Just in time for St. Patrick’s Day, the Platinum-selling Irish vocal/instrumental group The High Kings have released their second amazing album. Titled “Memory Lane,” the new CD is only available as an import so far, but you can always purchase/download their self-titled first album as well. If you’re planning on celebrating St. Patrick’s Day with any authenticity, you are going to want to have the infectious High Kings river-dancing out of your speakers.

The High Kings feature modern takes on classic Irish ballads (a “ballad” in this case isn’t necessarily a slow song – it is a song that contains a complete story. Most Irish ballads are in English, and the musical form originally arrived in Ireland with Scottish settlers.) The High Kings sing these songs with passion and stun audiences with their versatility as multi-instrumentalists. They place equal emphasis on ballads and up-tempo, and excel in performing rhythms so intricate that they usually require a pint or two to even begin to decipher. You can see all of this live when they tour the U.S.A. this spring. So far, no dates have been announced, but they should be soon. If they don’t make it to a concert hall near you, the rousing High Kings TV special that was on PBS last year is also available on DVD.

The High Kings are: Darren Holden, Brian Dunphy, Martin Furey, and Finbarr Clancy (and yes, he’s from that famous Irish music family). All are incredibly talented volcalists and musicians. The group’s producer is David Downes, the former musical director of Riverdance and the creator of Celtic Woman. (Perhaps you’ve seen this feminine Irish import on PBS whenever it’s time for a pledge drive…) When such a talented group of artists comes together, you know the vocals will be awe-inspiring, but what comes as a pleasant surprise are the superb instrumentals that drive the album and set your feet tapping. The rapidity with which the group changes rhythm within a song, within a verse, within a phrase, within a stanza of music is nothing less than the most sophisticated, world-class musicianship. If there isn’t a classification of music known as “Irish Folk Jazz,” The High Kings threaten to invent the category.

Prominently featured is Darren Holden, who might be a familiar face to anyone who saw the Billy Joel Broadway musical “Movin’ Out.” In that show, he starred as The Pianoman, singing the entire evening of Billy Joel songs and playing amazing keyboards both on Broadway and on the national tour. Darren has a voice that pulls you in with a natural ease that sounds so good it convinces you that even you should sing along, and when the emotional heights in a song are called for – he hits notes that soar from someplace you’ve been long ago into someplace you’ve never been before. Darren makes you realize that superior vocals are in fact a God-given gift, and he is one of the chosen few who prove that. For just a taste of what Darren can do with a song, download “Galway to Graceland” and “Cavan Girl.”

For more information visit www.thehighkings.com.

Download these from The High Kings album “The High Kings”:
“Galway to Graceland”
“The Black Velvet Band”
“Marie’s Wedding”
“The Wild Rover (live)”

Download these from The High Kings album “Memory Lane”:
“Cavan Girl”
“Red Is The Rose”
“Leaving Of Liverpool”
“Raglan Road”
“As I Roved Out”

EDITOR’S NOTE: “Ceol binn agus ruille buille” translated from Gaelic means ‘Sweet music and good times’. Happy St. Patty’s Day!

Lindsey filed a suit against the company over a thirty-second commercial. In the ad, the E-Trade baby cheats on his frigid girlfriend with a ‘milk-a-holic’ toddler named Lindsey. LiLo is claiming that the company is trading on her name. Many celebrities are known by a single moniker (Madonna, Rihanna, Aristotle, to name a few) and they’re clearly trying to profit off of her fame!

Dear E-Trade, maybe you should have gone with a celeb a little less cash hungry. Honestly, when’s the last time you saw that chick do anything other than walk around LA and chain smoke? All right, I guess she’s in some Robert Rodriguez movie but let’s be realistic. She’ll never be able to scrape her way back to Mean Girls level.

I’m surprised she was able to retain a lawyer. Truth be told, I’m shocked she’s got enough for bus fare.

I don’t know how much legal ground Lohan has in this case. Then again, I’m not a lawyer. So maybe she’s got a decent case. However, after calling herself an alcoholic in her FunnyorDie.com E-Harmony parody, it seems unlikely she’ll win.

But good for her for trying! It takes a certain degree of desperation to sue for $100 million based on innuendo. Ballsy, Lohan. Very ballsy. Lohan is on the warpath and she’d probably sue this lowly, internet columnist if I’m not careful. Cigarettes, hair dye and shame don’t come cheap these days. This chick needs serious cash to keep up with her joneses.

First time filmmaker Kevin Gonzalez set out to shed light on the kind of story that is not told often enough, which is that about a war hero. Gonzalez wrote, Produced, and directed this film. He served a four-year enlistment in the U. S. Marine Corps, and then graduated from the University of Southern California.

Pappy Boyington Field focuses on the effort to rename the airfield in Coeur d’Alene, Idaho after the highly decorated World War II fighter pilot Gregory “Pappy” Boyington. Born in Coeur d’Alene, Pappy joined the ROTC at the University of Washington in 1930 and eventually graduated with a B.S. in aeronautical engineering. During World War II, he was shot down and spent twenty months in a Japanese prison camp (i.e. he was a “guest of the emperor”). He was awarded both the Medal of Honor as well as the Navy Cross.

The film chronicles the process of naming the airfield after Pappy and also gives us a lot of biographical information via stories of people who knew him. There are also appearances from former LAPD detective Mark Fuhrman, host of War Stories Oliver North, Pappy’s son Greg Boyington Jr., as well as Robert Conrad who played Pappy in the television series Baa, Baa Black Sheep.

We learn a lot about Pappy, the picture painted shows us both the good and not so good things about the man. The film reminds us that even larger than life war heroes are not without flaws. We are all human, but those like Pappy went above and beyond to fight for our freedom. The least we could do is memorialize them in some way.

Local politicians in Coeur d’Alene opposed the efforts to name the airfield after Pappy. Their reasons were absurd with excuses such as the fear of a “safety threat” following the renaming. Some people did not think that Pappy was a good role model and highlighted his history as a drinker and womanizer. No one denies his flaws, but that cannot take away the sacrifices he has made to our country in time of need. Renaming the airport only focuses on his tours of duty, not his personal life.

Eventually naming Pappy Boyington Field became a reality, and a ceremony was held in Pappy’s honor. Kevin Gonzalez’s film is a grassroots project to get the word out about Pappy’s story as well as the fight to get Pappy’s home town airfield named after him. It is a tribute to those who really care about supporting our troops and their legacy after they are gone.

While the story remains inspirational, we should also not forget the effort from those independent filmmakers outside of Hollywood who have the courage to take on such projects. Film’s like this set a good example that hopefully grows into a larger trend in filmmaking in the future.

For more information, please visit pappyboyingtonfield.com

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Author’s note: Director Kevin Gonzalez will be hosting a special screening event at 7:00pm on Thursday, March 25th, at The Flicks Theater in downtown Boise, Idaho.

Often, Burton tackles the issue of human oddity, not just physically, but emotionally.  His offbeat protagonists turn out to be sensitive, lonely creatures in need of a little love.  Occasionally, Burton goes mainstream with films like Planet of the Apes, Sleepy Hollow and Batman Returns.  His mainstream work is more consumer friendly, but still dark (some would say “edgy,” although that word is SO overused these days).  His protagonists have dark clouds hanging over them (not literally) and fight to save the town, the city or the planet.

Having been familiar with most of Burton’s works, I was a little skeptical to see Alice in Wonderland.  I wondered how dark and quirky could you make the story first published in 1865 under the title Alice’s Adventures in Wonderland by the beloved author Lewis Carroll.  In addition, the story has been filmed over 20 times in film and television, mostly for young audiences.

My first worry was when I entered the theater and saw all these moms with their daughters.  I thought, oh no, they must not know who the director is, or what he has done.  Although, after seeing Charlie and the Chocolate Factory, I figured Burton could pull off a children’s movie.  After all, most of the ads and previews before the showing consisted of tween fare, such as DVD releases of Where the Wilde Things Are and Disney’s Sonny With a Chance television series.  There was even a Tide commercial, no doubt aimed at the mom’s.

As the film began, we met the delightfully cute White Rabbit and a whimsically beautiful Alice.  Okay, feels like a children’s movie.  Then, we go down the hole and what was whimsical comes off as downright strange and spooky.  Tweedledum and Tweedledee are artfully animated, but you kind of expect them to sprout fangs at any moment.  The Cheshire cat, instead of charming and suspicious, comes off as dangerous and looks a little like he’s on drugs.  Granted, this is a grown up Alice now, so we can expect characters that have progressed, but the character of Stayne, played to eerie mediocrity (and not artfully animated) by Crispin Glover is just plain creepy.

What delighted me about the film was Helena Bonham Carter, who is delicious as the Red Queen - a joy to watch.  Anne Hathaway’s performance as the White Queen, however, was painful to watch.  For some reason, Burton has her twirling her hands, walking as if she is on her tippy toes, and speaking with this weird early Disney princess voice.  That was sad because she’s a great actress, I can only surmise she was mis-directed.

The uneven performances left me a bit less satisfied than I normally am with Burton’s works. In addition there were some plot points that are never explained, like why the Red Queen’s minions wear fake noses or what the Jabberwocky has to do with anything except creating an action sequence for the climax of the film.

I can take (and even sometimes enjoy) Burton’s quirky style, and love his sense of imagination, but this film misses the mark in giving us either Burton’s wonderful quirkiness or mainstream edginess.

I realize that, by design, Alice in Wonderland is meant to confuse at times. But the real question with this, the latest Tim Burton film, is “What the heck does Disney have on its hands?” Clearly, Disney expects this to be a family film. It has a PG rating, it is shown in 3D, and it carries the Disney logo. But this movie will offer little of interest to kids (It helps if they know the original story, since Tim Burton’s version isn’t always clear), and it doesn’t take on enough of an edge to appeal to most adults. Let’s face it – Alice in Wonderland isn’t exactly new territory.

This Alice is a young Victorian woman with an independent streak. It is a story of liberation. When an aristocrat twit proposes to her at a garden party, Alice dashes off, follows the White Rabbit, falls down the rabbit hole, and lands in Underland, a place ruled by the tyrannical Red Queen (Helena Bonham Carter). Alice learns she’s destined to overthrow the Red Queen by slaying her monster, the Jabberwocky. It is the Mad Hatter (Johnny Depp) who guides the reluctant Alice toward victory. The movie is in 3-D, with an emphasis on the visual effects.

The trouble with the film is that it is the usual unusual Tim Burton visual feast, but it does very little to expand on the classic source material. He forces a Star Wars-like battle between good and evil in what should be an utterly nonsensical storyline. There are shades of The Wizard of Oz, and of course other Burton films as well. Tim Burton’s schmalzfest is tired. Some of us prefer our Alice in Wonderland to remain curiouser and curiouser, thank you very much.

The highlight of the film is Helena Bonham Carter, who gives a delicious performance as the bulbous Red Queen. Playing her as a cross between Marie Antionette and Evita, Ms. Bonham Carter clearly knows how to have fun with any part she plays. The White Queen is played by Anne Hathaway, who hasn’t the inner-goodness the part calls for. Maybe it was the 3D, but in any case, she is strangely self conscious onscreen. As the 19-year-old Alice, Mia Wasikowska is a pleasant heroine, but sometimes is so subtle (not always a wise choice in a Tim Burton film) that she doesn’t leave much of an impression. Johnny Depp gives his predictable awkward performance as a freak of a Mad Hatter. Someone please tell me whose terrible idea it was to have Depp do a little breakdance after killing the Jabberwocky? It was entirely out of place, unless the idea was for Depp to dance on Lewis Carroll’s grave.

There’s also an irritating door mouse character that I simply wanted to step on. It felt like an annoying Disney animated film only at the moments when this insipid little animal sidekick was there, taking up valuable screenplay time by being “cute.” Where’s a Jabberwocky when you need it?

It can’t help that this is the first major 3D film release after the Avatar revolution. Still, one pill makes you larger, and one pill makes you small… but this version that Tim Burton gives us, doesn’t really do anything at all.

a production of XTREME MEDIA LLC of New York

212 Stations can’t be wrong!

Two great new stations under new ownership have joined the Baldwin/McCullough Saturday family of stations taking the show. . Big massive thanks to the good people of Des Moines, Ames, Boone, Centerville, Loganspot, Ogden, Jordan, Gilbert, Madrid, Perry, and Grand Junction Iowa. We look forward to being with you this Saturday night, and every Saturday night… so tell your friends and turn on the radio at 8pm CST (9pm EST)!

ON BALDWIN/McCULLOUGH RADIO:
1. A teen girl who wishes to be sexually active with other teen girls, declares that she will bring another girl to prom. The high school fearing a lawsuit for possibly treating people differently, decides to cancel prom (and thus treat everyone the same) and avoid the conflict. NOW said teen girl is suing to force school to hold prom AND let her bring her same-sex date. Your thoughts: 800.345.9622.

2. PLUS: Democrat Congressman Bart Stupak: “I really believe that the Democratic leadership is simply unwilling to change its stance,” he says. “Their position says that women, especially those without means available, should have their abortions covered.” The arguments they have made to him in recent deliberations, he adds, “are a pretty sad commentary on the state of the Democratic party.” BONUS: More voters anti-abortion than ever before… 800.345.9622.

Baldwin/McCullough Resources:

Making it all happen:

Debuting less than two months after the terrorist attacks of September 11^th, 2001, 24 has been a stalwart for Fox.  Told in real time, 24’s action-packed espionage storylines focus on the fictional Counter Terrorist Unit and its protagonist, Jack Bauer played by Kiefer Sutherland, who must uncover and stop terrorist threats within twenty-four hours.

Apropos after the September 11^th terrorist attacks, the popular show has dominated the television drama market as it has won several Emmy Awards and Golden Globes, including the Emmy for Outstanding Drama Series in 2006 and the Golden Globe for Best Drama Series in 2003.  Additionally, 24 landed at number six on Empire magazine’s 2008 list of “The 50 Greatest TV Shows of All Time.”

Although Kiefer Sutherland has expressed interest in a ninth season of 24, it appears that the countdown to the end has begun.  24’s thrills could not make up for the high production costs and falling ratings.  The premiere of “Day 8” was its lowest since “Day 3.”  With eight seasons, a TV movie event (24:  Redemption), toys, a board game, and a video game, 24 may have run its course.  However, just like every cliffhanger hour of 24, there may still be something left to keep fans intrigued and wanting more.

Rumors have swirled for years of 24’s big thrills hitting the big screen.  Those rumors have become all the more official with the statement from Fox on February 9, 2010 that its film branch, 20^th Century Fox, confirmed plans to produce a major motion picture adaptation of the show.  Billy Ray (State of Play, Breach, Shattered Glass) has been contracted by 20^th Century Fox to pen the screenplay.  Taking 24 into a new market, the film industry may prove profitable as the show may have done all it could do with the medium of television.  Yet, one interesting question remains:  how will 24’s final day end?

As the seconds tick down on the final hour of 24, what will become of Jack Bauer?  Will he die heroically to save the world?  Will he live happily ever after with Kim and Terri?  Will terrorists finally be able to sleep at night when Jack officially retires?

What do you think?  What would you like to see happen in the finale of 24?  Leave a comment!

There is only one true way to find out.  Tune in to Fox every Monday at 9 PM EST to catch a ride on the riveting rollercoaster that is 24.

The bonus features may appear light when looking at the DVD case, but rest assured what is there is worth watching. While we may expect some sort of documentary about the region depicted, there is excellent commentary from the director in two different features. Watching the supplemental material is a surreal experience since the film looked and felt so real.

First, there is a “making of” documentary that chronicles the film’s life from beginning to end. This feature is broken into three parts: inspiration, production, and completion. From the start, this film was planned as an authentic Iranian film. Everything from the actors to the language spoken was accurate to the location depicted. Director Cyrus Nowrasteh had his father (who, like some of the cast, left Iran for a better life) on the set as a cultural consultant for the film which helped the language barrier between the crew and much of the cast.

Since much of the cast and all of the extras were locals in the Middle East, production had to be shut down five times a day to allow for prayer. Besides the language barrier, many cast members were not professional actors which provided some difficulties (Of course, the main characters are professionals, many with inspirational background stories). This speaks to how truly authentic this film is. Cyrus mentioned that the “surrounding craziness helped the film…this [experience] was not make believe.”

We also learn that when the crew had to look outside of Hollywood for funding, they found out that there were many people willing to contribute. Of course, it is sad that Hollywood wouldn’t back such an important film, but it is reassuring that outside funding was possible. This is technically a low budget film, but it’s hard to tell while watching it, which is a true testament of the hard work of Cyrus and his crew.

Second, there is director commentary throughout the film. Cyrus, with his wife and co-screenwriter Betsy, gives us a lot of useful information during the film. It is a great supplement to the “making of” documentary in which we get to hear what the filmmakers feel about every scene. Watching this will breathe new life into future screenings. Betsy gives us her personal feelings about the story and each character throughout, while Cyrus breaks down the film’s technicalities and tells us why they chose each shot, location, camera lens, etc.

One interesting thing we learn is that during the stoning sequence Mozhan Marno’s (who plays Soraya) emotions were her real horrified reaction to what she was experiencing (there is an interesting breakdown of this scene in the “making of” documentary). Remember, she is actually stuck in the ground with an angry (acting) crowd around her ready to throw stones. For a brief time, she was living this nightmare that, even in acting, had to be terrifying. When she finally breaks down emotionally in the film it tears through your soul in a way you will never forget. She is an amazing actress.

Marno gives an amazing performance as Soraya, making the audience fall in love with her before the inevitable happens. The audience connection to Soraya moves us in ways many have never felt. We learn that one extra actually volunteered to dig the ditch for the stoning scene, as he has done it before in real life. This is yet another horrifying reminder that this barbaric practice still goes on today.

The cover art for the DVD is also startling. It is a split shot of Soraya with her head down and rocks on the ground near her. It isn’t easy to look at this picture, but nothing about this film is easy and it shouldn’t be. As hard as it is to watch, the film remains rich throughout multiple viewings. The story is so powerful that even though we know the end result.

This film reminds us that any inequality in our country pales in comparison to what goes on in other cultures (we even see honor killings on our soil). This film is a brave depiction of something that is all too overlooked in this world. The performance of this cast is probably the most overlooked in many years and will leave you with feelings that you will never forget.

Critics and fans alike expressed outrage over the blatant omission of Ed Begley, Jr., from the Academy Awards tribute to actors who died in the past year.

Begley’s family said they were beyond tears.

“How could they include Michael Jackson and not my little Ed?!” said Mrs. Begley, “He was in so many more high quality movies, like, um, that one with the guy who did stuff.”

Academy Awards officials defended their decision, based on the fact that Ed Begley, Jr., is actually alive.

“We felt it necessary to omit Mr. Begley, Jr., in favor of feature more stars who are physically dead,” said Bruce Davis, who was in charge of the Academy’s memorial segment, “Ed may be dead inside and doomed to a lifelong career in crappy census commercials, but he still has a pulse. That’s more than Don Knotts can say these days. Boy do I miss Don Knotts.”

Maybe of Begley Jr.’s peers refused to believe reports that he was still alive, due in part to Begley Jr.’s complete immersion in the “green lifestyle.” Begley, Jr. refuses to buy anything made out of plastic, leaving a cup and string as his only form of telecommunication.

“Look, all I know is that I haven’t gotten a call from Ed Begley, Jr. in twelve years,” said Martin Mull, “If he’s not dead, than he’s in some kind of state similar to death – like being on Hollywood Squares.”

Davis conceded that he had considered Begley, Jr., but he felt Begley, Jr.’s remarkable television work on St. Elsewhere would be better honored at the TV Academy’s Emmys. According to Davis, “Begley, Jr.’s movie career peaked after his role in This is Spinal Tap.”

Critic Roger Ebert agreed.

“Ed put his heart and soul into that performance as John ‘Stumpy’ Pepys,” said an unsettling, disturbing, freakish voice simulation of Roger Ebert, “After that, he must have died in some kind of freakish accident with a food dehydrator, because I didn’t notice a f**king thing from him after that. I also like to wear women’s clothing.”

The Academy ultimately apologized for the omission, but defended the inclusion of Michael Jackson.

“Ed Begley Jr. was in Santa With Muscles,” said Davis, “That makes Michael Jackson’s performance in Captain EO look like Laurence f**king Olivier in comparison.”

Begley was unavailable for comment because he was busy humping the planet.

Read more at The Endive…

*** ½ (out of 4 stars)
Warning: This album carries with it an “Explicit Lyrics” sticker. Parents and others who might be offended – head’s up!

So a lot of kids are heading to Cabo this weekend. One of them is going there to get the crowd going. His name is Samuel Adams Wisner. But he goes by Sam Adams, and his close friends call him “Wiz.” You see, Wiz’s EP “Boston’s Boy” was released on iTunes a few days ago… and after one day, he hit number 1 on the iTunes Hip Hop chart. Numero Uno… After one day!

Last week, I was telling everyone I knew (and a few I had never met before) about this kid. I even used the correct lingo. I was telling people that this kid was 100% legit… that this kid is ballin’… He’s reppin’ Beantown bigtime with his beats… and most importantly, that his flow is sick. You see, I take profound talent very seriously and will do whatever it takes to get the word out.

Well, that was last week, when no one I talked to knew about him. This week is a whole different story. This kid is spreading like wildfire… from coast to coast. I can just hear the major record labels battling it out now, as they try to claim the next Eminem as their own. It’s not a question of if, but of who, and when… Hopefully, Sammy will have a good deal worked out, and make sure his artistic impulses are nurtured. The future of hip hop needs this kid.

If you know anything about Sam Adams up to now, it is likely his Asher Roth rebuttal, “I Hate College.” For the record, he goes to Trinity College, where he was captain of the soccer team. You’d think he might take the rest of the semester off. He’s kinda busy. Not so. He plans on graduating this spring semester.

He has a unique way of blending the lyric with electronic rap and coming up with an inspired sound. He is making it all sound modern again, and there are several possible directions for it to go, with his sound. Although he knows how to work a crowd, it is obvious from the songs he drops on “Boston’s Boy” that Sam feels at home in the studio. For the record, “Boston’s Boy” was recorded at Cybersound (in Boston), and also at Westlake (in L.A.), where Michael Jackson did a lot of his work.

In a pretty specific subset of the music world, Sam Adams sets a good example. His success is so immediate and big, that he keeps other kids dreaming that it might happen to them. And why not? It happened to him. Having that kind of excitement on the scene is good for the whole music scene.

Like the best of artists, Sam Adams is a reflection of what he sees, hears and feels. He understands his audience, and he loves doing what he does. No wonder they are going crazy over this new kid on the block. This is the tightest new release so far this year. He kills it fo’ sho’.

Download these:

“Coming Up” – Great opening, great beat, great lyrics. This is his declaration of independence. Every great rapper gets one, and Sam’s the man with this one.

“Driving Me Crazy” – The best song on the album. Yes, that’s Annie Lennox’s “Walking On Broken Glass” underscoring the rap. Sweet.

“Just Love Here” – Need a new slow burning song that pushes the limits? This is the one.