Posts Tagged ‘Kurt Cobain’


The encore presenation of “Pop Life” for Saturday April 25 features an in-depth interview with music industry legend Danny Goldberg. He began his career in 1969 as a music journalist before becoming Vice-President of Led Zeppelin’s Swan Song Records from 1974-1976. In the early nineteen eighties he co-owned Modern Records, which released Stevie Nicks’ solo albums. From 1983-1992, Danny was the founder and President of Gold Mountain Entertainment, a personal management firm whose clients included Nirvana, Hole, Sonic Youth, Bonnie Raitt, and The Allman Brothers.
 Subsequently, Danny became Chairman and CEO of the Mercury Records Group, Chairman and CEO of Warner Bros. Records and President of Atlantic Records. And there’s more,much more. On “Pop Life” he talks about his relationship with Kurt Cobain. Then, the “Pop Life” panel, musicians Shelley Hamilton, Damhnait Doyle and Tyler Shaw, discuss life on the road and in the spotlight.

Watch the whole show HERE!

Film critic and pop culture historian Richard Crouse shares a toast with celebrity guests and entertainment pundits every week on CTV News Channel’s all-new talk show POP LIFE.

Featuring in-depth discussion and debate on pop culture and modern life, POP LIFE features sit-down interviews with celebrities from across the entertainment world, including rock legends Sting and Meat Loaf, musicians Josh Groban and Sarah Brightman, comedian Ken Jeong, writer Fran Lebowitz, superstar jazz musician Diana Krall, stand-up comedian and CNN host W. Kamau Bell, actors Danny DeVito and Jay Baruchel, celebrity chefs Bobby Flay and Nigella Lawson, and many more.


Screen Shot 2016-04-08 at 2.21.04 PMRichard and CP24 anchor host Nneka Elliot have a look at he weekend’s big releases, Melissa McCarthy’s “The Boss,” Jake Gyllenhaal in “Demolition” and “Hardcore Henry’s” wild action.

Watch the whole thing HERE!


Screen Shot 2016-04-08 at 10.38.38 AMRichard and “Canada AM” host Jeff Hutcheson kick around the weekend’s big releases. They find out if the boss is always right in Melissa McCarthy’s “The Boss,” if Jake Gyllenhaal can overcome his grief in “Demolition,” how Hank Williams became a star in “I Saw the Light” and if “Hardcore Henry” should come with a medical advisory.

Watch the whole thing HERE!


I SAW THE LIGHT: 2 STARS. “a paint-by-the-numbers biopic of Hank Williams.”

ISawtheLightThe songs of Hank Williams are everything the new movie about his life isn’t.

Emotionally forthright, tunes like “Your Cheatin’ Heart,” “Hey, Good Lookin’” and “I’m So Lonesome I Could Cry” were perfectly poignant, ripe with universal sentiments. “I Saw the Light” sees Tom Hiddleston hand in a terrific performance in a paint-by-the-numbers biopic that avoids the soul searing greatness of Williams’s work.

The story of Williams’s self destruction isn’t unique in the annals of popular music. He lingered longer than members of the legendary 27 Club—Brian Jones, Jimi Hendrix, Janis Joplin, Jim Morrison, Kurt Cobain and Amy Winehouse all passed away at the age of 27—but Williams was a trailblazer of the Troubled Artist Syndrome Sect. Prodigious talent plus a predilection for booze, pills and infidelity formed the man and informed his music.

We meet him pre-fame. He’s a twenty-one year old troubadour about to wed Audrey (Elizabeth Olsen), a singer with a longing for fame but without the talent to back up her ambition. Their unsettled union is the thread that weaves its way throughout the story, binding together the biographical elements.

As his fame grows his addictions drive a wedge between him and the people most important to him, Audrey, his band and the Grand Ole Opry. “I’m a professional at making a mess of things,” he says. The best and truest relationship in his life comes from the people he didn’t know, his audience. They understood him in a way that those closest to him never could.

There is rich material to be mined from the life of a man who turned his troubled life experience into art, but “I Saw the Light” chooses to skim the surface. It’s the kind of movie where Williams says, “I’m sorry babe.” She says, “For what?” and, of course, he answers, “Everything.” Hiddleston brings a broken swagger to the role, a combination of charisma and vulnerability, but strains to create any kind of sympathy for a performer who was the architect of his own demise.

The music is terrific so it shouldn’t be a surprise that when the movie focuses one the songs, it sings, but when it looks at the non-musical components of Williams’s life it hits a sour note.