Cellar victim Kampusch raped, starved in film of ordeal

VIENNA (Reuters) – A new film based on the story of Austrian kidnap victim Natascha Kampusch shows her being repeatedly raped by the captor who beat and starved her during the eight-and-a-half years that he kept her in a cellar beneath his house.

Kampusch was snatched on her way to school at the age of 10 by Wolfgang Priklopil and held in a windowless cell under his garage near Vienna until she escaped in 2006, causing a sensation in Austria and abroad. Priklopil committed suicide.

Kampusch had always refused to respond to claims that she had had sex with Priklopil, but in a German television interview on her 25th birthday last week said she had decided to reveal the truth because it had leaked out from police files.

The film, “3,096 Days” – based on Kampusch’s autobiography of the same name – soberly portrays her captivity in a windowless cellar less than 6 square metres (65 square feet) in area, often deprived of food for days at a time.

The emaciated Kampusch – who weighed just 38 kg (84 pounds) at one point in 2004 – keeps a diary written on toilet paper concealed in a box.

One entry reads: “At least 60 blows in the face. Ten to 15 nausea-inducing fist blows to the head. One strike with the fist with full weight to my right ear.”

The movie shows occasional moments that approach tenderness, such as when Priklopil presents her with a cake for her 18th birthday or buys her a dress as a gift – but then immediately goes on to chide her for not knowing how to waltz with him.

GREY AREAS

Antonia Campbell-Hughes, who plays the teenaged Kampusch, said she had tried to portray “the strength of someone’s soul, the ability of people to survive… but also the grey areas within a relationship that people don’t necessarily understand.”

The British actress said she had not met Kampusch during the making of the film or since. “It was a very isolated time, it was a bubble of time, and I wanted to keep that very focused,” she told journalists as she arrived for the Vienna premiere.

Kampusch herself attended the premiere, looking composed as she posed for pictures but declining to give interviews.

In an interview with Germany’s Bild Zeitung last week, she said: “Yes, I did recognize myself, although the reality was even worse. But one can’t really show that in the cinema, since it wasn’t supposed to be a horror film.”

The movie, made at the Constantin Film studios in Bavaria, Germany, also stars Amy Pidgeon as the 10-year-old Kampusch and Danish actor Thure Lindhardt as Priklopil.

“I focused mainly on playing the human being because… we have to remember it was a human being. Monsters do not exist, they’re only in cartoons,” Lindhart said.

“It became clear to me that it’s a story about survival, and it’s a story about surviving eight years of hell. If that story can be told then I can also play the bad guy.”

The director was German-American Sherry Hormann, who made her English-language debut with the 2009 move “Desert Flower”, an adaptation of the autobiography of Somali-born model and anti-female circumcision activist Waris Dirie.

“I’m a mother and I wonder at the strength of this child, and it was important for me to tell this story from a different perspective, to tell how this child using her own strength could survive this atrocious martyrdom,” Hormann said.

The Kampusch case was followed two years later by that of Josef Fritzl, an Austrian who held his daughter captive in a cellar for 24 years and fathered seven children with her.

The crimes prompted soul-searching about the Austrian psyche, and questions as to how the authorities and neighbors could have let such crimes go undetected for so long.

The film goes on general release on Thursday.

(Reporting by Georgina Prodhan, Editing by Paul Casciato)

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Cellar victim Kampusch raped, starved in film of ordeal

VIENNA (Reuters) – A new film based on the story of Austrian kidnap victim Natascha Kampusch shows her being repeatedly raped by the captor who beat and starved her during the eight-and-a-half years that he kept her in a cellar beneath his house.

Kampusch was snatched on her way to school at the age of 10 by Wolfgang Priklopil and held in a windowless cell under his garage near Vienna until she escaped in 2006, causing a sensation in Austria and abroad. Priklopil committed suicide.

Kampusch had always refused to respond to claims that she had had sex with Priklopil, but in a German television interview on her 25th birthday last week said she had decided to reveal the truth because it had leaked out from police files.

The film, “3,096 Days” – based on Kampusch’s autobiography of the same name – soberly portrays her captivity in a windowless cellar less than 6 square metres (65 square feet) in area, often deprived of food for days at a time.

The emaciated Kampusch – who weighed just 38 kg (84 pounds) at one point in 2004 – keeps a diary written on toilet paper concealed in a box.

One entry reads: “At least 60 blows in the face. Ten to 15 nausea-inducing fist blows to the head. One strike with the fist with full weight to my right ear.”

The movie shows occasional moments that approach tenderness, such as when Priklopil presents her with a cake for her 18th birthday or buys her a dress as a gift – but then immediately goes on to chide her for not knowing how to waltz with him.

GREY AREAS

Antonia Campbell-Hughes, who plays the teenaged Kampusch, said she had tried to portray “the strength of someone’s soul, the ability of people to survive… but also the grey areas within a relationship that people don’t necessarily understand.”

The British actress said she had not met Kampusch during the making of the film or since. “It was a very isolated time, it was a bubble of time, and I wanted to keep that very focused,” she told journalists as she arrived for the Vienna premiere.

Kampusch herself attended the premiere, looking composed as she posed for pictures but declining to give interviews.

In an interview with Germany’s Bild Zeitung last week, she said: “Yes, I did recognize myself, although the reality was even worse. But one can’t really show that in the cinema, since it wasn’t supposed to be a horror film.”

The movie, made at the Constantin Film studios in Bavaria, Germany, also stars Amy Pidgeon as the 10-year-old Kampusch and Danish actor Thure Lindhardt as Priklopil.

“I focused mainly on playing the human being because… we have to remember it was a human being. Monsters do not exist, they’re only in cartoons,” Lindhart said.

“It became clear to me that it’s a story about survival, and it’s a story about surviving eight years of hell. If that story can be told then I can also play the bad guy.”

The director was German-American Sherry Hormann, who made her English-language debut with the 2009 move “Desert Flower”, an adaptation of the autobiography of Somali-born model and anti-female circumcision activist Waris Dirie.

“I’m a mother and I wonder at the strength of this child, and it was important for me to tell this story from a different perspective, to tell how this child using her own strength could survive this atrocious martyrdom,” Hormann said.

The Kampusch case was followed two years later by that of Josef Fritzl, an Austrian who held his daughter captive in a cellar for 24 years and fathered seven children with her.

The crimes prompted soul-searching about the Austrian psyche, and questions as to how the authorities and neighbors could have let such crimes go undetected for so long.

The film goes on general release on Thursday.

(Reporting by Georgina Prodhan, Editing by Paul Casciato)

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Cellar victim Kampusch raped, starved in film of ordeal

VIENNA (Reuters) – A new film based on the story of Austrian kidnap victim Natascha Kampusch shows her being repeatedly raped by the captor who beat and starved her during the eight-and-a-half years that he kept her in a cellar beneath his house.

Kampusch was snatched on her way to school at the age of 10 by Wolfgang Priklopil and held in a windowless cell under his garage near Vienna until she escaped in 2006, causing a sensation in Austria and abroad. Priklopil committed suicide.

Kampusch had always refused to respond to claims that she had had sex with Priklopil, but in a German television interview on her 25th birthday last week said she had decided to reveal the truth because it had leaked out from police files.

The film, “3,096 Days” – based on Kampusch’s autobiography of the same name – soberly portrays her captivity in a windowless cellar less than 6 square metres (65 square feet) in area, often deprived of food for days at a time.

The emaciated Kampusch – who weighed just 38 kg (84 pounds) at one point in 2004 – keeps a diary written on toilet paper concealed in a box.

One entry reads: “At least 60 blows in the face. Ten to 15 nausea-inducing fist blows to the head. One strike with the fist with full weight to my right ear.”

The movie shows occasional moments that approach tenderness, such as when Priklopil presents her with a cake for her 18th birthday or buys her a dress as a gift – but then immediately goes on to chide her for not knowing how to waltz with him.

GREY AREAS

Antonia Campbell-Hughes, who plays the teenaged Kampusch, said she had tried to portray “the strength of someone’s soul, the ability of people to survive… but also the grey areas within a relationship that people don’t necessarily understand.”

The British actress said she had not met Kampusch during the making of the film or since. “It was a very isolated time, it was a bubble of time, and I wanted to keep that very focused,” she told journalists as she arrived for the Vienna premiere.

Kampusch herself attended the premiere, looking composed as she posed for pictures but declining to give interviews.

In an interview with Germany’s Bild Zeitung last week, she said: “Yes, I did recognize myself, although the reality was even worse. But one can’t really show that in the cinema, since it wasn’t supposed to be a horror film.”

The movie, made at the Constantin Film studios in Bavaria, Germany, also stars Amy Pidgeon as the 10-year-old Kampusch and Danish actor Thure Lindhardt as Priklopil.

“I focused mainly on playing the human being because… we have to remember it was a human being. Monsters do not exist, they’re only in cartoons,” Lindhart said.

“It became clear to me that it’s a story about survival, and it’s a story about surviving eight years of hell. If that story can be told then I can also play the bad guy.”

The director was German-American Sherry Hormann, who made her English-language debut with the 2009 move “Desert Flower”, an adaptation of the autobiography of Somali-born model and anti-female circumcision activist Waris Dirie.

“I’m a mother and I wonder at the strength of this child, and it was important for me to tell this story from a different perspective, to tell how this child using her own strength could survive this atrocious martyrdom,” Hormann said.

The Kampusch case was followed two years later by that of Josef Fritzl, an Austrian who held his daughter captive in a cellar for 24 years and fathered seven children with her.

The crimes prompted soul-searching about the Austrian psyche, and questions as to how the authorities and neighbors could have let such crimes go undetected for so long.

The film goes on general release on Thursday.

(Reporting by Georgina Prodhan, Editing by Paul Casciato)

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Cellar victim Kampusch raped, starved in film of ordeal

VIENNA (Reuters) – A new film based on the story of Austrian kidnap victim Natascha Kampusch shows her being repeatedly raped by the captor who beat and starved her during the eight-and-a-half years that he kept her in a cellar beneath his house.

Kampusch was snatched on her way to school at the age of 10 by Wolfgang Priklopil and held in a windowless cell under his garage near Vienna until she escaped in 2006, causing a sensation in Austria and abroad. Priklopil committed suicide.

Kampusch had always refused to respond to claims that she had had sex with Priklopil, but in a German television interview on her 25th birthday last week said she had decided to reveal the truth because it had leaked out from police files.

The film, “3,096 Days” – based on Kampusch’s autobiography of the same name – soberly portrays her captivity in a windowless cellar less than 6 square metres (65 square feet) in area, often deprived of food for days at a time.

The emaciated Kampusch – who weighed just 38 kg (84 pounds) at one point in 2004 – keeps a diary written on toilet paper concealed in a box.

One entry reads: “At least 60 blows in the face. Ten to 15 nausea-inducing fist blows to the head. One strike with the fist with full weight to my right ear.”

The movie shows occasional moments that approach tenderness, such as when Priklopil presents her with a cake for her 18th birthday or buys her a dress as a gift – but then immediately goes on to chide her for not knowing how to waltz with him.

GREY AREAS

Antonia Campbell-Hughes, who plays the teenaged Kampusch, said she had tried to portray “the strength of someone’s soul, the ability of people to survive… but also the grey areas within a relationship that people don’t necessarily understand.”

The British actress said she had not met Kampusch during the making of the film or since. “It was a very isolated time, it was a bubble of time, and I wanted to keep that very focused,” she told journalists as she arrived for the Vienna premiere.

Kampusch herself attended the premiere, looking composed as she posed for pictures but declining to give interviews.

In an interview with Germany’s Bild Zeitung last week, she said: “Yes, I did recognize myself, although the reality was even worse. But one can’t really show that in the cinema, since it wasn’t supposed to be a horror film.”

The movie, made at the Constantin Film studios in Bavaria, Germany, also stars Amy Pidgeon as the 10-year-old Kampusch and Danish actor Thure Lindhardt as Priklopil.

“I focused mainly on playing the human being because… we have to remember it was a human being. Monsters do not exist, they’re only in cartoons,” Lindhart said.

“It became clear to me that it’s a story about survival, and it’s a story about surviving eight years of hell. If that story can be told then I can also play the bad guy.”

The director was German-American Sherry Hormann, who made her English-language debut with the 2009 move “Desert Flower”, an adaptation of the autobiography of Somali-born model and anti-female circumcision activist Waris Dirie.

“I’m a mother and I wonder at the strength of this child, and it was important for me to tell this story from a different perspective, to tell how this child using her own strength could survive this atrocious martyrdom,” Hormann said.

The Kampusch case was followed two years later by that of Josef Fritzl, an Austrian who held his daughter captive in a cellar for 24 years and fathered seven children with her.

The crimes prompted soul-searching about the Austrian psyche, and questions as to how the authorities and neighbors could have let such crimes go undetected for so long.

The film goes on general release on Thursday.

(Reporting by Georgina Prodhan, Editing by Paul Casciato)

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Warner’s “Jack the Giant Slayer” may see soft U.S., Canada debut

LOS ANGELES (Reuters) – Warner Brothers‘ “Jack the Giant Slayer,” the first big-budget, special effects-filled action movie of 2013, could be headed for less than huge sales at U.S. and Canadian box offices when it opens on March 1.

Industry tracking suggests the 3D movie based on the “Jack and the Beanstalk” fairy tale will debut with $ 27 million to $ 32 million in the domestic market during its first three days, according to sources who have seen the pre-release surveys.

The projections had climbed slightly from earlier in the week and could change closer to next Friday’s opening after marketing heats up and press coverage intensifies.

“Jack the Giant Slayer” cost an estimated $ 189 million to make.

Two of last year’s films with bigger budgets flopped, Walt Disney Co’s $ 250 million Mars epic “John Carter” and the $ 209 million action movie “Battleship” from Comcast Corp’s Universal Pictures, forcing the companies to acknowledge financial losses.

Distributor Warner Brothers, part of Time Warner Inc, believes “Jack the Giant Slayer” will attract a broad family audience and hopes for a North American (U.S. and Canadian) debut above $ 30 million, said Dan Fellman, president of theatrical distribution for the studio. He said he expects the studio will make a profit on the movie.

Warner Brothers surveys showed “tremendous support” for the movie among people age 15 and younger, and the film received positive reactions from theater owners, Fellman said, noting that family audiences haven’t had a big-event film since December’s “The Hobbit.”

The first weekend in March also has proved a winner for family films, Fellman said. A year ago, animated hit “The Lorax” opened with a strong $ 70 million.

In addition, “the international side of the market will be huge,” Fellman said.

A $ 30 million domestic opening for “Jack the Giant Slayer” would be “soft” for a big-budget film, said Janney Montgomery Scott analyst Tony Wible, who compiles a database to project film performance. Warner Brothers could still make back the movie’s budget, not including marketing costs, if the film opens domestically with at least $ 25 million, he said Wible.

Last year, Disney was forced to take a $ 200 million write-down for “John Carter.” And the chief financial officer of Comcast, Michael J. Angelakis, acknowledged in a call with analysts that “Battleship” was “primarily” responsible for Universal‘s $ 83 million second-quarter loss.

“Jack the Giant Slayer” was produced by Warner Brothers and Legendary Entertainment, which partnered with Warner on hits including “The Dark Knight” trilogy and “The Hangover” series.

Warner Brothers last year delayed the release of “Jack the Giant Slayer,” moving it from last summer to March 1.

The film stars Nicholas Hoult as a young farmer who ventures into the land of the giants to rescue a kidnapped princess.

The movie’s trailer suggests the studio is aiming for “Lord of the Rings” fans, said Phil Contrino, editor of Boxoffice.com, a website that tracks film comments on Facebook and Twitter.

So far, “it’s just not connecting with fantasy fans,” said Contrino, who estimates the film will take in about $ 23 million in the United States and Canada during its first three days.

The movie still has time to build more buzz and could enjoy a domestic sales boost if families turn out in force, Contrino said. Plus, “I can really see a movie like that clicking overseas,” he said.

International ticket sales can run at least twice as high as U.S. and Canadian grosses for big action movies.

(Reporting By Lisa Richwine in Los Angeles; Editing by Ronald Grover and Leslie Adler)

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Chicago bluesman Magic Slim dead at 75

LOS ANGELES (Reuters) – Guitarist Magic Slim, a mainstay of the Chicago blues scene who followed in the footsteps of such greats as Muddy Waters and Howlin’ Wolf, died on Thursday at age 75, his manager said.

Slim, the son of Mississippi sharecroppers, gave up the piano and turned to guitar after losing his right pinky finger in a cotton gin accident at age 13. He died at a Philadelphia hospital where he had been under treatment for various ailments, manager Marty Salzman said.

A heavy smoker who suffered from emphysema and heart problems, Slim was forced by illness to cut short a tour with his band, the Teardrops, in late January, Salzman said.

Born Morris Holt in Torrence, Mississippi, Slim grew up on a farm and made his first trip to Chicago in 1955, starting off as the bass player for a friend and mentor known as Magic Sam, who lent the younger musician his nickname.

Slim cut his first record in 1966 and became a Chicago blues fixture in his own right, developing a guitar style that blended a distinct vibrato with a slide-guitar-like sound formed with his bare fingers against the strings.

Known for playing with picks on both the thumb and index finger of his right hand – a somewhat unusual technique, according to Salzman – the guitarist was recognized as much for his powerful, gruff vocals as his musicianship.

With more than 30 albums to his credit, Slim also was known for an encyclopedic mastery of the blues, Salzman said.

“There’s probably not another bluesman who had quite the repertoire that Slim had,” he said.

While Slim lived in recent years with his family in Nebraska, “Chicago was always like home to him,” his manager said.

(Writing by Steve Gorman; Editing by Cynthia Johnston and Peter Cooney)

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Romanian cinema triumphs again with top Berlin award

BERLIN (Reuters) – Romania claimed another major scalp on the European film festival circuit this weekend when “Child’s Pose” won the Golden Bear in Berlin, underlining the country’s emergence as a powerhouse of hard-hitting cinema in the post-Communist era.

The film, directed by Calin Peter Netzer, tells the story of Cornelia, an obsessive mother who uses every trick in the book to prevent her son from going to jail after he kills a boy in a car accident.

It is the latest in a long list of critical hits that have enjoyed startling success at festivals like Berlin and Cannes in recent years, helping to bring Romania‘s cinema to a wider audience.

Some of Romania‘s top directors, who have enjoyed the artistic freedom that flourished after the death of Communist dictator Nicolae Ceausescu in 1989, dismiss talk of a cinematic “new wave”, saying it lumps together very different styles and stories.

But ever since Cristi Puiu’s “The Death of Mr. Lazarescu” hit Cannes in 2005, and two years later his compatriot Cristian Mungiu won the coveted Palme d’Or there for the harrowing abortion drama “4 Months, 3 Weeks and 2 Days”, Romanian cinema has been firmly on the map.

“It is an acknowledgement, I think, that Romanian cinema is still producing good quality cinema and has been for a few years and it is a good endowment that it is still like this,” Netzer told Reuters after receiving the Golden Bear for best film.

UNFLINCHING STORYTELLING

While each film differs, there is a common thread of unflinching storytelling and compelling human drama often laid out against the backdrop of a cold and uncaring society.

Netzer said “Child’s Pose” was not a critique of Romania today, despite its unflattering portrayal of flashy materialism and casual corruption among the nouveau riche.

“I think basically this is about a relationship, a kind of pathological relationship between mother and son,” he told reporters in Berlin after the closing ceremony late on Saturday.

“The rest – the corruption, the framework, the context, all of that is on a separate level and is really only a backdrop.”

Victory in Berlin is likely to give the movie a major boost in terms of distribution in Romania and beyond, although some critics wondered whether the alienating figures of both mother and son might limit its appeal.

“There’s an instant bond the audience has with the two young women in ’4 Months…’ which we are deliberately not supposed to have in ‘Child’s Pose’,” said Jay Weissberg, critic at trade publication Variety.

“The mother is a monstrous figure and her son is even worse.”

However he, like many others, was impressed by Luminita Gheorghiu’s portrayal of Cornelia, one of several standout performances in Berlin-nominated films by mature actresses making the most of the kind of parts rarely written in Hollywood.

Paulina Garcia was the popular winner of the best actress Silver Bear for her turn in Chilean film “Gloria”, in which she plays a 58-year-old divorcee who sets out to live life to the full despite her setbacks.

“We all face crossroads in our lives where we can retreat into ourselves or we can hit the dance floor,” said “Gloria” director Sebastian Lelio of his character.

The biggest surprise at the Berlin awards ceremony was the best actor prize going to Nazif Mujic, a Bosnian Roma who had never acted before and had to be talked into playing himself in a drama based on his real-life ordeal.

“An Episode in the Life of an Iron Picker”, made for just 30,000 euros ($ 40,000), tells the story of how Bosnian hospitals refused to operate on his wife after she miscarried because she was not insured, despite the fact that her life was in danger.

Best director went to U.S. filmmaker David Gordon Green for his quirky road movie “Prince Avalanche” and Iranian entry “Closed Curtain” picked up the best script prize for directors Kamboziya Partovi and Jafar Panahi.

Panahi made the movie in secret in defiance of a 20-year filmmaking ban and was not allowed to travel to Berlin to collect his award.

“Tradition and culture remain, politicians come and go,” Partovi told reporters after receiving the honour.

(Reporting by Mike Collett-White; Editing by Andrew Heavens)

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Travis Barker skips Blink-182 Australia tour due to flying fear

(Reuters) – Travis Barker will skip the Australian tour of pop-punk band Blink-182, citing a long-term fear of flying that worsened after he survived a fatal crash nearly five years ago that killed two friends.

“I’m sorry to announce I won’t be joining Blink-182 on this Australian tour,” Barker, 37 and drummer for the group, wrote on Facebook. “I still haven’t gotten over the horrific events that took place the last time I flew when my plane crashed and four people were killed, two being my best friends.”

Barker was one of two survivors of the 2008 crash when a private plane he was on burst into flames during an aborted takeoff. He spent several months in hospital with injuries.

Barker said he had hoped to get to Australia by ship if need be for the tour, which starts on Wednesday in Sydney, but that schedules hadn’t worked out.

“Once again, I’m sorry to all the fans,” he said.

The band, also writing on Facebook, said Barker would be replaced on the tour by Brooks Wackerman from Bad Religion and Tenacious D.

“The band knew the chances of Travis overcoming his fear of flying, which was magnified after the horrible plane crash of 2008, would be a challenge, but we wanted to play for our fans in Australia nonetheless,” they said, adding that cancelling the tour had not been an option.

(Reporting by Elaine Lies; Editing by Paul Tait)

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Maradona becomes a father again

BUENOS AIRES (Reuters) – Diego Maradona‘s girlfriend Victoria Ojeda has given birth to a boy called Diego Fernando and the Argentine soccer great is now expected to travel back to Buenos Aires to meet his son.

“He’s a Diego, with a big head and lots of hair,” Alfredo Cahe, Maradona’s long-time doctor, told reporters outside the Buenos Aires clinic where Ojeda gave birth late on Wednesday.

“My feeling is that Diego’s going to show up at any moment.”

Maradona, 52, is working in Dubai and Ojeda’s lawyer Jorge Auruccio said he did not know if he would be flying home to Argentina to meet Diego Fernando, who weighed 3.2 kilograms (seven pounds).

The pregnancy triggered angry exchanges on social media networks between Ojeda, 35, Maradona’s ex-wife Claudia Villafane and his daughters Dalma and Giannina.

In the 1980s, during his days at Serie A club Napoli in Italy, Maradona fathered another son, called Diego Jr, who he said was born following a relationship that lasted a day.

Maradona, considered one of the most gifted soccer players in history, took up his current post as honorary sports ambassador in Dubai in September, less than two months after being sacked by the United Arab Emirates club Al Wasl.

(Reporting by Luis Ampuero; Writing by Helen Popper, editing by Mark Meadows)

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Prince to headline Montreux jazz with three pricey concerts

GENEVA (Reuters) – Prince returns to the Montreux Jazz Festival in July to give three concerts at the 47th edition, the first after the death of founder Claude Nobs, organizers said on Thursday.

The American singer and musician is booked to give three shows on July 13, 14 and 15, the Swiss festival said in a statement.

“Groovy, funky and the undisputed master of improvisation, Prince‘s performances are all unique and unpredictable,” it said of the 54-year-old viewed as a pioneer of online music distribution and maverick in the business.

Prince first appeared on the famed Montreux stage in 2007, then showed up at 3 a.m. to jam with his band at a late-night jazz cafe along Lake Geneva. He gave two back-to-back shows on the same night in 2009, drawing fans from across Europe for a rare appearance on the continent.

Tickets go on sale on Friday morning, at a whopping 175 Swiss francs ($ 190)(standing) and 395 francs for a seat.

“We consider him one of the headline acts,” festival spokeswoman Emilie Loertscher told Reuters.

The rest of the line-up will be announced on April 18.

Nobs, who founded the Montreux Jazz Festival nearly 50 years ago, died in January at age 76 after several weeks in a coma following a skiing accident.

The Swiss impresario immortalized by rock group Deep Purple as “Funky Claude” in the song “Smoke on the Water”, lured the biggest stars of the music world including Miles Davis, Ray Charles and Aretha Franklin to the annual event.

(Reporting by Stephanie Nebehay, editing by Paul Casciato)

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Epic to pull song with offending Lil Wayne lyric

NASHVILLE, Tenn. (AP) — Epic Records is going to “great efforts” to take down a new Future remix leaked over the weekend with a vulgar Lil Wayne lyric that has offended the family of Emmett Till.

The New Orleans rapper made a sexual reference to the beating death of Till, a 14-year-old Chicago boy tortured and shot in Mississippi in 1955 for whistling at a white woman. Till’s family objected and the Rev. Jesse Jackson reached out to his management, The Blueprint Group, on the family’s behalf.

The label issued a statement Wednesday night apologizing for the release of the song.

“We regret the unauthorized remix version of Future’s ‘Karate Chop,’ which was leaked online and contained hurtful lyrics,” the statement said. “Out of respect for the legacy of Emmett Till and his family and the support of the Reverend Jesse L. Jackson, Sr. … we are going through great efforts to take down the unauthorized version.”

Epic will release an official version of the song that “will not include such references.”

Neither Jackson nor members of Till’s family could be reached late Wednesday. A publicist says Lil Wayne has had no comment so far.

He appears briefly on the song, alluding to the black teenager’s beating in a way too vulgar to print.

Till, a native of Chicago, was in Mississippi visiting family in 1955 when he was killed. He was beaten, had his eyes gouged out and was shot in the head before his assailants tied a cotton gin fan to his body with barbed wire and tossed his body into the Tallahatchie River. Two white men, including the woman’s husband, were acquitted of the killing by an all-white jury.

Till’s body was recovered and returned to Chicago where his mother, Mamie Till, insisted on having an open casket at his funeral. The pictures of his battered body helped push civil rights into the cultural conversation in the U.S.

Bob Dylan wrote a song about it: “The Death of Emmett Till.”

A Facebook posting on the Mamie Till Mobley Memorial Foundation page Wednesday night said Epic Records Chairman and CEO LA Reid had reached out to the family to personally apologize.

___

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Beyonce hopes her documentary inspires Blue Ivy

NEW YORK (AP) — Beyonce is hoping that her ultra-revealing documentary will someday provide inspiration for Blue Ivy, the year-old daughter she and husband Jay-Z have.

“I hope that she will see all of the beautiful times (and) all the tough times that led up to her being here,” the singer said Tuesday night at the New York premiere of her upcoming HBO documentary, “Life is But a Dream.”

She added: “I’m hoping that … it can comfort her and inspire her in her life when she needs it.”

The autobiographical film takes a no-holds-barred look at the entertainer. It stems from personal conversations the 31-year old singer made using the video camera on her computer over the past couple of years. It also includes home movies of the Grammy-winning singer and her two sisters.

In the film, Beyonce candidly discusses personal matters like her miscarriage, reports of faking her pregnancy, and firing her father as her manager.

She claims the process of talking into a camera to get all her thoughts out was therapeutic.

“I really grew so much,” she says of the process. “This movie has really been my therapy. I’ve healed from so many wounds and I’ve been able to understand why some of the things I’ve been through, why I went through, so feel really proud, and hopefully I can inspire other people.”

The singer has been private about her life in the past. But she felt the time was right to let people know how she felt.

“I felt that after 16 years of being a public singer, people didn’t know who I was,” she admitted. But then she added: “I will always keep certain things to myself because it’s only natural.”

Oprah Winfrey made a surprise visit to the premiere, and posed with Beyonce on the red carpet. Before going into the Ziegfeld Theatre, Winfrey, known for her tough, results-driven interview style, was asked if this was the kind of story she would have done on Beyonce.

She said Beyonce did a “much better job” of telling her own story. “I wouldn’t have been in the bedroom and in the closet and in the car and on vacation,” she said.

Beyonce acted as the film’s executive producer and co-directed it with Ed Burke. He previously worked on some of her video projects. “Life is But a Dream” airs Saturday on HBO.

_____

Online:

http://www.hbo.com

___

John Carucci covers entertainment for The Associated Press. Follow him at — http://www.twitter.com/jcarucci_ap

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Actor Steven Seagal trains Arizona posse on school security

FOUNTAIN HILLS, Arizona (Reuters) – Action film star Steven Seagal, who racks up big body counts in his on-screen battles with bad guys, took on a new role on Saturday, training posse volunteers for controversial Arizona Sheriff Joe Arpaio in how to use guns to protect schools in shooting incidents.

Arpaio, who styles himself as “America’s Toughest Sheriff,” enlisted Seagal to train his Maricopa County posse members at a school in Fountain Hills, a suburb northeast of Phoenix, with children used as stand-ins for scared students.

Seagal, a burly martial arts expert turned actor, guided 48 volunteers through various aspects of responding to a shooting, including room-to-room searches, and critiqued their work.

“I am here to try to teach the posse firearms and martial arts to try to help them learn how to respond quicker and help protect our children,” Seagal said.

Arpaio, whose tough stances on crime and illegal immigration have made him a national figure, has dispatched the volunteer posse to patrol schools in response to the shooting rampage that killed 20 children and six adults at a Connecticut school in December.

Those killings touched off a renewed debate over gun violence in the United States. President Barack Obama proposed a sweeping package of gun-control measures, including a ban on assault weapons.

The National Rifle Association, which opposes the gun-control proposal, has advocated placing armed security guards in schools.

Arpaio’s volunteers, some trained and qualified to carry the same guns as deputies, can intervene if there is an imminent threat to life. To add realism to the training event, guns firing non-lethal rounds that leave a color mark were used.

“It’s important to help protect our children and our schools and we need to do that with whatever means we have,” said Rick Velotta, a posse member and retired General Electric manager who attended the training.

About a dozen people protested the event.

“No gun should ever be in a school,” said protester Cynthia Wharton, a Fountain Hills resident.

Arpaio’s 3,450-strong posse of unpaid men and women has for years helped the sheriff target drunken drivers and illegal immigrants, and chase down fathers who are behind on child support.

Last year, Arpaio sent posse members to Hawaii to investigate the authenticity of Obama’s birth certificate at the request of local Tea Party activists, a key Arpaio constituency.

A sometime resident of the Phoenix Valley and member of Arpaio’s posse, Seagal, 60, starred in big-budget films in the 1980s and early 1990s, earning a reputation as an action star in movies like “Above the Law” and “Under Siege.”

He more recently played a corrupt Mexican drug lord in the 2010 film “Machete.”

Seagal also has been sworn in as a sheriff’s deputy in a Texas county along the border with Mexico and appeared in a reality TV show detailing his work as a reserve deputy in New Orleans.

(Reporting by Aron Ranen; Writing by Tim Gaynor and Dan Whitcomb; Editing by David Bailey and Eric Beech)

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Selena Gomez works the front row at Neo show

NEW YORK (AP) — Selena Gomez sat front and center at the fashion show to preview the first collection in her collaboration with Adidas‘ streetwear Neo label.

But the runway at Wednesday evening’s show was a next-gen catwalk: Teenager bloggers were charged with styling the outfits instead of industry professionals.

Gomez thanked them as she stood on stage at the end of the show. She was flanked by models in denim shorts, Bermudas, slouchy sweats and T-shirts that read “Pirate Love.” There were a few graffiti prints sprinkled in, and some varsity jackets.

The clothes, mostly in sunny yellow, bright pink and navy, were more surf than sport, which is Adidas’ normal niche.

The show was very briefly interrupted by a protester trying to hand out leaflets about sweatshops.

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Singer Gloria Estefan, husband, plan Broadway show of their lives

NEW YORK (Reuters) – Cuban-American singer Gloria Estefan and her music entrepreneur husband, Emilio, are developing a new Broadway show based on their lives, the show’s producer said on Tuesday.

The couple is working with the Nederlander Organization on the show that will trace their lives from leaving Cuba to international stardom.

“The Estefans’ journey of success, led by raw talent and passion, is captivating as it drove them from relative obscurity to global sensations,” Jimmy Nederlander, the organization’s president, said in a statement announcing the deal.

Estefan, one of the most successful Latin crossover stars, fled Cuba with her family as a toddler. She met her husband in Miami and became the lead singer of his band, which was renamed the Miami Sound Machine. The couple married in 1978.

She has sold more than 100 million albums worldwide, won seven Grammy Awards and produced a list of hits including “Conga,” “The Rhythm is Going to Get You,” and “1,2,3.”

Emilio, a music, television and film director, was instrument in his wife’s career, and helped to develop stars such as Shakira, Ricky Martin and Jennifer Lopez.

“Sharing our life story through music will give us a new opportunity to honor our roots and, hopefully, to be able to inspire generations to come,” the couple said in a statement.

The Nederlander Organization said no creative team has been announced yet.

(Reporting by Noreen O’Donnell; Editing by Patricia Reaney and Eric Walsh)

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NJ Gov. Christie, Letterman laugh about fat jokes

TRENTON, N.J. (AP) — New Jersey Gov. Chris Christie and David Letterman have shared some laughs about the many fat jokes the comedian has made about the lawmaker’s ample girth.

Christie has termed his plumpness “fair game” for comedians. And during his first appearance on “Late Show with David Letterman” on Monday, the outspoken Republican and potential 2016 presidential contender read two of Letterman‘s jokes that he said were “some of my personal favorites.”

The governor also drew loud laughs when he pulled out a doughnut and started eating it while Letterman asked him if he was bothered by the digs that have been made about his weight. Christie said he wasn’t, noting that he laughs at the jokes if he finds them funny.

“Late Show” airs on CBS at 11:35 p.m. Eastern time.

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Power outage electrifies CBS Super Bowl broadcast

NEW YORK (AP) — When the lights went out at the Super Bowl, CBS’ telecast got a jolt.

The power outage in the Super Dome in New Orleans sent the network scrambling and silenced its announcers for about half an hour. The remarkable scene — probably the most-watched “we’re having technical difficulties” moment in television history — also made CBS’ broadcast compelling at a time when the game was looking like a blow-out.

Early in the game’s second half, a portion of the Superdome lost power, including CBS’ broadcasting booth where Jim Nantz and Phil Simms were calling the game. It led to an awkward, ambient few moments of darkness and quiet in a broadcast that’s otherwise nonstop noise. A highly orchestrated media event was suddenly forced to improvise.

It took several minutes and numerous commercial breaks for CBS to find its footing and inform viewers of the situation. Social media went wild with a stream of joke conspiracy theories.

Eventually, CBS sideline reporter Steve Tasker — the MVP on the night, regardless of the play on the gridiron — announced the problem of a “click of the lights” to viewers. Later, the halftime crew anchored by host James Brown returned to fill time with football analysis. Brown said a power surge caused the outage.

That left the CBS NFL Today crew of Brown, Dan Marino, Bill Cowher and Shannon Sharpe to improvise by talking football. With little awareness of the power outage, the group bantered about the game to pad for time, even though viewers at that point had little interest in football strategy. Marino claimed halftime performer Beyonce knocked the lights out.

Calm and collected, Nantz and Simms finally returned from their unexpected exile as the lights came back on. Simms said he momentarily thought they were going to have to call the rest of the game from the sidelines.

“Hey, the next time you decide to plug in your phone charger, give us a warning, will you?” said Nantz.

“I was doing some of my best work during that blackout,” replied Simms.

CBS issued a statement later in the game, saying that “we lost numerous cameras and some audio powered by sources in the Super Dome.” The network said it used backup power and that “all commercial commitments during the broadcast are being honored.”

The power outage may have had the ironic effect of keeping viewers glued to their TVs, amazed at seeing the biggest TV event of the year momentarily shut down. At the time of the outage, the game was becoming a rout, with the Baltimore Ravens beating the San Francisco 49ers 28-6.

But afterward, momentum shifted and the 49ers rallied, making it a close game that went down to the wire before the Ravens edged out a 34-31 victory. Close contests are essential for retaining a big Super Bowl audience, so the shift that followed the outage held major ratings implications for CBS. The last three years, the game has successively set viewership records. Last year’s Super Bowl drew 111.3 million average viewers for NBC.

But ratings are a mere point of pride for CBS, with the ads sold-out well in advance, (some at more than $ 4 million a pop). The game was also streamed live on both CBSSports.com and NFL.com.

The chaos of the power failure outshined all other aspects of CBS’ broadcast, which had seemed certain to focus on a handful of storylines: the head coaching brothers John and Jim Harbaugh (CBS scored their parents on the pregame); the threat to player safety by head injuries (a pregame segment took an optimistic view); and Ray Lewis’ final game and fraught legacy.

Nantz reminded viewers during the game of the 2000 double murder case in which Lewis testified against two men and pleaded guilty to a misdemeanor charge of obstruction of justice. But Sharpe, Lewis’ former teammate, let him completely evade the subject in a pregame interview.

Nantz also smartly predicted the Ravens possibly taking a safety willingly at the end of the game for the sake of time and field position. Simms initially dismissed the idea, but it was what the Ravens elected to do and it was successful.

CBS didn’t overplay the Harbowl angle (if anything, it felt more like the Beyonce Bowl), and didn’t flash to the parents in the crowd until the second quarter. Director Mike Arnold did land the money shot of the game: The two coaches embracing at midfield after the game. (Its cameras and microphones also caught Ravens quarterback Joe Flacco celebrating with profanity.)

But this year’s Super Bowl broadcast will be remembered for the blackout — how CBS handled and benefited from an awkward situation. Nantz put the fitting final word on the Ravens’ win: “The adversity they faced tonight was to somehow rekindle the energy after it had been taken — literally — out of the building.”

___

Follow AP Entertainment Writer Jake Coyle on Twitter at: http://twitter.com/jake_coyle

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Mark Wahlberg, Ted to Present at Oscars

LOS ANGELES (TheWrap.com) – Mark Wahlberg and his teddy bear co-star “Ted” will be presenters at the Oscars, the telecast producers announced Friday morning.

The duo, stars in Oscar host Seth MacFarlane‘s comedy about a man trying to turn his immature, hedonistic lifestyle around for a woman he is dating. His indulgent teddy bear, the eponymous Ted, proves to be an obstacle in that transformation.

The film is now the highest-grossing R-rated movie of all time.

“We are happy to make it possible for Mark and Ted to make their debut appearance on the Oscar stage,” Craig Zadan and Neil Meron, the show’s producers, said in a statement. “And we won’t deny that Ted used his pull with our host to get himself the booking.”

Wahlberg has twice been nominated for Academy Awards, in 2006 for his supporting role in “The Departed,” and in 2010 as a producer of the Best Picture nominee “The Fighter.”

Wahlberg and the MacFarlane-voiced Ted share the stage with a star-studded list of Oscar performers, including singers Adele, Norah Jones and Barbra Streisand. The Oscars will be broadcast on February 24 from the Dolby Theatre at Hollywood & Highland Center.

“I’m excited to present an Oscar with Mark Wahlberg,” Ted said in the statement. “I’m spending the next month learning to pronounce ‘Quvenzhané.’”

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Former New York mayor Ed Koch moved to hospital intensive care

NEW YORK (Reuters) – Former New York City Mayor Ed Koch was moved to a hospital intensive care unit on Thursday, his spokesman said, in a sign that his health could be deteriorating.

Koch spokesman George Arzt said the 88-year-old politician, who earned a reputation for being as outspoken as he is colorful, was being moved so his cardiologist could better monitor his condition. Koch has been treated at New York-Presbyterian Hospital on and off since January 19.

Koch was re-admitted to the hospital on Monday after complaining of shortness of breath. He was unable to attend Tuesday’s premier of “Koch,” a documentary about his turbulent three terms as mayor, at the Museum of Modern Art.

In New York‘s City Hall from 1978 to 1989, Koch – with his trademark phrase “How’m I Doing?” – was seen as the personification of New York City.

“I don’t think there was anybody who had more fun being mayor as Ed Koch,” City Council Speaker Christine Quinn, who is in the race to be the city’s next mayor, said while walking the premier’s red carpet.

Koch was credited with helping to restore confidence in the city at a time when it stood at the brink of financial ruin. Under his leadership, New York City regained its fiscal footing and underwent a construction boom.

His time in office was also marked by corruption among his political allies, racial tensions, a rise in cases of AIDS and HIV, and an increase in homelessness and the crime rate.

(Reporting by Edith Honan; Editing by Ellen Wulfhorst)

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Appeals judges: Anti-paparazzi law appears legal

LOS ANGELES (AP) — An appeals panel says California’s anti-paparazzi statute appears to be constitutional based on a brief filed by prosecutors.

A preliminary statement by three judges in Los Angeles requires a judge who dismissed charges aimed at a paparazzo who authorities say was driving recklessly to review his order. The judge may stick to his ruling, which would trigger a full appeal, or he could schedule further arguments on the case against freelance photographer Paul Raef.

Raef was the first person charged under the new law after a high-speed chase involving Justin Bieber last year.

Superior Court Judge Thomas Rubinson dismissed two charges in November, ruling the law is too broad and is unconstitutional.

Raef’s attorney David S. Kestenbaum says he is asking Rubinson to stand by his ruling and allow a full appeal.

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