B.C. bird named Bruce discovers unique art talent, makes an unexpected friend
Adam finds out how a bird named Bruce discovered a unique talent, and made an unexpected friend.
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CBC
an hour ago
- CBC
What Bruce Springsteen's lost albums reveal about him as an artist
Today, Bruce Springsteen decided to grace fans everywhere with not just one album, but seven albums of previously unreleased music. The box set, Tracks II: The Lost Albums, contains 83 new songs which showcase the Boss's love of country and orchestral music. Today on Commotion, host Elamin Abdelmahmoud chats with music journalists Carl Wilson, Vish Khanna and Niko Stratis to discuss the massive new release from Springsteen. We've included some highlights below, edited for length and clarity. For the full discussion on Serge Fiori's legacy and Lorde's new album, listen and follow Commotion with Elamin Abdelmahmoud on your favourite podcast player. WATCH | Today's episode on YouTube: Elamin: Niko, this is a box set that spans from 1983 all the way to 2018, the vast majority of it recorded in the 1990s. Where was Bruce in this era? Why did he have so much music stockpiled, but not released out to the public? Niko: The '90s are such a funny period for Bruce. He has referred to people saying that that's his lost decade. He has very few records come out in the '90s. He has two come out at the same time, Human Touch and Lucky Town. Lucky Town comes out in '92. He does Streets of Philadelphia in '93. And then Ghost of Tom Joad comes out in '95. And that's kind of it. It's not until The Rising comes out in 2002 that we get anything new from Bruce. So it is this lost period. He's moved to California at this time. He's in Los Angeles, he's having kids, he's having a family — and he's made a lot of music, we just never heard it. Listening through this now, it is interesting to hear: where was Bruce in this era that we didn't really hear a lot from him? What did he sound like? What was he doing? What was he trying to do? And how would this have felt if it came out in the years that he recorded them? Had he put a country record out in '95 when he also did Ghost of Tom Joad, would people have been into it? And it's impossible to know the answer to that question. But now we have 83 tracks through which to wonder: what would have happened if Bruce was just throwing spaghetti at the wall his entire life? Elamin: Suddenly, you get this moment, Vish, where you are not confronted with, but blessed with, shall we say, a gigantic flood of new Bruce Springsteen songs that range in their styles. We have a country-style album. We have some orchestral stuff. He's working with a lot of different styles. What's it like waking up and being like, "Oh my gosh, look at all this, the Bruce bounty?" Vish: I think those of us who follow older artists are becoming accustomed to people putting out outtakes or unreleased material collections. In my memory — and I might be wrong — I can't think of anything like this. I can't think of any artist of his calibre being like, "Here's seven complete albums I made. I put out other stuff instead of this. So here you go." So when these collections come out, one thing beyond just marveling at the music that we get to hear, fans have to reckon with what our favourite artists' decision making processes are, their indecisiveness, their contemplation, the fact that they really think about these things. This particular set had me thinking: what if Bruce and Dylan — Bob Dylan, by the way, is who I'm referring to there — what if Miles Davis, Neil Young, all these people had Bandcamp or SoundCloud? Can you imagine? These days everyone's just like, "Hey everyone, I made a record last week, here you go." These folks sit on these things and I think it's kind of interesting because we're like, "OK, you didn't put this out? It's perfect. This is great." And I think the other thing we wrestle with as fans is: the stuff that did come? I don't know if it's as good as this now. I just think it's fascinating that Bruce and some of the other people I mentioned are able to provide us these alternate histories, while they're alive. That's really unusual to have all these people be like, "Here's what I did, here's what I could have done, here you go." Elamin: Carl, when you look at this box set, what does it tell you about what Bruce Springsteen wants us to know about him right now? Carl: It doesn't tell us anything we don't already know after the last 15 years or more of outtake albums and bonus discs. We're aware that Bruce produced work like a MF at all times. There is this project, I think, in the last decade of really putting the archives in order, alongside telling his story and his autobiography, alongside doing the Broadway show based on the autobiography, alongside making these documentaries. Bruce Springsteen wants to tell the Bruce Springsteen story. And the interesting thing is that he's willing to tell it now in a broader way. When Vish was talking about the choices that were made to put these albums out or not, I think a big part of it is that a lot of those projects here didn't suit the story that Bruce wanted to tell about Bruce Springsteen at particular times. They're not the heroic man of the people, masculine Bruce Springsteen at all times. They're kind of the weird artist Bruce Springsteen, obsessively making stuff in the garage studio. At various points, he veers away from putting out the orchestral pop album, from putting out the synthesizer album, from putting out the more mainstream country album instead of the Woody Guthrie-esque country album. So all of those choices show up here. And there's a romance to the idea of lost albums. And there is also the indications of strategy and fears about public perception and all of those kinds of things that are the backside to all of that.
Globe and Mail
2 hours ago
- Globe and Mail
Brookwell McNamara Entertainment Presents: One Man's Vision - Inspiring Biopic Set for a Motion Picture
Los Angeles, California--(Newsfile Corp. - June 27, 2025) - A blind boy from America's heartland changed the way the world drives. One Man's Vision: Inspiring Biopic set for a Motion Picture This is the powerful story behind One Man's Vision, the upcoming feature film inspired by the life of inventor Ralph Teetor - the mind behind Cruise Control - who lost his sight at age five but never lost his vision of what was possible. Inspired by the book, One Man's Vision, by the late Marjorie Teetor Meyer, the film is a collaboration between Brookwell McNamara Entertainment, Blind Logic Productions, and Bernstein/Romero Productions. At its core, it's a story of iron-willed perseverance, love, and how one man refused to be defined by his blindness and instead shaped the future of the American automotive industry. An American triumph over tragedy story that follows a man who overcomes unthinkable odds. Ralph Teetor lived his life as a sighted person. His own daughter didn't know he was blind until age 10. Reuniting the team behind the 2024 biopic Reagan, the film will be written by Howard "Howie" Klausner and directed by the acclaimed filmmaker Sean McNamara. Producers include David Brookwell, Jack Teetor, and Gary Bernstein, with Klausner also serving as executive producer. McNamara's credits include Soul Surfer, On a Wing and a Prayer, and the upcoming John O'Leary story Soul on Fire, for Sony Pictures and Emile Hirsch's Holocaust drama Bau: Artist at War, for Paramount Pictures. Klausner's writing includes Space Cowboy's (Clint Eastwood), The Last Ride, and The Identical. David Brookwell brings decades of experience in feature films and television. This film was sparked by Ralph Teetor's great nephew, Jack Teetor, who produced the award-winning documentary, Blind Logic, premiering on July 8 th on digital platforms and cable providers. "Ralph's legacy goes far beyond Cruise Control," said Jack Teetor. "It's about resilience, imagination, and a love story that fueled his pursuit of achievement." Cannot view this video? Visit: Producers Gary Bernstein & Ernesto Romero introduced Brookwell McNamara to Jack Teetor and discussed a feature film about Ralph Teetor's life. Gary Bernstein produced the highest rated series on six different networks including "Lingo" which has been on the air for five decades. Bernstein commented, "After reading the book, 'One Man's Vision,' I knew immediately it needed to be a motion picture and I'm excited to play a role in bringing it to fruition. Ralph Teetor's life story caused a major positive paradigm shift in my life and I'm certain the motion picture will do the same for millions of others." McNamara added, " I'm so excited to be making 'One Man's Vision' for the big screen. This is an extraordinary American story that is not just about bringing Ralph Teetor's remarkable journey to life, it's about illuminating the power of resilience and innovation against all odds. I am thrilled to share his inspiring legacy with the world!" BROOKWELL MCNAMARA ENTERTAINMENT Los Angeles, CA
CBC
3 hours ago
- CBC
Jerry Bruckheimer was terrified that Brad Pitt would crash his car while shooting F1
For the better part of four decades, Hollywood producer Jerry Bruckheimer has been a kind of blockbuster travel agent for audiences around the globe. "We're in the transportation business," he tells Q guest host Talia Schlanger in an interview. "We transport you into another world." Bruckheimer has taken movie-goers on a spaceship to an asteroid in Armageddon, into the back of a cop car with Will Smith in Bad Boys, and into the cockpit of a fighter jet in Top Gun. His latest movie, F1, brings you to the racetrack for a front row seat at one of the world's biggest sporting events. WATCH | Official trailer for F1: The new high-octane blockbuster stars Brad Pitt as an aging Formula One driver who attempts to make a comeback 30 years after his promising career is derailed by an accident. As a veteran producer, Bruckheimer had to draw on everything he knows about making action movies to pull off the film's high-risk stunts, while also maintaining authenticity and keeping his actors safe. When Pitt signed on to the movie, he insisted on driving himself without the use of green screens. "When you see Brad in the car, he's in the car," Bruckheimer says. "[The actors] are in the car going 180 miles an hour, breaking down to 50. The G-force is in the corners; you hit five Gs when you go in those corners at 50 miles an hour. And the downforce is unbelievable." These are rocket ships that they're driving at these enormous speeds. - Jerry Bruckheimer While shooting the film's life-threatening scenes, Bruckheimer was constantly worried about Pitt's safety. He says his happiest day on set was when the A-list star stepped out of the car for the final time in Abu Dhabi. "That was his unhappiest day because it was over," Bruckheimer says. "He just loved it. Even though he took a beating physically…. You don't understand, these are rocket ships that they're driving at these enormous speeds." But despite all of the impressive action shots, Bruckheimer says it's "the emotional story" that really hooks you in. "You don't have to be a racing fan or know anything about F1 to really enjoy this movie because once we get you in the theatre, we're going to surround you with a great story, great visuals and great sound," he tells Schlanger. "You're going to have a great experience for over two hours. And I promise you, you'll feel better when you walk out than when you walked in."
