From where I sit, this ruling was a travesty, not only because it discarded the wishes of 7 million Californians who voted for it, but because much of the money to overturn it came from Hollywood elites who are completely out of touch with the heart and soul of America.

Honestly, watching the decision come down from the 9th Circuit was like watching Brad Pitt and Elton John stomp all ever everything that flyover country holds near and dear to its heart. I cite Pitt and John because Pitt gave at least $100,000 to “fight the proposition,” and in Jan. 2011, John played a benefit concert in Beverly Hills that raised $3,000,000 for the same cause.

Of course, these two were not alone. Steven Bing, long time Democrat Party donor and Hillary Clinton supporter, donated $500,000 to the cause, and according to Advocate magazine, Mary J. Blige and Melissa Etheridge were right there in the mix as well. Oh, and we can’t overlook old “Meathead,” Rob Reiner, who opposed Prop 8 when it was on the ballot in 2008 and who’s been “one of the biggest fundraisers behind the legal effort” to overturn it since.

Other prominent Hollywood leftists who are against Prop 8 (and who attended Elton John’s concert as well) were David Geffen, who gave at least $200,000 to defeat Prop 8, Steven Spielberg, Barbra Streisand, Norman Lear, Matthew Morrison, Jane Lynch, Adam Lambert, Marisa Tomei, Jason Mraz, J.J. Abrams, and “Milk” screenwriter Dustin Lance Black.

Moreover, through a website founded by Will Ferrell, another group of Hollywood personalities did their part to oppose Prop 8 via a video mocking Christians, who are staunch defenders of marriage, and Christ Himself. The Hollywood personalities in the video included Jack Black, Neil Patrick Harris, John C. Reilly, Andy Richter, Maya Rudolph and Margaret Cho.

And of course, what Hollywood v. the Heartland battle would be complete without Keith Olbermann inserting himself into the drama? Back when he still had a job at MSNBC, Olbermann did a PSA to tell everyone in flyover country that gays in California—whom he thoughtfully described as “these people”—just “want the same chance at permanence and happiness that is your option.”

The bottom line: Hollywood trumped the will of salt-of-the-earth Americans once more, and in so doing, reminded everyone of the great divide that exists between celebrities on the far left coast and those whom they count on to watch their movies, listen to their music, etc. Through their efforts, the will of a clear majority of California voters was overturned and marriage redefined in what, sadly, is not a Hollywood production but real life.

Watching the just-released Blu-ray was almost as profound an experience because the sound and picture are so vivid that — well, I won’t say it’s like seeing “The Lion King” again for the first time, but it is certainly an enhanced experience. And this is the thing I hate about Blu-ray; there are 2500 DVDs sitting in my collection and Blu-rays like “The Lion King” make me unhappy with the whole lot of them. I finish the adventures of Simba in awe of what a difference Blu-ray makes and then think of my “old” collection with the sickening feeling that I just wasted a couple years’ pay on an Edsel.

And sure, while the mind-blowing animation presented in mind-blowing high-def is certainly part of the draw, none of that means a thing without a compelling and timeless story that works on almost too many levels to count. Themes of courage, duty, manhood, and bravery are all explored through complicated (in a good way) relationships that often force our young protagonist to make emotionally impossible choices. This is heavy stuff for an animated film, but the presentation is so beautifully handled, nothing feels close to heavy.

I suppose kids sense and learn from these themes on a gut level, but the screenplay is so mature and well-structured that adults can’t help but appreciate the brilliance that went into almost every scene. And as someone who has never been a big fan of animated films that stop in order to break into song, “The Lion King” is a notable exception. Hans Zimmer’s Oscar-winning score and the songs by Elton John and Tim Rice are not only good, they’re memorably good. In fact, you can’t imagine the film without them, which isn’t the case for most post-1950 Disney offerings.

The two-disc package is loaded with extras, including extended scenes, deleted songs and scenes, a sing-along feature for the kids and two behind-the-scenes looks at the making of this unqualified masterpiece.

I’m only willing to invest the money replacing a very few of my DVDs with Blu-ray, and this would certainly be one of them.

The story focuses on the garden gnomes found in two neighboring yards, who are distinguished respectively by their red and blue outfits. Each side has been at war with the other for as long as they remember, largely due to the fact that their human owners hate each other.

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Amid the intricate worlds of each garden – which are laid out in snappy musical montages – are the two title characters, who each wonder why their side has to hate the other. They meet in cute fashion and start a secret romance, and just like in the original “Romeo & Juliet” things go awry when they are caught together, leading to a series of seemingly tragic events.

The key word here, in this G-rated rendition of the tale, is “seemingly.” For in keeping with the need to protect young minds while ultimately using the storyline to teach a message of tolerance in an entertaining rather than heavy-handed fashion, Elton John and his talented team reinvent the play’s third act to create a much happier outcome than the original. While this might upset particularly uptight purists, for most this will mean that the storyline has not only been rendered with more innocence, but with a sense of the unexpected as well.

The film is packed with amusing references to John’s musical career, including a hilarious moment in which a gnome named Benny dances on a computer keyboard while it inadvertently blasts out the opening keyboard riff from “Bennie and the Jets” and another gnome’s twisted take on “Your Song” to describe his nasty cold.  Director Kelly Asbury  (“Shrek 2”) also handles the frequent action scenes with just the right blend of mischief and danger, while also subtly wringing tears with a sad montage that details the way a lawn flamingo lost his greatest love in a gripping new John ballad called “Love Builds a Garden“ that ranks with his finest tunes.
 
As the lead voices, James McAvoy (“Wanted”) and Emily Blunt (“The Devil Wears Prada”) do a fine job, but it’s the rest of the film’s voice actors who add a surprisingly clever aspect to the film. The vocal cast ranges from Oscar-quality actors like Michael Caine and Maggie Smith to Ozzy Osbourne, Hulk Hogan and Dolly Parton, with Parton‘s quick part especially delightful.

Beyond that, the film will also interest adults through the seemingly political symbolism of the war between red and blue-colored forces. While the frequent references to their colors might seem to be a metaphor for the red state-blue state political divide in America, it is in fact an incredibly prescient coincidence, as Elton John conceived of the film’s concept more than a decade ago – but it still adds a fun extra level to consider in the story.

But in hearing a song like “Saturday Night’s Alright for Fighting” as the rocking soundtrack to a drag race between gnomes riding lawnmowers, or “Don’t Go Breaking My Heart” used in a zippy romantic montage, the film becomes so purely enjoyable that one can only wonder why it took so long for rock songs to perfectly fit an animated film and whether there are other stars whose catalogs can do the honors for other cartoons.   One can only hope that Billy Joel or The Beatles won’t be far behind.

For instance, I’m checking the First Listen site for the debut solo album of Animal Collective’s Avey Tare (it’s excellent, by the way), and I see right next to it that Elton John is releasing a collaboration with Leon Russell– whoa! (Click)

“The Union… two classic pop singer-songwriter pianists combining their talents, awesome… Elton John being a super classy guy and trying to elevate Russell’s celebrity, sweet… some top-tier production on those lead-in instruments… Wait, what the heck is Daft Punk doing in here???”

And here I find one of the two fatal flaws of the album: TOO MUCH AUTO-TUNE. I’m not averse to using this effect as a tool for pitch correction or as an instrument unto itself (the sad robot voice used by Bon Iver, Kanye West, and, recently, Sufjan Stevens can be perfectly appropriate), but if you’re using it as the former, at least be a little subtle about it!

Obviously, John and Russell probably don’t have the pipes they once had. Russell’s singing style was always about dancing around the periphery of perfect notes (and the man underwent brain surgery only weeks before recording!). So they’re bound to have some less-than-perfect vocal tracks. When you face that problem, you can either re-record for a better take, leave the track alone and allow that roughness to flavor the performance, or make your singer sound like he’s gargling. Legendary producer/songwriter (and recent Oscar winner) T-Bone Burnett chose Option #3. Why? It’s cheaper and faster than Option #1, and it’s more marketable than Option #2.**

It’s more sad than anything, because that cheapo decision mars some really great contempo-jazz-gospel-rock. Opener “If It Wasn’t For Bad” has Russell robo-crooning (the necessary neologism for that being “chrooning”) over a playfully dark indictment of a false lover. Within the first phrase his voice has already become grating; at the end of the song it turns the natural quiver of his aged voice into totally unnatural-sounding modulation. Things get even worse on some of the slower ballads like “The Best Part of the Day” and the sullen “There’s No Tomorrow.” During the latter, the two singers harmonize, and there’s some phase cancellation on sustained notes since the sound waves for their vocals have been made practically identical. It takes you right out of the song.

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I can’t stress enough how I’m not complaining about the writing or arrangements here.  The veteran stars don’t take themselves too seriously, and they don’t goof around too much either.  The album’s two best songs come consecutively; “Hey Ahab” pounds along with a driving rock piano riff and gruff, aggressive vocals from John, and the Civil War-inspired dirge “Gone to Shiloh” finds powerful resonance through the sorrowful guest vocals of Neil Diamond.  And unfortunately, their strength turns out to be the undoing of the album; as tracks 3 and 4 out of 14, the album comes front-loaded with power and fizzles out through the remainder of its hour-long runtime.

The majority of The Union’s other songs are serviceable, catchy, etc., but they lack that same immediacy and profundity.  What’s more, everything chugs to a halt with the seventh track, “Monkey Suit,” a peppy big-band tribute to Chuck Berry that goes on at least two minutes too long, and we, the listeners, have to slog through seven more tracks after that.  Had Burnett, John, and Russell decided to cut the album down to ten songs, tighten up the editing on a few of them, and saved “Shiloh” for the climax, it could’ve been a great album, even despite the lazy pitch-straightening.

There’s no doubt Elton John is a super-cool guy who’s completely unafraid of PC establishment journalists (though he does carry the ultimate trump card ever if they turn on him).  Both he and Leon Russell are extremely talented and creative, and it’s great to see Russell get some belated recognition for his contributions to pop music in the ’60s and ’70s.  But as with any creative endeavor, your final product is only as good as its weakest link.  For the inevitable ReUnion album, they’ve only got to do two things to smash it out of the park:  don’t overproduce it, and hire an editor with acute ADD.

*I kid, I kid.  I would wholeheartedly welcome this feature on private companies’ websites which are bound to be designed a billion times better.  Since when does “Pause” mean “I really don’t want to pause but want to be taken back to the start of this hour-long album”?

**There is a fourth option: hide the robot voice with distortion and other effects.  As my singing is about as good as New York’s rent is too damn low, I tend to over-do it with this choice.

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Tonight:

Jim Norton!

Reshma Shetty!

Arthel Neville!

and a special guest to discuss that Missouri thing

Today’s Arizona Daily Star:

Elton John didn’t mince words in slamming his fellow musicians for boycotting Arizona over the controversial SB 1070 immigration law. From the stage at his sold-out Tucson Arena concert Thursday night, John savored a few choice, not-so-family-friendly words:

“We are all very pleased to be playing in Arizona. I have read that some of the artists won’t come here. They are (expletive)wits! Let’s face it: I still play in California, and as a gay man I have no legal rights whatsoever. So what’s the (expletive) with these people?”

Full story is here.

If Elton were to ever club a baby seal while smoking a cigarette and twirling an unregistered handgun, I might just marry him.

What’s more rock and roll? Bono, Bruce and Sting’s sanctimony or the Rocket Man’s rebellious middle finger to liberal lock-step conformity?

The Associated Press:

Pounding his piano in blue-tinted sunglasses before nearly 50,000 screaming fans, Elton John took center stage in a battle over Israel’s image.

The legendary British rocker’s concert on Thursday night followed a string of cancellations by artists like Elvis Costello and the Pixies. Resisting a growing wave of calls from pro-Palestinian activists to boycott the Jewish state, John gave Israelis a rare reason to smile amid their increasing sense of international isolation.

“Ain’t gonna stop me from coming here, baby,” he told the cheering crowd in Tel Aviv, saying he believed music should spread peace and bring people together: “That is what we do. We do not cherry-pick our consciences, OK?” he added, in an apparent swipe at the artists who have canceled concerts in Israel. ….

A small French cinema chain postponed a showing of an Israeli comedy and replaced it with a documentary about an American student crushed to death by an Israeli army bulldozer during a 2003 Gaza protest, drawing condemnations from some French newspapers and French Culture Minister Frederic Mitterrand. ….

Musicians like Costello and the Pixies bowed to online pressure and canceled gigs in Israel. John was targeted as well, but vowed to play on.

“I have always believed that music inhabits a world set apart from politics, religious differences or prejudice of any kind,” he said in a statement before coming to Tel Aviv.

Read the full piece here.

Sir Elton John and his Civil Partner David Furnish

Ain’t that a kick in the pants? As it would seem, Elton John and Rush Limbaugh share the exact same opinion in regards to gay marriage. Coincidentally, so do a majority of Americans. So does this mean that everyday Americans, politicians (both Republican and Democrat), Rush Limbaugh and –gulp– Elton John all hate… the gays?

At least that’s how mainstream media would try and spin it. Most leftists in the press have simply tried to bury those less than “typically gay” quotes. Why? Well, when Elton John speaks the truth, it disrupts the sensationalized narrative that the media and Hollywood have been setting for years; If you don’t support gay marriage, you must secretly despise gay people.

It’s Hate Vs. Gay. Period.

Clearly there are some people even in the gay community tired of the blatant pandering and simple-mindedness. Elton John most likely understands that 57% (those who support same-sex civil unions) of Americans don’t revile his tiny-dancing self. Sure they may recommend some serious orthodonture, but that really only comes from a place of love. The fact is that Americans continue to purchase his albums and support him as an artist, yet still uphold a traditional view of marriage.

See how that works?

Now, the Rocket Man’s opinion could be based on a multitude of reasons, be it cultural, political or ethical. Either way, it shouldn’t matter. People should be entitled to express their personal viewpoint without being called a “whore,” as Mike Musto so eloquently put it last night on Olbermann.

Let’s just boil down the Rush Limbaugh/Elton John controversy for a second:

Rush Limbaugh: ANTI gay marriage and PRO civil union.

Elton John: ANTI gay marriage and PRO civil union.

Here we have two incredibly different people with two wildly different worldviews actually agreeing on something! How can that be construed as anything other than a thing of beauty? Where’s the “We Are the World” choir?

The truth is that the gossip-hounds in Tinseltown and the cackling hags at “The View” don’t want civility. They want catty gossip and sensational headlines that provide them with an opportunity to hop on the bully pulpit. When it comes to the liberal agenda, it’s more important to pigeonhole people than it is to speak the truth.

Poor Elton… Why couldn’t he just learn his role? He shouldn’t be reaching across the aisle, making friends with those of a different stripe or articulating his personal worldviews. He’s just our gay little song-monkey. At the end of the day, Elton, isn’t that enough?

Apart from that, wouldn’t you rather perform at Sean Penn’s wedding? I hear he’s got a few left in him.

The large party room with stage at the Senior Center was filled to capacity by the time Elvis appeared.  He brought a ten-piece band including five back-up singers wearing black suits and ties and one black dress.  Elvis wore a dazzling white preacher’s suit with a crimson cravat.  The first half was devoted to Gospel, beginning with a stunning a capella “Swing Low Sweet Chariot,” and proceeding through a remarkable set of songs including “Walking With the Spirits, “The Battle of Jericho” (which employed a heavy doo-wop style,) “Rock My Soul,” and an a capella “Johnny Saw a Big Number” that stunned.

This is much more than homage.  George Gray has a huge emotive tenor that evokes Elvis with ease.  Gray and the band worship the King and his music and it shows in every note.  Bass vocalist Charlie Spillman, from Fort Collins, anchored the chorus with freight train authority.  The first half ended with “Amazing Grace” and “How Great Thou Art.” 

The band returned for the rock and roll half in fresh costume, singers wearing shimmering ivory and slate dashikis, Elvis in sequined white jumpsuit with a belt buckle the size of Texas.  This was the mature Elvis.  Anyone looking for that skinny guy in the black leather jumpsuit was advised to seek elsewhere.  Trombone, flugelhorn and the rhythm section played Strauss’ “Thus Spack Zarathustra,” the official over-the-top pop intro since Kubrick’s 2001: A Space Odyssey. 

Elvis leaped into “That’s All Right Mama” and his whole demeanor changed.  Whereas before he had been rooted to one spot, this rockier Elvis moved around and struck Elvis poses which were both homage and parody.  There was nothing parodistic about the singing, however, as Elvis ripped through “Return to Sender,” “Heartbreak Hotel,” “Teddy Bear,” a mash-up of “Hound Dog” and “All Shook Up,” “Love Me Tender,” and many others.  Periodically he would summon some granny from the audience, allow her to mop his brow before bestowing a silk kerchief.  The grannies loved it.

Elvis slowed it down for “Suspicious Minds,” showcasing his powerhouse range and mastery of dynamics.  He ended with a mash-up of “Dixie” and “The Battle Hymn of the Republic.”

Out in the hall was a poster for Steve Lippia, the Sinatra impersonator who is bringing a full orchestra to the Civic Center.  The tickets are over thirty-five bucks but hey, if you close your eyes…

As I contemplate the current music scene I wonder which contemporary performers will spawn the sincerest form of flattery.  There are already numerous takes on the Beatles.  The Rolling Stones are problematic.  Future imitators will focus on individuals.  Elton John, Billy Joel, the Boss?  Will there be Springsteen imitators?  Anything is possible but no contemporary figure compares to the iconic status of an Elvis or a Sinatra.

In this episode, “NewsBusted” covers: President Obama, Democrats, Health Care Legislation, CNN, Obama’s Reelection, CPAC, Dick Cheney, Dalai Lama Cufflinks, Larry King Live, Sean Penn, America’s Troops, Boredom, Elton John, and Tiger Woods.