Latest news with #Goldbergs
Daily Mail
8 hours ago
- Entertainment
- Daily Mail
Shock as Curb Your Enthusiasm star REFUSES to go onstage at comedy show over $800 check
Jeff Garlin does not accept checks. A Calabasas, California country club found that out the hard way, when the Curb Your Enthusiasm star prematurely left a gig there last week because the venue couldn't pay his $800 fee in cash. Garlin, who played Jeff Greene on the iconic HBO comedy from Larry David, left his slated gig at the Calabasas Country Club over the lack of physical money on hand, insiders told Page Six on Wednesday. The Chicago-born comic-actor, who also played the role of Murray Goldberg on The Goldbergs, left about 40 people in attendance upset at his departure, after they had specifically come to watch him onstage, a source told the paper. 'The crowd was pissed - most of them had come to see Jeff,' the source told the outlet. One insider tried to explain to the outlet that Garlin - who played Jeff Greene on the iconic HBO comedy from Larry David - 'can be a very neurotic guy' and 'get hung up on things.' Daily Mail has reached out to Garlin's reps for further comment on the story. Garlin - who is celebrating his 63rd birthday Thursday - has more than 212,000 Instagram followers on his account on the platform. A description for the Calabasas Country Club on its website touts the location's golfing amenities as 'a championship golf course designed by Robert Trent Jones Sr. & Jr.' and 'a thoughtfully crafted experience for golfers of all skill levels.' The club added: 'Each round provides beauty, variety, and a unique challenge. The picturesque setting also serves as a perfect backdrop for weddings, parties, and special events, with expert planners and chefs ensuring every detail is flawless. The venue said it 'boasts a Callaway Performance Center, a Dave Pelz short game area, a full driving range with natural grass, and a 6,000-square-foot fitness center with golf-specific training and group fitness classes.'
Yahoo
21-05-2025
- Entertainment
- Yahoo
Joe Jonas Reunites with Aly & AJ for TikTok Set to Their Hit 'Potential Breakup Song' — Long Rumored to Be About Him
Aly & AJ's "Potential Breakup Song" is long rumored to have been written about Joe Jonas The sister duo and Jonas teamed up for a TikTok video set to the song on May 19 See what Aly & AJ have said about the song's inspirationIs Aly & AJ's "Potential Breakup Song" about Joe Jonas? Following years of rumors alleging the duo's hit song was written about AJ Michalka's teenage fling with Jonas, the 33-year-old Goldbergs star and sister Aly Michalka, 35, joined the DNCE frontman, 35, for a TikTok video set to the song — and joked about fans' theories behind the lyrics. The video features Jonas, AJ, and Aly each singing a line of the song's first verse while appearing to talk into their phones: "It took too long, it took too long, it took too long for you to call back / And normally I would just forget that / Except for the fact that it was my birthday / My stupid birthday." In the TikTok caption, Jonas joked, "Ok but I'd never do that on your birthday." Aly & AJ then commented, "And yet they STILL think it's about you." Sorry to burst any bubbles, but the "What It Feels Like" performers have already debunked the rumor "Potential Breakup Song" is about Jonas. However, he and AJ did briefly date, and the sisters have confirmed they wrote another track about him. In a 2020 interview with Insider, AJ explained "Potential Breakup Song" wasn't written with "any particular person" in mind. "At the time, we weren't thinking it was going to be a breakup anthem, but it kind of became that, which is really cool," she said. The same year, the sisters responded to an X post claiming the song is about Jonas — and revealed the track "Flattery" from their Insomniatic album is actually inspired by him. Earlier this year, Aly & AJ appeared on the Call Her Daddy podcast, and AJ told host Alex Cooper that Jonas was her first kiss — "in a bowling alley. It was so innocent. It was sweet," she said. is now available in the Apple App Store! Download it now for the most binge-worthy celeb content, exclusive video clips, astrology updates and more! Both alums of Disney Channel, Aly & AJ and the Jonas Brothers crossed paths several times throughout their early careers and toured together with the Cheetah Girls. Their latest TikTok collaboration was filmed the same day the sister duo popped up at Joe's concert at the Peppermint Club in Los Angeles to perform their song "No One" from their 2005 album Into the Rush. Earlier this month, Aly & AJ released their new album, Silver Deliverer, and they're heading out on tour later this year. In a recent interview, they teased their upcoming setlist. "Fans can look forward to hearing, obviously, this new album. We're going to play songs from A Touch of the Beat, With Love From," said Aly. "Obviously there's going to be some songs from Rush on there, and a little Insomniatic. Of course, you're going to get 'Potential Breakup Song' live, duh. Can't leave that one out." Read the original article on People
New York Times
28-04-2025
- Entertainment
- New York Times
Review: Yunchan Lim Embraces the Journey of Bach's ‘Goldbergs'
The gentle Aria at the start of Bach's 'Goldberg' Variations can be inward looking, aching with loneliness. But in the pianist Yunchan Lim's hands, on Friday at Carnegie Hall, the music sounded brisk and bright. In its early going, Lim's rendition of the 'Goldbergs' was studious and polite, for an effect that was a little like a gifted child giving a recital. Just 21 and boyish, Lim even looked the part on Friday, in white tie and tails — throwback attire for today's young pianists — as if playing dress-up in his father's tux. When he announced that he would be touring with the 'Goldbergs,' I thought it might be a kind of dress-up, too. While the work, which consists of the Aria and 30 variations on its bass line, has moments of extroverted virtuosity, mostly it requires preternatural reserve and concentration over some 75 minutes. It's not usually the province of rising dynamos like Lim, who soared to fame after winning the Van Cliburn International Piano Competition in 2022 with a barnburner Rachmaninoff concerto. But as he has shown again and again, while he has the technique to offer speed and power, his true gift is for restrained poetry. At first, that poetry felt hard to come by on Friday. During repeats of sections in the early variations, the ornamentation had a look-what-I-did showiness rather than deepening the musical line. The fourth variation's crispness had a certain stiffness, and the fifth was taken at such a clip that its rush of hand-crossing notes was murky. But from then on, the fast variations were exhilaratingly precise. Subtle use of the sustaining pedal helped Lim explore the shadowier harmonies in the sixth variation. He began to use distinctions in repeated material — as, in the 10th variation, taking the first section more quietly the second time — to give a sense of thinking things over, of evolving. This became a Bach of heightened, nearly Romantic intensity and contrasts. The 11th variation started at the barest murmur; in the second section of the 13th, Lim almost seemed to be stopping phrases in midair. The 14th variation was a burst before the long Andante canon of the 15th — here an adolescent exposure of painful emotion — and a weighty rather than sprightly 16th. Lim was even more characterful, and took more risks, in the work's second half. In the 19th variation, his playing in the upper reaches of the piano had the pristine sweetness of a snowglobe. His 23rd blurred the beat to evoke pure texture. In the great 25th variation, as in the 13th, he drew out the music until it felt almost lost, but his focus kept the line together enough to build tension without breaking. The variations that followed had a palpable sense of release from that tension, but also surged headlong toward the 30th, which was delivered as mature, calmly joyous songfulness. At the end of the 'Goldbergs,' the Aria from the beginning is repeated, note for note, after over an hour of variations. Ever so slightly slower, ever so slightly more veiled, Lim played it like someone who has traveled a long way and recalls his past: distant yet loving, without section repeats this time, not lingering. On Friday, I assumed that the increasing depth of Lim's 'Goldbergs' during the concert might have been him settling in. But after, I wondered if he'd had the intention, or at least the instinct, to turn Bach's journey into the account of a young man growing up. In this context, his brief encore was witty and also quite moving: the bass line of the Aria, shorn of its famous melody, played by the left hand alone. This is the material from which the 30 variations germinated, both the beginning of everything and the stark, simple end.
The Guardian
08-04-2025
- Entertainment
- The Guardian
Yunchan Lim review – young pianist's Bach dazzles and intrigues
JS Bach's Goldberg Variations is a work many pianists put on the back burner for years, waiting until they feel their interpretation has matured before showing it to the world. Not so for Yunchan Lim, who turned 21 a couple of weeks ago in between giving concerts of the Goldbergs in the US. Maturity and youth collided intriguingly in this hot-ticket performance, his first of the work in the UK. He gave us the theme simply, if also relatively weightily, emphasising a few moments of left-hand countermelody, before springing into a first variation full of zingy trills. By Variation 5, the first real allegro, he was dazzling us, the notes rattling past but with all the internal phrasing crystal clear and none of the threads tangled. That early way of spotlighting fleeting left-hand phrases became an ongoing feature – as did a degree of playful licence, with some of the repeats played up or down an octave, sounding either music-box-like or grumbly. It was a kaleidoscope, each variation taking a new colour and pattern formed from the possibilities of those that had gone before. It felt simultaneously spontaneous and impeccably thought through. But was he throwing a little too much at it? Especially in the later variations he seemed to be reminding us that he also loves playing Chopin and Rachmaninov; at times it felt as if he were signposting profundity. Lim certainly seems open to this work's myriad possibilities; perhaps he will come to let the music own its subtleties a little more. He was due back for a second performance 16 hours after this one finished – it would be fascinating to know how alike they were. It didn't really need an opener, or an encore, but we got both. First came Round and Velvety-Smooth Blend by the teenage Korean composer Hanurij Lee, in which episodes of frenetic activity punctuated passages of mesmerising stillness, beautifully achieved. And, after all that Bach, it was Liszt's Petrarch Sonnet 104 that Lim sent us out with. Frustratingly, the melody didn't always sing to the very end of each phrase, but he had so much to say that it was riveting nonetheless.
