February 2012

.Wednesday 29 February 2012


Who's coming out on April 28th to run the Country Music 1/2 Marathon in Nashville as part of my "Run Baby Run" Team? Visit the Powered By Hope website to get all the details: http://whatpowersyou.org/team-sheryl-crow-is-powered-by-hope/ 

.Sunday 26 February 2012


Sunday, February 26, 2012
Daily Dunklin Democrat

The 12th Annual Sheryl Crow Fan Forum Birthday Drive has once again shown how fans of the Grammy-award winning singing artist will come through for a worthy cause.

According to officials, this year's fundraising drive which began on Dec. 20 of last year and ended on Feb. 11, Crow's birthday, raised $13,800 in support of the Delta Children's Home, the cause championed by Crow.

According to Gregg Dempsey, moderator of the Fan Forum, since its inception in 2001, the fundraiser which is fan-operated has given a total of $150,000 to the Home

"Sheryl's fans from around the world celebrate her birthday by contributing to one of her most-loved organizations, the Delta Children's Home in Kennett," Dempsey said, adding, "This year's amount came as a welcome surprise because, due to upcoming changes of the official Sheryl Crow website, the Fan Forum is currently on hiatus. But the Fan Forum members, using FaceBook, Twitter and e-mail, still came together for the good of the children the Delta Children's Home serves. It was amazing the fans pulled it off without the Forum in operation."

Jim Baker, DCH coordinator for the Birthday Drive, noted that the Birthday Drive is solely operated by members of the Fan Forum.

Gifts, ranging from CDs and pictures to the Grand Prize, are donated every year by the fans themselves. This year's Grand Prize was an autographed Fender Telecaster 1972 Re-issue Custom Guitar and was won by Teresa Andreani of Matawan, N.J.

The donations come from countries all over the world including the United States, Italy, France, Canada, Taiwan, Japan, Belgium, Germany, Ireland, Sweden, Israel, England, Scotland, Ireland, Portugal, Brazil, Venezuela and Slovenia and Holland.

"The fans know Sheryl and her family have all been strong supporters of the Delta Children's home. The fans donate all of the gifts and funds, and Gregg Dempsey oversees it for them. It is an unique fundraising event. Sheryl's fans are just wonderful people," Baker said.

"It's an amazing thing that Sheryl does to contribute back to our community and without the help of Jim Baker who takes care of the web site [and] doing all of the groundwork for us, it wouldn't happen at all. The combination effort between the two of them, basically, they get the glory not me," said Scottie Landess, 2012 DCH Board president.

When asked what the funds received go for, Landess said, "The money goes for a variety of things. It doesn't always go for the same thing but whatever, it helps the children or it improves the home in some way. It allows us to have money to have gifts for the children on their birthday and for Christmas, [and] if their room needs upgrading, painting, or new carpet. You know, you have a lot of kids whose things get damaged or worn. No body wants to feel like they're in somebody else's room so we try to freshen it up every time we get a chance. When it needs it, and without continued support of not only Sheryl but the folks that support us at the auction every year and during donations of all kinds for everything, we couldn't keep the doors open.

In a previous article, former DCH Board President ,Jason Scherer, "We rely heavily on donations for our funds, and we are deeply appreciative that Sheryl's fans go to this length to aid this much-needed service to our community." He added, and present day Treasurer, Autumn Burke, concurred that the amount raised by the event accounts for eight to 10 percent of the organization's yearly budget.

For more information on the fundraiser, log on to www.sherylcrow.com and click on forum, or e-mail birthdaydrive@yahoo.com. General donations in support of the cause may also be made by mail, to Delta Children's Home at P. O. Box 573, Kennett, Mo., 63857. Specific details regarding the Delta Children's Home, a non-profit organization which operates two homes located in Kennett can be obtained at www.deltachildrenshome.com.

.Friday 24 February 2012


Sands Steel Stage @ PNC Plaza
Bethlehem, Pennsylvania, USA
Friday, 10 August 2012

Tickets: $30 / $40

28 February, 10am ~ Tickets on sale to ArtsQuest members
2 March, 10am ~ Tickets on sale to public

.Monday 20 February 2012


I inform you that Sheryl will appear as herself on the Episode #5 on Sunday, April 1 at 10:00 PM on ABC. More info @ http://beta.abc.go.com/shows/gcb

Here's the official poster. Have a nice week!

.Thursday 16 February 2012



21 January


22 January 

.Wednesday 15 February 2012


A Taste of Pinellas
Vinoy Park
St. Petersbourg, Florida, USA
Saturday, 5 May 2012

A Taste of Pinellas is an annual food and music festival for the whole family, held at Vinoy Park in St. Petersburg Florida. A Taste of Pinellas features tastes from top local restaurants, live music from national acts, a family fun Zone and much more! A Taste of Pinellas is for a great cause, too -- proceeds from A Taste of Pinellas go to the All Children's Hospital Telethon.

Tickets for A Taste of Pinellas are available beginning on Feb. 17 from Ticketmaster and from the Mahaffey Theater box office at www.themahaffey.com. Ticket prices are as follows:

  • VIP Luxury Seating: 
    $150 per person, per day (sales in advance only)
  • General Admission: 
    Friday and Saturday $20 in advance, $25 day-of-show; 
    Sunday - $15 in advance, $20 day-of-show
  • Weekend General Admission Ticket (all three days): 
    $45 (available for advance purchase only)
  • Children 12 and under free when accompanied by an adult.

(thanks Brett!)

.Tuesday 14 February 2012


For what it's worth, here's the VH1's "100 Greatest Women In Music" list (focused on the last 20 years).

100. Pussycat Dolls
99. Demi Lovato
98. Ashanti
97. Grace Potter
96. Mandy Moore
95. Wilson Phillips
94. Colbie Caillat
93. Feist
92. Jordin Sparks
91. Monica
90. Regina Spektor
89. Hillary Scott (Lady Antebellum)
88. SWV
87. Robyn
86. Ingrid Michaelson
85. Faith Evans
84. Avril Lavigne
83. Meg White (The White Stripes)
82. Miley Cyrus
81. Spice Girls
80. Sara Bareilles
79. PJ Harvey
78. Kim Gordon (Sonic Youth)
77. Hayley Williams
76. Leona Lewis
75. Kim Deal (The Breeders, The Pixies)
74. Paula Abdul
73. Dido
72. Brandy
71. Natalie Merchant
70. Macy Gray
69. Courtney Love
68. Indigo Girls
67. M.I.A.
66. Natasha Bedingfield
65. Liz Phair
64. Eve
63. Jill Scott
62. Leann Rimes
61. Shirley Manson (Garbage)
60. Florence + The Machine
59. Destiny’s Child
58. Miranda Lambert
57. Ke$ha
56. Gloria Estefan
55. Fiona Apple
54. Tori Amos
53. Sarah McLachlan
52. En Vogue
51. Nelly Furtado
50. Lauryn Hill
49. Amy Lee (Evanescence)
48. Aaliyah
47. Kylie Minogue
46. Toni Braxton
45. Lil’ Kim
44. Erykah Badu
43. Taylor Swift
42. Melissa Etheridge
41. Jewel
40. Nicki Minaj
39. Dixie Chicks
38. Salt N Pepa
37. Faith Hill
36. Shakira
35. Shania Twain
34. Queen Latifah
33. Norah Jones
32. Fantasia
31. Cher
30. Sade
29. Bjork
28. k.d. Lang
27. Fergie
26. Amy Winehouse
25. Sheryl Crow <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<
24. Jennifer Hudson
23. Carrie Underwood
22. Annie Lennox
21. Celine Dion
20. Rihanna
19. Kelly Clarkson
18. Missy Elliott
17. Katy Perry
16. Jennifer Lopez
15. Alanis Morissette
14. Alicia Keys
13. Gwen Stefani
12. TLC
11. Britney Spears
10. P!nk
09. Mary J. Blige
08. Christina Aguilera
07. Janet Jackson
06. Whitney Houston
05. Adele
04. Lady Gaga
03. Beyoncé
02. Mariah Carey
01. Madonna

Just a note: who the fuck can take seriously such lists? I mean, PJ Harvey, Fiona Apple, k.d. Lang, Bjork, Tori Amos, Sheryl Crow, Alanis Morissette, Sarah McLachlan, Melissa Etheridge, Alicia Keys, Liz Phair, Annie Lennox etc. BEHIND Britney Spears and Lady GaGa? Grace Potter #97? Really? Come on, it's clearly a joke :-) On the other hand, i'm pretty surprised to see a hugely popular singer like Taylor Swift "only" #43.

ANYHOO, VH1 aired the first of five episodes of "100 Greatest Women In Music" just yesterday night. Sheryl will appear on the 4th one (#40-#21) on Thursday, February 16.


Tony Bennett and Levon Helm have won both a Grammy Award respectively for the "best traditional pop vocal album" (Duets II) and the "best americana album" (Ramble at the Ryman). Nice thing is Sheryl is on both records! Congrats to Mr. Bennett, Mr. Helm and, of course, Ms. Crow :-)

.Saturday 11 February 2012

Happy Birthday, Sheryl, and many more. Smile and blow out those candles with pride. You're a fabulous frisky 50 and you really raise the bar for how sexy, dynamic and vital a 50 year old woman can be. Numerical age means nothing - it's all about living, laughing and loving. Hope you'll do all that for a long long long time.

Have a great day!

PS: Can't wait for the new album!


.Thursday 9 February 2012



.Tuesday 7 February 2012


A nice presentation of the new Gibson Sheryl Crow signature model. Enjoy!

BTW: the Gibson representative says Sheryl is working on a country-tinged Americana album! Yess! :-)

.Saturday 4 February 2012


Please bookmark the new address:


On cusp of film's 30th anniversary, creatives target Rialto
By Jon Weisman

That simple sentence began a lengthy, thoughtful review by Pauline Kael in the April 5, 1982, New Yorker, a review that saved a cinematic gem from quick extinction -- and, as it turned out, helped pave the way for a Broadway musical decades later.

This spring will mark the 30th anniversary of "Diner," Levinson's inaugural effort as a helmer, which simultaneously celebrated and deconstructed the late-1950s Baltimore of his youth. Come the fall, Levinson's "Diner" tuner adaptation, with music and lyrics by Sheryl Crow, and with Kathleen Marshall directing, will bow on the Rialto.

Set design has begun, with final casting to take place in the spring in advance of what will be an out-of-town test run in the summer.

The rebirth of "Diner" has stirred excitement about the musical (mixed with guarded curiosity) from those who remember the film for both its comedy, centered on the exploits of six Baltimore buddies, and its insightful commentary on communication bumps and bruises between the sexes.

In an age of four-quadrant blockbuster mindsets, the blossoming of what was such a personal project into a franchise is noteworthy. Though movies of such intimate scale often disappear, a few can pay off for decades.

Still, if the legit adaptation has any naysayers, that would only make sense. Ultimately nominated for an original screenplay Oscar, a Writers Guild award and a Golden Globe, "Diner" would have been relegated to an MGM dustbin if not for the power of Kael's pen, say Levinson and his colleagues.

"The studio so disliked the movie," Levinson says, with execs surprised to find the final product didn't resemble "Porky's," which hit theaters about the same time. "They even disliked it when it was breaking house records. … I said at some point, 'This is not like a foreign film here. It's not like it's subtitled. Why is this so strange?' "

But executive producer Mark Johnson, who like Levinson was a rookie in his role, had an ace to play; his mother had become a good friend of Kael's.

"So I used that to sneak the movie off to show it to Pauline," Johnson says, "because at that point she was so powerful, she could make or break a movie. And she loved it, and called up MGM and said: 'You guys are going to have egg on your face, because you're gonna have this movie with this rave review, and it's not going to be around. Nobody's going to be able to see it.' So they reluctantly opened it in one theater in Manhattan."

Filmed on a $5 million budget that Levinson had earned thanks to script work on such films as "And Justice for All …" and "High Anxiety" (Mel Brooks suggested Levinson turn his rich Baltimore anecdotes into a feature), "Diner" grossed $14 million despite its limited release.

"They never made more than 20 prints of the movie," says Daniel Stern, who played Shrevie, husband to Ellen Barkin's Beth, in the film.

Nevertheless, "Diner" enjoys passionate respect, for the exceptionally authentic and funny interplay between the characters, Levinson's meticulous direction and the breakout performances of its young cast. Stern, along with Kevin Bacon, Barkin, Tim Daly, Steve Guttenberg, Paul Reiser and Mickey Rourke, formed a core of up-and-coming actors who went on to long careers.

Though studio execs had their own vision problems for the film 30 years ago, Levinson's audition process had laid solid groundwork. Given how dependent the pic was on naturalistic chatter, he had to look not only at how the actors would play the part, but how they would play against each other.

"Ellen Barkin, oddly enough, is the only person I met for (the role of) Beth," Levinson says. "She came in, I met her, that was it. Five or six hundred guys, one person for Beth."

Rourke, who was coming off a memorable supporting turn in "Body Heat," probably had the highest profile at the time, but future "Mad About You" star Reiser wound up playing a key role as well, even though his was the smallest part among the guys and his casting was fairly accidental.

Reiser came to the auditions not in hopes of a part but just to keep a friend company. Levinson says that casting director Ellen Chenowith noticed Reiser in the hallway and called him in. Arguably as much as anyone, Reiser raised everyone's game.

"When we got to the improv-y stuff, we had a professional comic in our midst who was going to eat us alive if we didn't stay on our toes, Stern says. "There was a line that Reiser had. Somebody said, 'You think she'll go down for the count?' Reiser, out of nowhere, said, 'No, but I heard she blew the prince.'

"We had to stop shooting that day, because we got so hysterical. Tried for half an hour, and they finally shut us down."

While encouraging the freewheeling exchanges, Levinson naturally had other challenges in his first directing assignment. But he knew the characters and situations so intimately that he soared past the learning curve, Johnson says.

"If he didn't know how to get something, he could say, 'This is what I want,' " Johnson recalls. "A lot of first-time directors can only get to what they want by telling you what they don't want."

Johnson found himself fascinated -- if a little frightened -- by Levinson's desire for what he called "shots just to have." Example: After supposedly having wrapped for the night, Levinson held the crew back for a shot in the diner of one ketchup bottle being drained into another, even though there was no specific point for it in the script.

Later, he inserted it into the film for atmosphere.

"You see it in the movie -- it's brilliant," Johnson says. "He instinctively knew that."

Johnson, in turn, had to convince the studio that all these subtle touches were worth keeping, and that the film didn't need bombastic moments to compensate.

"He was a ballsy young producer to protect Barry's vision," Stern says.

Levinson's savviest decision was to save the actual diner scenes until the end of production, helping ensure that the cast had the kind of chemistry, for scripted and improvised dialogue alike, needed for a movie that so emphasized character over story.

"You wanted to have the diner talk be as natural and as spontaneous as possible," Levinson says. "So the more these guys knew each other, the more time they've spent with each other, there's a shorthand to it all."

Says Guttenberg: "It wasn't a competition between us. It was a competition to ourselves and actors to get the opportunity to really be the best. … You want all the moments in the scene to work, so if you got a great moment, it's not to the exclusion of the other people in the scene. You're not dunking the ball; you're passing the ball between you."

Yet if you ask Levinson, he'll tell you that for all the razor-sharp exchanges, he couldn't have written "Diner" if he hadn't sussed out the element that tied it all together: the guys' lack of understanding of women, with its most famous set piece -- the 100-question Baltimore Colts football quiz an unseen fiancee must pass before her wedding -- rooted in the fear that if she failed, she and Guttenberg's Eddie would have nothing to talk about.

" 'Diner' is a great period piece -- a look at middle-class relations between the sexes just before the sexual revolution," Kael wrote in the New Yorker. "If any men (or women) think they regret the changes, this is the movie they ought to see. … the last period in our history when people could laugh (albeit uneasily) at the gulf between men and women. It takes place just before this gulf became an issue of sexual politics -- before it began to be discussed as a problem."

Johnson and Levinson agree that Kael's review opened minds to a film that was unique in its sensibility.

"Kael kind of set the course on the movie," Levinson says. "She laid it out, she explained it and the other critics picked up on it. Somehow you were past that (initial) roadblock.

"We weren't this full-blown comedy; we weren't this dramatic piece of writing. … We were just lightly outside of the box, where you very easily could be misunderstood."

Eventually, "Diner" earned enough appreciation that a 1983 CBS pilot was ordered, with Reiser reprising his film role in a cast that also included James Spader, Michael Madsen, Mike Binder and Alison La Placa. That went nowhere.

For the upcoming musical, hopes are high -- if still appropriately in check, according to Base Entertainment co-CEO Scott Zeiger, whose stage producing credits include "The Producers."

"I think there was a unique pressure on Mel Brooks to put 'The Producers' on Broadway from the moment the film opened," Zeiger says. "Various people had been approaching him over his entire career to make that happen.

"I think our aspirations are to be a bit more boutique … to create something that is not quite as high-profile from day one, but will enjoy some of the success of 'The Producers,' " he says.

The evolution of "Diner" makes sense on one level, given how integral music was to the pic, with more than a couple dozen songs used, including the hilarious but heartbreaking scene in which Stern berates Barkin over her misuse of his records. Still, its path to a Broadway tuner wasn't an obvious one.

"It was mentioned quite a long time ago, and I had no interest in it because I could only see 'Diner' as a dramatic comedy," Levinson says. "'Grease' is extremely successful, 'Hairspray' is very successful, but I couldn't see 'Diner' in those kinds of terms."

Levinson says Zeiger helped him see that Broadway possibilities for "Diner" were brighter.

"What (Barry) was concerned about is that in the tradition of musical theater, there's a lot of bombastic, successful musicals where actors sing lines to each other instead of talk," Zeiger says. "What we discussed was that these characters could sing and potentially reveal emotions and inner thoughts that are more interesting and more unique and more ethereal, if you will, than singing dialogue.

"The frustration the Beth character might feel, in her fractured marriage, could be expressed not solely in a tear in a closeup, or frustration in her face, but through a song, sung out emotionally."

Subsequently, the introduction of Crow to the mix proved pivotal. Levinson felt a kindred spirit in her storytelling, while Crow, he says, proved to have an excellent understanding of the movie.

"I think her range in the piece is great, because there's a great intimacy to some of it," Levinson adds. "There are some bigger numbers, but I think it feels very compatible to 'Diner.' The songs don't feel big and sort of cartoony. The music has the same kind of naturalism."

And, in fact, Levinson, Crow and Marshall haven't allowed themselves to become slaves to the music.

"I'd say it's a little more music (than book) because that's just normal," Zeiger says, "but there are some iconic scenes from the film that have to be presented in a book-like fashion. … We're not muscializing the sports quiz -- it's just too iconic."

Whatever happens, "Diner" will always be music to its fans' ears.

"The movie is a love song," says Guttenberg. "And that's why it has such resonance after 30 years. It's a love song to Baltimore, to youth, to coming of age, to life, drama, friendship, romance. ... Great love songs don't go away."

Source: Variety.com

.Wednesday 1 February 2012