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Day-Lewis as Lincoln set for home triumph at top UK film awards

LONDON (Reuters) – Home fans will be hoping for British success at the BAFTAs on Sunday with Daniel Day-Lewis the strong favorite to win best actor for the title role in “Lincoln” and local box office hits “Les Miserables” and “Skyfall” up for a shelf-full of prizes.

U.S. hopes at Britain’s top film awards ceremony will be resting on “Argo”, Ben Affleck‘s drama about the rescue of American hostages from Iran in 1979, which eclipsed Steven Spielberg’s “Lincoln” at several major Hollywood award nights.

“Argo” has seven BAFTA nominations including for best film. The other contenders for the top honor are “Lincoln“, “Les Miserables”, “Life of Pi” and “Zero Dark Thirty“.

Top of the nominations table with 10 entries is the biopic of President Abraham Lincoln but a sweep of statuettes may not be a foregone conclusion after disappointing performances at the Golden Globes and elsewhere.

However, Day-Lewis seems a safe bet for the leading actor gong, with odds of 1/25 offered by gambling firm William Hill.

The elusive Briton, hailed last year as “the world’s greatest actor” by Time magazine, has already won a string of U.S. awards for his performance as Lincoln and he is nominated for what would be his third best actor Oscar for the role.

In the best film category the odds suggested “Argo” was in pole position with odds of 1/4, ahead of “Lincoln” on 9/2.

Ang Lee’s “Life of Pi”, about a man and a tiger lost at sea, has nine BAFTA nominations including best director for the eclectic Taiwanese veteran.

“Les Miserables”, the film version of a global hit stage musical, also has nine BAFTA nominations including best supporting actress for Anne Hathaway.

BOND

The latest James Bond movie, “Skyfall”, is nominated in eight categories but despite becoming the most successful film in British box office history did not make the shortlist for best film or director. That was the latest in a long string of awards disappointments for Bond fans over the decades.

William Hill predicted “Skyfall” would lose out to “Les Miserables” in the outstanding British film category.

“Anna Karenina”, an experimental British adaptation of Leo Tolstoy’s classic novel, is up for six BAFTAs.

Quentin Tarantino’s slavery-era Western “Django Unchained” and Kathryn Bigelow’s “Zero Dark Thirty”, a thriller about the hunt for Osama bin Laden, have five nominations apiece.

Tarantino and Bigelow, both heavy hitters among U.S. filmmakers, are both up for the best director award.

They will be up against Austria’s Michael Haneke, nominated for “Amour”, about an elderly couple struggling to cope with the aftermath of a stroke. The French-language film has four nominations, an unusually high number for a film not in English.

French actress Emanuelle Riva, 85, is nominated for the leading actress BAFTA for her role in “Amour”. Her rivals for the award are Helen Mirren in “Hitchcock”, Jennifer Lawrence in “Silver Linings Playbook”, Jessica Chastain in “Zero Dark Thirty” and Marion Cotillard in “Rust and Bone”.

The contenders for best actor are Day-Lewis, Affleck in “Argo”, Bradley Cooper in “Silver Linings Playbook”, Hugh Jackman in “Les Miserables” and Joaquin Phoenix in “The Master”.

Versatile British director Alan Parker, whose body of work ranges from child musical gangster film “Bugsy Malone” to Turkish-set prison thriller “Midnight Express” and civil rights drama “Mississippi Burning”, will receive a BAFTA fellowship.

The BAFTAs ceremony is scheduled to start at 1900 GMT at the Royal Opera House in the Covent Garden area of London.

(Editing by Stephen Powell)

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Stars salute MusiCares honoree Bruce Springsteen

LOS ANGELES (AP) — Be it concert or charity auction, Bruce Springsteen can bring any event to a crescendo.

Springsteen briefly took over auctioneering duties before being honored as MusiCares person of the year Friday night, exhorting the crowd to bid on a signed Fender electric guitar by amping up the deal. The 63-year-old rock ‘n’ roll star moved the bid north from $ 60,000 by offering a series of sweeteners.

“That’s right, a one-hour guitar lesson with me,” Springsteen shouted. “And a ride in my Harley Davidson sidecar. So dig in, one-percenters.”

That moved the needle past $ 150,000. He added eight concert tickets and backstage passes with a bonus tour conducted by Springsteen himself. That pushed it to $ 200,000, but he wasn’t done.

“And a lasagna made by my mother!” he shouted as an in-house camera at the Los Angeles Convention Center cut to his 87-year-old mother Adele Ann Springsteen.

And with an extra $ 250,000 in the musicians charity’s coffers, Springsteen sat down and spent most of the evening in the unusual role of spectator as a string of stars that included Elton John, Neil Young, Sting, Kenny Chesney, John Legend, Faith Hill and Tim McGraw, Patti Smith, Jackson Browne took the stage two nights before the Grammy Awards.

“Here’s a little secret about Bruce Springsteen: He loves this,” host Jon Stewart joked. “There’s nothing he’d rather do than come to Los Angeles, put on a suit … and then have people talking about him like he’s dead.”

Alabama Shakes kicked things off with “Adam Raised A Cain” and over the course of the evening there were several interesting takes on Springsteen‘s voluminous 40-year catalog of hits. Natalie Manes, Ben Harper and Charlie Musselwhite played a stripped down “Atlantic City.” Mavis Staples and Zac Brown put a gospel spin on “My City of Ruins.” John added a funky backbeat to “Streets of Philadelphia.” Kenny Chesney offered an acoustic version of “One Step Up.”

Jim James and Tom Morello burned through a scorching version of “The Ghost of Tom Joad” that brought the crowd out of their seats as Morello finished the song with a fiery guitar solo. And Mumford & Sons took it the opposite way, playing a quiet, acoustic version of “I’m On Fire” in the round that had the crowd leaning in.

Legend offered a somber piano version of “Dancing in the Dark” and Young shut down the pre-Springsteen portion of the evening with a “Born in the USA” that included two sign-language interpreters dressed as cheerleaders signing along to the lyrics.

“John Legend made me sound like Gershwin,” Springsteen said. “I love that. Neil Young made me sound like the Sex Pistols. I love that. What an evening.”

Springsteen spoke of the “miracle of music,” the importance of musicians in human culture and making sure everyone is cared for. And he joked that he somehow ended up being honored by MusiCares, a charity that offers financial assistance to musicians in need run by The Recording Academy, after his manager called up Grammys producer Ken Ehrlich to seek a performance slot on the show in a “mercenary publicity move.”

In the end, though, he was moved by the evening.

“It’s kind of a freaky experience, the whole thing,” Springsteen said. “This is the huge Italian wedding Patti (Scialfa) and I never had. It’s a huge Bar Mitzvah. I owe each and every one of you. You made me feel like the person of the year. Now give me that damn guitar.”

He asked the several thousand attendees to move toward the stage — “Come on, it’s only rock ‘n’ roll” — and kicked off his five-song set with his Grammy nominated song “We Take Care Of Our Own.” At the end of the night he brought everyone on stage for “Glory Days.”

___

Online:

http://grammy.com

___

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Unsigned singer tops MTV poll as artists call tunes

LONDON (Reuters) – Singer-songwriter Ebony Day has been named MTV‘s act to watch in 2013 before even signing a record deal, underlining how up-and-coming artists are increasingly using the internet and social networking sites to build a significant fan base.

Inspired by the viral success of Canadian teen sensation Justin Bieber, the 19-year-old Briton posted a series of online videos performing cover versions, and quickly amassed a sizeable following – 18 million views on her YouTube channel and 156,000 subscribers to date.

She mobilized that support to vote for her in MTV’s annual Brand New poll, topped in the past by Conor Maynard and Bieber.

The 92,000 votes were enough to put her ahead of several signed nominees, including Gabrielle Aplin, who already has a number one British single to her name, and Haim, the LA sister act widely tipped for the top this year and beyond.

“I think it shows that to get a fan base before you make it is really important,” Day said in a telephone interview.

“That’s been something I’ve been focusing on for three years. What the fans have done is to show how things are changing, and it is not just the record labels picking artists, but the actual public.”

The ability of musicians to reach an audience long before stepping into a recording studio or on to the stage is changing the way artists and labels interact, giving singers greater say and reducing some of the risks for music companies.

Wannabe stars like Day still gravitate towards labels, believing they can only go so far on their own no matter how large their fan base.

“For me at the minute, I have got the fan base and got probably enough to do a little tour and things like that.

“Now I need backing, mostly in terms of money, because I’m a student and have no funds to make merchandise and go on tour and make an album,” she said.

LEVEL PLAYING FIELD

Day could resort to making music from fan contributions via websites like Pledgemusic.com, but said she did not feel comfortable asking her supporters for money.

Yet having built up a following, she will have a greater say over the terms of any deal, which today frequently covers revenue streams outside record sales such as live performances, commercial use of songs, merchandising and branding.

“I think that does happen and is happening with me,” she explained. “I think now I’ve got such a backing it does make it more difficult (for the labels) because they know I’ll probably want a better deal.”

For record companies – three “majors” Sony, Vivendi’s Universal and Warner Music Group plus hundreds of others from “mini-majors” to household outfits – there can be advantages.

They do not have to build a fan base from scratch and are less likely to pay out large and risky sign-on fees, which went out of fashion a decade or so ago as revenues from music sales began to plummet.

Labels blame rampant online piracy for their woes – global recorded music sales fell from a peak of $ 28.6 billion in 1999 to $ 16.6 billion in 2011 – but there is cautious optimism that digital music revenue could return the business to growth soon.

This willingness to engage the digital revolution rather than fight it has changed the way companies unearth new talent.

A&R (artists and repertoire) managers spend more time now trawling the internet than they do traipsing from pub to club to see bands live, although most still want to see an act performing before taking the plunge.

Music managers see both upsides and downsides to the shifting models.

Nigel Templeman of Trust Management, who co-manages bands including Dexysm and Howler, believes music risks becoming a secondary consideration for A&R scouts.

“Bands are being signed if there is the necessary market research being done such as YouTube views, Twitter followers and all of that,” he told Reuters.

“The idea that bands are being signed just on the merit of the material is not the truth anymore.”

But he also argued that bands had begun to understand it was not about making a killing overnight.

“If you are going to be a musician these days, you’ve got to look at it in a different way to how you did even five years ago,” he said. “It’s about having ambition, but also about being realistic. It’s a career choice versus getting rich quick.”

“DON’T GIVE IT AWAY”

Matt Wilkinson, New Bands Editor at music magazine NME, warned up-and-coming acts to resist the temptation to give too much music away for free to earn fans and industry attention.

“I think that is the model now, undoubtedly, but I can’t say I think it’s a particularly positive thing. It makes things more difficult for record labels and the bands themselves.

“It’s quite disheartening to find a really good band and six of their songs are already out there online,” he told Reuters.

“It’s sort of giving themselves away. My advice is keep stuff back. Your fans don’t need to hear all of your material. Record labels do.”

Day, who has played covers rather than her own music, has avoided that particular pitfall.

Her music “career” started three years ago when she learned to play the guitar during a long absence from school caused by allergies which were undiagnosed at the time.

Initially she was nervous about posting videos of herself singing, but took inspiration from Canadian chart topper Bieber, an early viral sensation who was picked up by a talent agent in 2008 on the strength of his YouTube postings.

“I saw his (Bieber’s) videos right from the start when he was at home, without much money,” said Day. “He’s gone from an unknown person over the years to worldwide fame. I wanted that too.”

Day is studying at the Academy of Contemporary Music in Guildford, southern England, but aims to build her pop career in 2013.

“In the next year I would like to release my own music, because I’ve only been doing covers and want people to see what my music is like.”

She expects to release a debut single in April, and, depending on its reception there will be an EP and a British tour to follow.

For fans, being part of an online community can be appealing, be it Lady Gaga’s “little monsters”, Bieber’s “Beliebers” – both of which number more than 33 million on Twitter – or the more modest 44,000-odd “Ebonerds”.

(Reporting by Mike Collett-White)

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Chris Pratt nabs lead in “Guardians of the Galaxy”

LOS ANGELES (TheWrap.com) – Chris Pratt has scored one of the lead roles in Marvel Studios‘ “Guardians of the Galaxy.”

The “Parks & Recreation” actor will play Star-Lord, the leader of a group of intergalactic heroes, an individual with knowledge of the deal told TheWrap. Marvel and parent company Disney hope that “Guardians” can be a comic book franchise to rival the $ 1.5 billion grossing “The Avengers.”

James Gunn (“Slither”) is directing the film, which is scheduled to be released on August 1, 2014. In addition to heading the team, Star-Lord is a master strategist who wears a suit that give him superhuman strength. Together with a team that includes a raccoon, who is an expert marksman, and an oversized bramble who controls trees, the Guardians teleport around the cosmos preventing disasters.

The role might have seemed a stretch for Pratt, who was best known for his work on as a doughy shoeshine stand operator on NBC’s “Parks & Recreation,” but the actor has made a point of showing off his dramatic skills in films like “Moneyball” (2011).

He also showed he has the ability to bulk up, transforming himself physically to play a Navy SEAL in “Zero Dark Thirty” last year. While making the promotional rounds for the film, Pratt shared a photo of himself in underwear that highlighted his newly toned body and, in retrospect, could have served as an audition shot for the team at Marvel.

Pratt is represented by CAA.

Deadline first reported news of his casting.

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‘Warm Bodies’ tops box office with $20.4 million

NEW YORK (AP) — The zombie romantic-comedy “Warm Bodies” topped the box office with a debut of $ 20.4 million.

The film for Lionsgate‘s Summit Entertainment proved a solid draw particularly for female teenagers on a weekend that Hollywood largely punts to football. The moviegoing business slows down considerably on Super Bowl Sunday.

The top 20 movies at U.S. and Canadian theaters Friday through Sunday, followed by distribution studio, gross, number of theater locations, average receipts per location, total gross and number of weeks in release, as compiled Monday by Hollywood.com are:

1. “Warm Bodies,” Lionsgate, $ 20,353,967, 3,009 locations, $ 6,764 average, $ 20,353,967, one week.

2. “Hansel and Gretel: Witch Hunters,” Paramount, $ 9,423,274, 3,375 locations, $ 2,792 average, $ 34,676,068, two weeks.

3. “Silver Linings Playbook,” Weinstein Co., $ 7,738,058, 2,809 locations, $ 2,755 average, $ 80,002,616, 12 weeks.

4. “Mama,” Universal, $ 6,590,970, 2,781 locations, $ 2,370 average, $ 58,123,070, three weeks.

5. “Zero Dark Thirty,” Sony, $ 5,176,428, 2,871 locations, $ 1,803 average, $ 77,673,978, seven weeks.

6. “Bullet to the Head,” Warner Bros., $ 4,548,201, 2,404 locations, $ 1,892 average, $ 4,548,201, one week.

7. “Parker,” FilmDistrict, $ 3,202,415, 2,238 locations, $ 1,431 average, $ 12,527,297, two weeks.

8. “Django Unchained,” Weinstein Co., $ 3,002,769, 1,777 locations, $ 1,690 average, $ 150,942,958, six weeks.

9. “Les Miserables,” Universal, $ 2,420,885, 1,848 locations, $ 1,310 average, $ 141,504,130, six weeks.

10. “Lincoln,” Disney, $ 2,402,224, 1,756 locations, $ 1,368 average, $ 170,776,742, 13 weeks.

11. “Argo,” Warner Bros., $ 2,029,324, 935 locations, $ 2,170 average, $ 120,372,139, 17 weeks.

12. “The Hobbit: An Unexpected Journey,” $ 1,901,164, 1,300 locations, $ 1,462 average, $ 296,193,684, eight weeks.

13. “Life of Pi,” Fox, $ 1,872,632, 902 locations,$ 2,076 average, $ 106,106,363, 11 weeks.

14. “Gangster Squad,” Warner Bros., $ 1,843,089, 1,625 locations, $ 1,134 average, $ 43,092,147, four weeks.

15. “Movie 43,” Relativity Media, $ 1,641,849, 2,023 locations, $ 812 average, $ 7,700,123, two weeks.

16. “A Haunted House,” Open Road Films, $ 1,522,116, 1,501 locations, $ 1,014 average, $ 37,756,019, four weeks.

17. “Stand Up Guys,” Lionsgate, $ 1,486,390, 659 locations, $ 2,256 average, $ 1,486,390, one week.

18. “Broken City,” Fox, $ 1,461,321, 1,786 locations, $ 818 average, $ 18,135,411, three weeks.

19. “Parental Guidance,” Fox, $ 1,450,000, 1,480 locations, $ 980 average, $ 72,900,590, six weeks.

20. “The Impossible,” Summit Entertainment, $ 1,305,464, 765 locations, $ 1,706 average, $ 15,214,095, seven weeks.

___

Universal and Focus are owned by NBC Universal, a unit of Comcast Corp.; Sony, Columbia, Sony Screen Gems and Sony Pictures Classics are units of Sony Corp.; Paramount is owned by Viacom Inc.; Disney, Pixar and Marvel are owned by The Walt Disney Co.; Miramax is owned by Filmyard Holdings LLC; 20th Century Fox and Fox Searchlight are owned by News Corp.; Warner Bros. and New Line are units of Time Warner Inc.; MGM is owned by a group of former creditors including Highland Capital, Anchorage Advisors and Carl Icahn; Lionsgate is owned by Lions Gate Entertainment Corp.; IFC is owned by AMC Networks Inc.; Rogue is owned by Relativity Media LLC.

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Ex-Israeli security chiefs speak out in Oscar documentary nominee

NEW YORK (Reuters) – The Oscar-nominated documentary “The Gatekeepers” focuses on Israel, but its director says that all countries can gain insight about the risks that arise if secretive security agencies operate without adequate restraints.

In “The Gatekeepers,” six former heads of Israeli internal security and intelligence agency Shin Bet reflect on their failures and successes in gathering information on state enemies, orchestrating secret operations and tracking militants. They also offer some unexpected perspectives on the Israeli-Palestinian conflict.

“I found myself more attracted to those who doubt, those who ask themselves questions,” director Dror Moreh told Reuters. “I am always afraid of people who don’t have questions, who don’t doubt.”

The English- and Hebrew-language film opened in New York and Los Angeles on Friday, and premieres in the UK in April, following a brief run at the end of 2012 that qualified it for its Oscar nomination for best documentary feature.

The film will compete at the February 24 Oscar ceremony with “5 Broken Cameras,” a view of the Middle East conflict seen through Palestinian eyes, AIDS documentary “How to Survive a Plague,” military rape film “The Invisible War,” and “Searching for Sugar Man” about a U.S. folk singer who becomes a South African pop icon.

Beginning with Avraham Shalom, who oversaw the Shin Bet from 1980 to 1986, “The Gatekeepers” covers the period through Yuval Diskin, whose tenure ended in 2011.

The former security chiefs discuss events such as the agency-ordered killing of two Palestinian bus hijackers, a plot by Jewish extremists to blow up the Dome of the Rock shrine in Jerusalem, the 1995 assassination of Prime Minister Yitzhak Rabin, and the role the agency plays in the Israeli-Palestinian conflict.

DEFINING TORTURE

Always present is a struggle to balance security with ethics and politics, and several of the men discuss the scandals the agency faced over the use of what Shin Bet terms “exceptional practices” in interrogations.

Moreh draws parallels between Israel’s debates about ethical security practices and the United States’ struggle to define torture and regulate its own practices in its war on terrorism.

“I think at the end of the day any organization that has so much power like those clandestine organizations – Shin Bet, CIA, FBI, Mossad – has to have the law above it giving guidelines,” he said.

“When there was no oversight of the judicial system on those organizations, they acted as if there was no law, in terms of interrogating people, torturing, killing.”

He blames what he calls murky or non-existent regulations for practices that have sparked public anger worldwide, from the use of waterboarding to the abuse of prisoners by American soldiers at Iraq’s Abu Ghraib prison.

“They were stupid Americans who the system gave absolute power over other human beings,” Moreh said. “They weren’t trained to deal with that, they weren’t trained in interrogating, and this is what led to what happened in Abu Ghraib.”

The former security chiefs’ reflections are a mixture of affirmation and regret, but all six agree that the only way for their country to achieve peace is to work with Palestinians instead of against them.

They criticize Israeli politicians for turning a blind eye to settlements in occupied Palestinian territory, and for sometimes dealing lightly with Jewish extremists.

Ami Ayalon, who headed Shin Bet from 1996 to 2000, summed up their collective thoughts, saying, “We win every battle, but lose the war.”

Moreh believes that solving the Israeli-Palestinian conflict is the most important issue facing Israel and hopes U.S. President Barack Obama will take a more active role in diplomatic efforts in his second term.

“I think this is like two kindergarten children – the Palestinians and the Israelis – who need the kindergarten caretaker to help them,” he said. “They need a grown-up to tell them, ‘Enough! Israel, Palestine, this is what you need to do, do it.’”

(Editing by Jill Serjeant and Peter Cooney)

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Affleck wins directors award as ‘Argo’ hurtles to Oscars

LOS ANGELES (Reuters) – Actor-turned-filmmaker Ben Affleck won the top honor from his peers at the Directors Guild of America on Saturday for the movie “Argo“, cementing the Iran hostage drama’s frontrunner status for the Oscars.

The Hollywood directors‘ recognition for Affleck, however, is an awkward result for the Academy of Motion Pictures Arts and Sciences, which failed to nominate him for Best Director in what is considered one of the biggest snubs of this year’s Oscars.

Since 1948, there have been only six occasions when the Directors Guild of America (DGA) winner has not gone on to win the Oscar for Best Director.

“I have nothing but respect for the Academy,” Affleck said after collecting his first DGA award. The Hollywood star, a producer of “Argo”, said he was thrilled the film was nominated for the Oscars’ Best Picture award.

“You are not entitled to win anything,” he said.

“Argo” has picked up the three top awards from the industry’s guilds, whose members are also often members of the Academy.

Last weekend, the film was the victor at both the Producers Guild and the Screen Actors Guild awards, leaving Steven Spielberg‘s Civil War-era epic “Lincoln” in its wake.

Affleck also won Best Director at the Golden Globes while “Argo” won Best Drama. The Oscars will be held on February 24.

On Saturday, Affleck bested four directors who had all previously won the top DGA honor and gone on to win the Best Director Oscar.

It has been a particularly tough awards season for Spielberg, nominated by the DGA for the 11th time with “Lincoln” and a two-time winner for “Schindler’s List” in 1994 and “Saving Private Ryan” in 1999.

“What an incredible year for movies,” said Spielberg. “Maybe I’ve had moments when I wished it wasn’t such an incredible year.”

Affleck also beat out Kathryn Bigelow, nominated for Osama bin Laden-manhunt thriller “Zero Dark Thirty,” Ang Lee for his 3D adaptation of the bestselling novel “Life of Pi”, and Tom Hooper, for his screen adaptation of the hit musical “Les Miserables”.

In “Argo”, which is based on a real account, Affleck also plays the lead role of a CIA agent entrusted with extracting six Americans from revolutionary Iran after the U.S. embassy is stormed. The agent, with help from Hollywood, creates a fake film and makes the Americans part of the crew.

“There was a point in my life where I was really down and really confused … didn’t know what was going to happen and I thought ‘I could be a director’,” Affleck told the high-powered Hollywood crowd on Saturday.

“I don’t believe this makes me a real director, but I think I am on my way,” he said.

Another young director also collected a top award on Saturday – Lena Dunham for Best Comedy Series for “Girls”, the HBO show about four girls in Brooklyn and their travails over sex, work and making it in the big city.

“This is surreal, which I know is an over-used Los Angeles word,” said Dunham, who often appears in the show she created wearing little or no clothes.

(Editing by Pravin Char)

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Why is Beckham sitting on the bench for nothing?

PARIS (AP) — David Beckham has won league championships in three countries on two continents, earns millions of dollars in endorsements and his name is practically synonymous with celebrity itself. He has his own cologne, for goodness sake. So why is he even bothering to sit on the bench for the Paris Saint-Germain football club?

His royal highness of football doesn’t need the money — and he’s said he’ll donate his PSG salary to charity — but he does need to start thinking about life after the game. At 37, Beckham is practically a dinosaur for the sport, and he acknowledged in his welcoming press conference on Thursday that he probably won’t be in the team’s starting lineup.

Instead, Beckham may be beginning to put in place a plan for life after the final whistle. Ellis Cashmore, a sociologist who writes about sports and media culture at Staffordshire University, said that prolonged exposure is always useful to celebrities building empires. In that way, the deal with PSG does double work: It keeps his name in lights for longer and also garners extra attention for the charitable contribution.

“When he does stop playing, which is going to be quite soon, his overall brand appeal will inevitably decline because we will inevitably forget about this guy,” he said. “I think he’s probably thinking, I want to stay in the shop window for a bit longer.”

But Cashmore also cautioned against being too cynical in assessing Beckham’s motives: “The guy is an athlete. He wants to do what he loves to do.”

Bruno Satin, an independent players’ agent who was with IMG for a decade, also said that the move to PSG — even if it’s to sit on the bench — is a step up for Beckham.

“For him, to be on the PSG team, it’s a higher level than being on the Los Angeles Galaxy,” he said. “For the world of football, for real football, the Los Angeles Galaxy is nothing on the map of football.”

Some wondered if Beckham was trying to avoid the notoriously sticky fingers of the French state with his plans to donate his salary.

But Sandra Hodzic, a tax lawyer with Salans, said the deduction an individual can take on such contributions is limited. Instead, it would be smarter for PSG to directly donate the salary — and take a big tax break in the process.

Doing so would have an added benefit for the club: UEFA, the governing body for European football, mandate that clubs break even. The donation could allow PSG to essentially write off Beckham’s entire salary — a huge help for a team notorious for mega-contracts.

Beckham, meanwhile, would be better off trying to avoid becoming a French tax resident at all. So far, Hodzic said, he is making all the right moves: His family is staying in London, he plans to live only part-time in the country for less than six months, and his primary source of income —whether or not he donates his salary — isn’t being earned in France.

Beckham’s agent did not return calls for comment on specifics of the contract.

Still, the charitable contribution has raised the question about what Beckham is getting out of the deal. For one, he likely is still getting a cut of rights to his image. Jerseys with his name on them were already selling out at the PSG store on the Champs-Elysees on Friday.

Cashmore, who wrote a book called “Beckham,” calls him a “marketing phenomenon” and estimates that about 70 percent of Beckham’s income comes from endorsement deals — with Adidas, for instance. That makes salary almost irrelevant — especially for a man estimated by the Sunday Times Rich List to be worth 160 million pounds ($ 253 million).

But the football feeds the endorsements, Cashmore says.

“It makes an awful lot of business sense to perpetuate, to prolong his active competitive football career,” he said, especially with a team that’s doing fairly well this year. “It makes an awful lot of sense for him to showcase himself because it will generate more income from his various other sponsorship and licensing activities.”

But certainly this move, as any at this late-stage in his playing career, is being made with an eye on what will come next. Cashmore said that when Beckham signed with the L.A. Galaxy, there was an understanding that he would eventually become an ambassador for American soccer. That plan clearly fell by the wayside — perhaps because Major League Soccer decided it was just too expensive to keep on the star after his presence on American soil failed to generate more interest in the game.

It’s possible, Cashmore said, that Beckham is looking for a similar deal after his stint at PSG, which is Qatari owned. The tiny, wealthy nation is hosting the World Cup in 2022, and Beckham’s contract with PSG will establish a relationship with it; from there, a role as, say, an ambassador for the tournament would seem more natural.

“For his after-career conversion, it’s important to have links with major actors in the world of sports,” said Satin. And Qatar is certainly one. It has poured money into PSG, drawing major names like striker Zlatan Ibrahimovic. It also funds the satellite network Al Jazeera, which could provide Beckham with a platform. And then there’s the World Cup.

In the end, though, Satin said the clue to Beckham’s thinking may be as simple as the eternal draw of Paris.

“PSG has become a glamorous club, a pretty nice club in a beautiful city,” said Bruno Satin, an agent. “It’s just two hours on the Eurostar (train) from London.”

____

AP Sports Writer Rob Harris contributed to this report from London.

____

Follow Sarah DiLorenzo at http://www.twitter.com/sdilorenzo

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Singer Randy Travis pleads guilty to DWI, gets probation

DALLAS (Reuters) – Grammy Award-winning country singer Randy Travis on Thursday pleaded guilty to driving while intoxicated and was sentenced to two years probation for an incident in which Texas State Troopers found him lying naked near his crashed car.

Travis, 53, was ordered to serve at least 30 days at an in-patient alcohol treatment facility and was not charged for threatening the troopers who arrested him August 7 in Tioga, Texas, about 60 miles north of Dallas.

Travis’ blood alcohol level was more than double the legal limit in Texas when he was arrested, authorities said.

The guilty plea to a Class A misdemeanor in Grayson County Court ends legal troubles Travis faced in connection with several incidents last year, his attorney Larry Friedman said.

“He is ready to put all this behind him and focus on his music and his fans,” Friedman said. “He expects a trouble-free 2013.”

Travis was also fined $ 2,000 and sentenced to 100 hours of community service. Travis will have to serve six months in jail if he fails to complete the probation terms.

Grayson County District Attorney Joe Brown called the sentence “appropriate” given Travis’ level of intoxication and behavior during his arrest.

“We are all hopeful that Mr. Travis is on the road to recovery,” Brown said in a statement.

In January, Travis pleaded no contest in a case in which police said he assaulted a man on August 23 in a church parking lot while trying to intervene in a disagreement between a woman, who is now his fiancée, and her estranged husband.

Travis is serving 90 days of deferred adjudication in that case, which means the charges could be dismissed if he successfully completes the requirements, Friedman said.

The singer filed a lawsuit recently in a Collin County District Court against the man he was charged with assaulting, claiming the altercation was an attempt to injure and embarrass him.

Travis, known for such hits as “Forever and Ever, Amen,” was cited in February 2012 for public intoxication and paid a fine, Friedman said.

(Editing by David Bailey and Stacey Joyce)

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Patty Andrews of Andrews Sisters rallied troops

LOS ANGELES (AP) — Patty Andrews never served in the military, but she and her singing sisters certainly supported the troops.

During World War II, they hawked war bonds, entertained soldiers overseas and boosted morale on the home-front with tunes like “Boogie Woogie Bugle Boy of Company B” and “I Can Dream, Can’t I?”

Andrews, the last surviving member of the singing Andrews Sisters trio, died Wednesday at 94 of natural causes at her home in the Los Angeles suburb of Northridge, said family spokesman Alan Eichler in a statement.

“When I was a kid, I only had two records and one of them was the Andrews Sisters. They were remarkable. Their sound, so pure,” said Bette Midler, who had a hit cover of “Bugle Boy” in 1973. “Everything they did for our nation was more than we could have asked for. This is the last of the trio, and I hope the trumpets ushering (Patty) into heaven with her sisters are playing ‘Boogie Woogie Bugle Boy.’”

Patty was the Andrews in the middle, the lead singer and chief clown, whose raucous jitterbugging delighted American servicemen abroad and audiences at home.

She could also deliver sentimental ballads like “I’ll Be with You in Apple Blossom Time” with a sincerity that caused hardened GIs far from home to weep.

From the late 1930s through the 1940s, the Andrews Sisters produced one hit record after another, beginning with “Bei Mir Bist Du Schoen” in 1937 and continuing with “Beat Me Daddy, Eight to the Bar,” ”Rum and Coca-Cola” and more. They recorded more than 400 songs and sold over 80 million records.

Other sisters, notably the Boswells, had become famous as singing acts, but mostly they huddled before a microphone in close harmony. The Andrews Sisters — LaVerne, Maxene and Patty — added a new dimension. During breaks in their singing, they cavorted about the stage in rhythm to the music.

Their voices combined with perfect synergy. As Patty remarked in 1971: “There were just three girls in the family. LaVerne had a very low voice. Maxene’s was kind of high, and I was between. It was like God had given us voices to fit our parts.”

Kathy Daris of the singing Lennon Sisters recalled on Facebook late Wednesday that the Andrews Sisters “were the first singing sister act that we tried to copy. We loved their rendition of songs, their high spirit, their fabulous harmony.”

The Andrews Sisters‘ rise coincided with the advent of swing music, and their style fit perfectly into the new craze. They aimed at reproducing the sound of three harmonizing trumpets.

Unlike other singing acts, the sisters recorded with popular bands of the ’40s, fitting neatly into the styles of Benny Goodman, Glenn Miller, Jimmy Dorsey, Bob Crosby, Woody Herman, Guy Lombardo, Desi Arnaz and Russ Morgan. They sang dozens of songs on records with Bing Crosby, including the million-seller “Don’t Fence Me In.” They also recorded with Dick Haymes, Carmen Miranda, Danny Kaye, Al Jolson, Jimmy Durante and Red Foley.

The Andrews’ popularity led to a contract with Universal Pictures, where they made a dozen low-budget musical comedies between 1940 and 1944. In 1947, they appeared in “The Road to Rio” with Bing Crosby, Bob Hope and Dorothy Lamour.

The trio continued until LaVerne’s death in 1967. By that time the close harmony had turned to discord, and the sisters had been openly feuding.

Midler’s cover of “Bugle Boy” revived interest in the trio. The two survivors joined in 1974 for a Broadway show, “Over Here!” It ran for more than a year, but disputes with the producers led to the cancellation of the national tour of the show, and the sisters did not perform together again.

Patty continued on her own, finding success in Las Vegas and on TV variety shows. Her sister also toured solo until her death in 1995.

Her father, Peter Andrews, was a Greek immigrant who anglicized his name of Andreus when he arrived in America; his wife, Olga, was a Norwegian with a love of music. LaVerne was born in 1911, Maxine (later Maxene) in 1916, Patricia (later Patty, sometimes Patti) in 1918.

All three sisters were born and raised in the Minneapolis area.

Listening to the Boswell Sisters on radio, LaVerne played the piano and taught her sisters to sing in harmony; neither Maxene nor Patty ever learned to read music. All three studied singers at the vaudeville house near their father’s restaurant. As their skills developed, they moved from amateur shows to vaudeville and singing with bands.

After Peter Andrews moved the family to New York in 1937, his wife, Olga, sought singing dates for the girls. They were often turned down with comments such as: “They sing too loud and they move too much.” Olga persisted, and the sisters sang on radio with a hotel band at $ 15 a week. The broadcasts landed them a contract with Decca Records.

They recorded a few songs, and then came “Bei Mir Bist Du Schoen,” an old Yiddish song for which Sammy Cahn and Saul Kaplan wrote English lyrics. (The title means, “To Me You Are Beautiful.”) It was a smash hit, and the Andrews Sisters were launched into the bigtime.

In 1947, Patty married Martin Melcher, an agent who represented the sisters as well as Doris Day, then at the beginning of her film career. Patty divorced Melcher in 1949 and soon he became Day’s husband, manager and producer.

Patty married Walter Weschler, pianist for the sisters, in 1952. He became their manager and demanded more pay for himself and for Patty. The two other sisters rebelled, and their differences with Patty became public. Lawsuits were filed between the two camps.

Patty Andrews is survived by her foster daughter, Pam DuBois, a niece and several cousins. Weschler died in 2010.

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Actress Ashley Judd and race car driver Dario Franchitti split

LOS ANGELES (Reuters) – American actress Ashley Judd and her Scottish race car driver husband Dario Franchitti are ending their marriage after 11 years.

The movie star, 44, and the Indianapolis 500 race car driver, 39, married in 2001 and have no children.

“We have mutually decided to end our marriage. We’ll always be family and continue to cherish our relationship based on the special love, integrity and respect we have always enjoyed,” a representative for the couple told People magazine in a statement on Tuesday.

No reason was given for the split.

Judd, the daughter of country music star Naomi Judd, starred in movies like “Double Jeopardy” and “High Crimes.” In recent years she has turned her attention in recent years to humanitarian work with AIDS sufferers and young people.

Judd has been mentioned as a possible Democratic candidate for the U.S. Senate in 2014, although she has made no formal announcement. Media reports have said Judd, who represented Tennessee at the 2012 Democratic National Convention, might run for one of Kentucky’s seats in the Senate.

Franchitti is a three-time Indianapolis 500 champion, who has also competed in NASCAR and the American Le Mans series.

He and Judd married in Scotland in December 2001 after a two-year engagement.

(Reporting By Jill Serjeant; Editing by Stacey Joyce)

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Animal shelters are real winners of ‘Puppy Bowl’

LOS ANGELES (AP) — There will be a winner and a loser every Super Bowl Sunday. But at the “Puppy Bowl,” it’s always a win for animal shelters.

The show provides national exposure to the shelters across the country that provide the puppy athletes and the kittens that star in the halftime show, and introduces viewers to the different breeds and animals that need homes, animal workers say. Many shelters see bumps in visits from viewers who are inspired to adopt a pet.

“It raises awareness for our shelter and others that take part,” said Madeline Bernstein, president and CEO of the Society for the Prevention of Cruelty to Animals Los Angeles. “It shows dogs in a happy, playful, fun way, which makes people think, ‘Gee, I could play with a dog too.’ You hope it will also stimulate adoptions, and if not, at least a positive attitude toward dogs, rather than they are just hairy and smelly.”

The “Puppy Bowl,” an annual two-hour TV special that mimics a football game with canine players, made its debut eight years ago on The Animal Planet. Dogs score touchdowns on a 10-by-19-foot gridiron carpet when they cross the goal line with a toy. There is a Most Valuable Pup award, a water bowl cam, a new lipstick cam (it’s in the lips of the toys), slow-motion cameras, hedgehog referees, a puppy hot tub and a blimp with a crew of hamsters. Bios on each puppy player flash across the screen during close-ups of the action, letting viewers know how to find each animal for adoption.

Most of the puppies, however, are usually adopted by airtime since the show is filmed months ahead, said executive producer Melinda Toporoff, who is working on her fifth “Puppy Bowl.” But Bernstein said the point is to show that animals just like the ones on the show can be found at any shelter at any time.

“A lot of people have come in during the last year and said, ‘I want a dog just like Fumble,’” she said, referring to spcaLA’s player entry in “Puppy Bowl VIII” who earned the game’s Most Valuable Pup crown.

About 300 puppies and kittens have been featured on “Puppy Bowl” over the last decade, according to Petfinder.com, the country’s largest online pet adoption database that helps cast the show’s animal stars.

“Shelters and rescues are at capacity, and pet adoption is the responsible way to add to your family,” said Sara Kent, who oversees outreach to the 14,000 shelters and rescues that Petfinder works with.

The inaugural “Puppy Bowl,” which was promoted as an alternative to the Super Bowl, had 22 puppies and was watched by nearly 6 million viewers. Nearly 9 million tuned in last year and another 1.4 million watched via video streams, Toporoff said. “Puppy Bowl IX” will feature 84 animals, including 21 kittens from a New York shelter for the halftime show, and 63 puppies from 23 shelters.

Only four of the puppies have yet to find new homes, Toporoff said. They include Tyson, Daphne and Sacha — three pit bull mixes from the Pitter Patter Animal Rescue in Silver Lake, Wis., — and Jenny, a terrier mix from the Pitty Love Rescue in Rochester, N.Y.

“I don’t know if there’s any bigger forum for getting something out on adoption. We make sure the message gets out there. We make clear that these dogs need homes and that all animals have come to us during the adoption process,” Toporoff said.

Fumble, last year’s MVP winner, was adopted before the show aired. Michael Wright, of New York, said he found out about Fumble’s participation toward the end of the adoption process. He planned to watch this year’s show to catch any flashbacks of last year’s MVP playing his heart out.

“I’m not really a fan of football,” he said, adding that he has renamed Fumble to Toby. “He fits the name Toby. He is so cute. I like the name Fumble, but I pictured someone dropping the ball. He wasn’t a Fumble,” Wright said.

Each year, recruiting for the show is a logistical challenge for Kent and her crew of 80-plus. This year’s show was particularly worrisome because taping was scheduled for October 2012 — just after Superstorm Sandy hit the East Coast.

“We worried about the puppies, kittens and hedgehogs that may have been directly impacted or unable to travel due to Sandy,” Kent said.

The New York studio where the game was supposed to be taped lost power, but the taping couldn’t be postponed for too long given how quickly puppies grow. Another studio further uptown that had both power and space was found, and “amazingly, the crew was able to reschedule the shoot for only a week later and all the animals were still able to attend,” Kent said.

Bernstein said they try to find rambunctious, energetic puppies to enter in the bowl though even if a dog falls asleep on its way to the end zone, it can be funny. Puppies chosen for the show have to be between 10 and 15 weeks old, healthy and sturdy enough to be on the field with playmates. All breeds are considered because “we try to reflect what’s out there in the adoption world. A lot of those breeds are mixed,” Toporoff said.

Producers also were trying to find ways to incorporate older animals into the show, since shelters have more trouble finding homes for them than they do puppies and kittens, Toporoff said.

As with all reality TV shows, the behind-the-scenes casting can lead to problems. Viewers often come in seeking a dog just like one on the show, and “then the lawyer brain kicks in, and you have to make sure you let everybody know not every dog plays football,” said Bernstein, who is also an attorney. “People will adopt the kind of dog they see in the movie and they’ll expect their Dalmatian to know how to use a word processor and not understand that was a cartoon.”

“Some dogs like to play more than others. But don’t come in thinking every Chihuahua can play football,” she said.

The “Puppy Bowl” airs on Feb. 3 from 3 p.m. to 5 p.m. in all time zones and will keep repeating until 3 a.m. The Super Bowl starts at 6:30 p.m. ET and 3:30 p.m. PT.

___

Online:

http://animal.discovery.com/tv-shows/puppy-bowl

http://www.spcaLA.com

http://www.petfinder.com/petdetail/24414038 (Tyson)

http://www.petfinder.com/petdetail/24413997 (Daphne)

http://www.petfinder.com/petdetail/24413979 (Sacha)

http://www.petfinder.com/petdetail/24393351 (Jenny)

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