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Is Huey Lewis’ Only 2023 Show Happening In Dutchess County, NY?
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An 80s icon battling a severe hearing disorder is rumored to be making a comeback in the Hudson Valley.
I've been a Huey Lewis and the News fan ever since I heard those opening chords to I Want a New Drug. As a kid, there was no other group that could compare. The band's special blend of classic do-wop harmonies and upbeat pop-rock arrived on the scene just as I was turning 11. After their smash hit album Sports skyrocketed on the charts, they were tapped to write music for a little film called Back to the Future , securing Huey Lewis' legacy for generations.
Sadly, Huey Lewis himself recently revealed that he's been suffering from a rare inner-ear condition that has left him unable to perform. While Meniere’s disease hasn't left the lead singer completely deaf, it has pretty much ended his singing career.
So, you could imagine my surprise this weekend when I learned that my favorite band as a child was performing just one night together in the Hudson Valley. On Saturday I saw a message from the New York Post that declared that Huey Lews and the News were playing at Daryl's House in Pawling.
After clicking the link I was sent to a page from Vividseats.com that was selling tickets to this too-good-to-be show. According to the reseller, the show is supposedly scheduled for Friday, May 5 at Daryl's House with general admission tickets going for upwards of $260.
To confirm that this show was actually legit, I went on the official Daryl's House website to find out more and was immediately disappointed to learn that there was apparently some mixup. The show on May 5th isn't, in fact, Huey Lewis and the News. Instead, the venue has it listed as "Workin' For A Livin' - The Huey Lewis and The News Tribute Show."
It's unclear why the Vivid Seats website is marketing these tickets by saying they're for an actual Huey Lewis and the News performance or why the New York post is linking to the inaccurate listing, but we confirmed with a phone call to Daryl's House that it is, indeed, a cover band that is playing and not the actual 80s hitmakers.
If the show still interests you, be sure to buy your tickets directly through the Daryl's House website, because they're currently going for $20 instead of the $260 being charged on the link provided by the New York Post.
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Huey Lewis and the News Musical Is Coming to Broadway in March
“The Heart of Rock and Roll” is a romantic comedy featuring songs by the chart-topping 1980s band.
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By Michael Paulson
“The Heart of Rock and Roll,” a new musical powered by the songs of Huey Lewis and the News, is coming to Broadway in the spring.
The show, which had an initial run in 2018 at the Old Globe Theater in San Diego, is a comedy about a couple whose romance must navigate their rock band and corporate life aspirations.
The musical is scheduled to begin previews March 29 and to open April 22 at the James Earl Jones Theater. Casting has not yet been announced.
Marketed as a “feel-great musical,” the show features the upbeat songs of Huey Lewis and the News, a pop-rock band whose heyday was in the 1980s, and whose hit “The Power of Love” is also featured on Broadway in “Back to the Future: The Musical.”
“The Heart of Rock and Roll” (that title is also the name of one of the band’s most popular songs) is directed by Gordon Greenberg (“Holiday Inn”), choreographed by Lorin Latarro (who is also choreographing a Broadway revival of “The Who’s Tommy” ), and features a book by Jonathan A. Abrams based on a story by Abrams and Tyler Mitchell. Abrams and Mitchell have worked primarily in film and television.
Mitchell is also producing the show with Hunter Arnold and Kayla Greenspan; the production is being capitalized for up to $16 million, according to a filing with the Securities and Exchange Commission.
Michael Paulson is the theater reporter. He previously covered religion, and was part of the Boston Globe team whose coverage of clergy sexual abuse in the Catholic Church won the Pulitzer Prize for Public Service. More about Michael Paulson
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“The Heart Of Rock And Roll” Musical Inspired By The Songs Of Huey Lewis And The News To Open On Broadway
Producers Hunter Arnold, Tyler Mitchell and Kayla Greenspan announced today that The Heart of Rock and Roll, a new musical inspired by the iconic songs of Huey Lewis and The News, will open on Broadway at The James Earl Jones Theatre (138 W 48th St, New York, NY 10036). Previews will begin on Friday, March 29, 2024, and opening night is set for Monday, April 22, 2024.
A raucous rom-com wrapped in pure musical joy, The Heart of Rock and Roll centers on a couple of thirty-somethings who know exactly what they want from life—until they find each other. It’s going to take “The Power of Love” — and a little help from their friends — to show them the way. Jam-packed with Huey Lewis megahits like “Workin’ For A Livin’,” “Stuck With You,” and “If This Is It,” this is Broadway’s newest feel-great musical.
The production will feature a book by Jonathan A. Abrams, and story by Tyler Mitchell and Jonathan A. Abrams. Music supervision, arrangements, and orchestrations by Brian Usifer, choreography is by Lorin Latarro and The Heart of Rock and Roll will be directed by Gordon Greenberg.
“Working on our show has been so gratifying,” said Huey Lewis. “I’ve always been a storyteller, and it’s a thrill to see my songs woven together in service of a fantastic, new story. That it will all take place on the world’s most prestigious stage – Broadway – just makes the ride that much sweeter.”
Hunter Arnold added, “Huey Lewis’s song catalogue is not just music—it’s a powerful bridge to an era when our hearts danced freely, love knew no bounds, and every moment was a celebration of life. This show is more than nostalgia; it is remedy for our age of anxiety and a joyful gift to Broadway audiences.”
Casting and additional news will be announced at a later date.
As the legendary, Grammy Award-winning front man for one of America’s great rock & roll bands, Huey Lewis has been a central force in the music industry since the early 1980s, when Huey Lewis and The News first shot to superstardom. Formed from two rival Bay Area bands in 1979, The News has been thrilling audiences worldwide for more than 40 years, selling more than 20 million albums in the process. Among their most indelible singles are the top ten hits, “Heart of Rock & Roll,” “Stuck With You,” “I Want A New Drug,” “If This Is It,” “Hip To Be Square,” “Do You Believe In Love,” and “Workin’ For A Livin”. The group also wrote and performed “The Power of Love” and “Back in Time” for the hit film Back To The Future. “The Power of Love” went on to earn an Academy Award nomination and reach #1 on Billboard’s singles chart. In 2018, The News released Weather, their first album of original material in more than two decades, shortly after Lewis revealed that debilitating hearing loss, caused by a multi-decade’s long battle with Meniere’s disease, would likely put an early end to his remarkable singing career. As an actor, he has played ‘Billy Flynn’ on Broadway in Chicago, co-starred on screen in Duets, opposite Gwyneth Paltrow, and guest starred on the sitcom “Hot in Cleveland” several times.
Jonathan A. Abrams is a film and television writer/producer and theatrical book writer. His original screenplay, JUROR #2, directed by Clint Eastwood, is finishing production and will be released by Warner Brothers Pictures. He is also the creator/writer/executive producer of the television series “American Hiro” for FX, about the life of Benihana founder Hiroaki Aoki. Raised in San Francisco, he is a graduate of the USC school of Cinema-Television and is represented by Creative Artists Agency, Mosaic Media Group, McKuin Frankel Whitehead as well as Levine Plotkin. He is a married father of two young children and could not have written this musical without the help and support of his wife, Carrie Ainsworth, and the rest of his family.
Tyler Mitchellis a multifaceted film, television, and theatrical producer, writer, and executive who stands at the forefront of reshaping how global talent is discovered, material is developed, and content is produced. As the Co-Founder and CEO of Impact, Mitchell spearheads a groundbreaking content accelerator and vertical network for the entertainment industry that is democratizing access to the entertainment industry, accelerating the development of original content, and pioneering new technology that is transforming the way studios, producers, directors, writers, and crews collaborate to bring stories to the screen and stage. In 2021, Impact achieved a significant milestone, earning the distinction of being named the #2 most innovative company in the entertainment industry by Fast Company magazine. Before embarking on his journey with Impact, Tyler Mitchell served as the Executive Vice President of Motion Pictures at Imagine Entertainment, the iconic film and television production company founded by Academy Award winners Ron Howard and Brian Grazer. At Imagine, Mitchell oversaw a diverse slate of live-action films and orchestrated the launch of Imagine’s animation division in partnership with the internationally acclaimed animation studio, Animal Logic. Tyler Mitchell’s illustrious career extends beyond his executive roles, as he is a highly accomplished film producer who has shepherded 11 films and two television series into production, attracting some of Hollywood’s most revered talent, such as Robin Williams, Jim Carrey, Steve Carell, Ethan Hawke, Sally Hawkins, Bruce Willis, Olivia Wilde, Ben Kingsley, Morgan Freeman, Lucy Liu, Ashton Kutcher, Johnny Depp, Aaron Eckhart, Mila Kunis, James Gandolfini, and Alan Arkin. In 2018, Mitchell embarked on his inaugural theatrical endeavor co-writing the story and producing The Heart of Rock and Roll, an original musical inspired by the music and lyrics of the Grammy Award-winning artists Huey Lewis and The News. The production shattered box office records at San Diego’s prestigious regional theatre, The Old Globe.
Brian Usifer is a music director, orchestrator/arranger, pianist, and music producer. He is an arranger and orchestrator of A Beautiful Noise, The Neil Diamond Musical on Broadway as well as the Associate Music Supervisor of The Book of Mormon. Prior to that, he was the Music Director of Disney’s Frozen and Kinky Boots on Broadway. Kinky Boots won 6 Tony Awards including Best Musical, Best Score, and Best Orchestrations and the cast recording won the 2013 Grammy Award for Best Musical Theater Album. The West End production won an Olivier Award for Best Musical. He was also the Associate Music Supervisor for Kinky Boots on Tour, London, and in Toronto. Brian has played in the Broadway and off-Broadway orchestras of …Spelling Bee; Avenue Q; Altar Boyz; Bloodsong of Love: A Rock & Roll Spaghetti Western; and The Book of Mormon. As an orchestrator and arranger, Brian’s projects have also included The Heart of Rock and Roll with music by Huey Lewis at the Old Globe; Swept Away with music by the Avett Brothers at Berkeley Rep; Mr. Chickee’s Funny Money with music by Motown legend Lamont Dozier at The Atlantic Theater; May We All featuring the music of Florida Georgia Line and other country stars; Afterwords at the 5th Avenue Theatre; Into the Wild by Niko Tsakalakos and Janet Allard; A View From The River by Will Van Dyke and Jeff Talbott; Fantasy Football: The Musical? by David Ingber; Pool Boy by Niko Tsakalakos and Janet Allard; The UnCivil War by Rick Kunzi; Barnstormer by Douglas Cohen; and The First Snow by Niko Tsakalakos. Additional shows in development include Galileo featuring music by Michael Weiner and Zoe Sarnak with a book by Danny Strong, and Hearts Beat Loud by Ngozi Anyanwu and Niko Tsakalakos. On TV, he wrote additional orchestrations for NBC’s “Annie Live!” and “The Wiz Live!”; Clay Aiken’s “Tried and True,” for PBS; and can be heard as a pianist on “The Marvelous Mrs. Maisel” on Amazon. Other theatre credits also include Chess at the Kennedy Center and more than five years of regional theatre including Follies at Barrington Stage Co. Concerts including Bobby and Kristen Lopez: American Songbook at Lincoln Center, The New York Pops at Carnegie Hall. As a music producer, his credits include a songwriting collaboration with Colin Donnell called The Nineteen Twenty. Their album, Chaos + Cocktails, is available for sale on iTunes and everywhere music streams. Other albums include The First Snow and Archetype by Jonathan Reid Gealt, Reflect by Tom Kitt, and the upcoming May We All. He holds a Bachelor of Music in Piano Performance from SUNY Fredonia, and a master’s degree in Collaborative Piano from NYU, with a Specialist Certificate in Orchestration from Berklee Online. He currently teaches at Berklee NYC.
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Huey Lewis and the News
Latest setlist, huey lewis and the news on november 24, 2017.
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Huey Lewis and The News Inspired Show Heads to Broadway in 2024
Broadway is getting ready for the arrival of “The Heart of Rock and Roll,” a new musical comedy inspired by the iconic hits of Huey Lewis and the News. Huey Lewis made the exciting announcement in a video post on the musical’s website, revealing the show will debut on Broadway in April at the James Earl Jones Theater.
Inspired by the chart-topping hits of Huey Lewis and the News, this musical rom-com brings the spirit of rock ‘n’ roll and the power of love to the stage. The story delves into a group of young adults who think they have their lives together until they meet one another.
“The Heart of Rock and Roll” is set to hit Broadway on April 22, with preview showings beginning on March 29. Although the musical is not autobiographical, it will feature some of Huey Lewis and the News’ greatest hits such as “The Power of Love,” “Hip to Be Square,” “Doing it All for My Baby,” and “I Want a New Drug.”
Find tickets for “ The Heart of Rock and Roll” and other musical events via resale marketplaces like Stub Hub , Mega Seats (use code TICKETNEWS for 10% off), or Ticket Club , where members can receive a free membership with code, “TICKETNEWS.”
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‘The Greatest Night in Pop’ Review: A Light and Fluffy Netflix Doc Takes You Inside the Marathon Recording Session for ‘We Are the World’
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Everyone knows that (almost) all of America’s biggest pop and rock stars crammed into a Los Angeles recording studio on the night of January 28, 1985 in order to lay down the vocals for the charity single “We Are the World,” a semi-tolerable earworm that would ultimately raise more than $68 million to provide food and relief aid to people suffering from starvation in Africa. What Bao Nguyen’s light and fluffy new Netflix documentary presupposes is that it would be entertaining to revisit the room where it happened and watch as this legendary session nearly devolved into an absolute shitshow that threatened to fall apart in 100 different ways due to the egos and insecurities of the singular artists involved.
Richie, who seems very eager for another opportunity to reflect on his glory days (and why shouldn’t he be?), so eloquently sets the stage for “The Greatest Night in Pop” that Nguyen could have cut the next 40 minutes of his movie without viewers even missing a beat. “The greatest artists of a generation came together with all of our ego, and all of our talent, to save some lives,” Richie says to the camera, speaking to us from the same Hollywood recording studio where this story took place. And that’s the long and short of it, really.
Kragen died in 2021, but Nguyen’s all-access doc uses snippets of archival audio to ensure that his voice is heard. Even so, Richie is our primary narrator here, and “The Greatest Night in Pop” gets an extra bounce in its step whenever the “American Idol” judge is able to share his first-person memories of how this history was made. Richie entered the story when Kragen tapped he and Michael Jackson to write the song, and it’s amusing to hear Richie’s memories of how the two of them worked together, vague as they might be; he recalls the process’ initial lack of urgency (ironic in light of the flop-sweat that would follow), and the moment he was almost scared to death by one of the giant snakes that Jackson let roam free around his mansion.
Some of these anecdotes are more interesting than others, but all of them reflect the energy of a film in which iconic musicians are encouraged to genuflect on each other as peers and real people, their mutual celebrity canceling itself out until it feels like we’re watching regular friends remembering friends. Any specific insights are few and far between, but Nguyen seizes upon the idea that the mega-stars involved in “We Are the World” were made timid by the shared density of stuffing them all in the same room — by the shared recognition of something bigger than themselves, and the validation that came from being invited to participate in it.
But that warmth and fuzziness doesn’t really kick in until later, as the first half of this film is structured more like a heist. Not only did Kragen, Richie, and super-producer Quincy Jones have to sell the idea to everyone from Bob Dylan to Dan Ackroyd, they also had to coordinate their schedules to get them all in the same place at the same time — and without the press learning about the photo op of a lifetime.
Then again, Richie somehow managed to host the AMAs the same night he herded all these cats together to record “We Are the World,” so I guess he led by example. On a completely unrelated note, there is no mention of cocaine at any point in this documentary. Aside from Al Jarreau being a little sauced by the time he was supposed to record his verse, we’re meant to believe that all of these mega-stars were stone-cold sober. In Hollywood. At 4am. It’s possible that the pressure of performing a solo in front of Dionne Warwick, Tina Turner, and Stevie Wonder was enough to keep some of the other participants on their best behavior. Judging by how nervous that prospect made people like Huey Lewis (an especially amiable talking head), it’s also possible that every drug on Earth was required to get this song done in time. Nguyen doesn’t ask, and his interviewees probably wouldn’t tell.
“The Greatest Night in Pop” unsurprisingly shifts into a much higher gear during its second half, which is almost exclusively devoted to the marathon recording session itself. It’s endearing to watch Richie and Jones work overtime to keep dozens of showbiz’s biggest egos in check, and though everyone in the room knew that they were being filmed for the “We Are the World” music video that was being shot at the same time (its cinematographer is still high on the experience some 40 years later), the session was so long and grueling that most of these celebrities eventually lowered their guards. Hence the footage we have of Bob Dylan looking profoundly uncomfortable as he tries to figure out what the hell he’s doing there, and of Waylon Jennings xenophobically excusing himself from the room after Stevie Wonder suggested that one of the lyrics should be sung in Swahili. By the end of the night, there’s so little pretense left between these major stars that we see them asking each other for autographs.
“The Greatest Night in Pop” premiered at the 2024 Sundance Film Festival. It will be available to stream on Netflix starting on Monday, January 29.
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Star power of 'We are the World' remains unmatched: Inside the dramatic 1-night recording
It’s impossible to explain to younger generations the implausibility of making “We Are the World” work .
Corralling 46 music stars – many of them the most consequential of their era – in one place, on one night, with one song to complete would be impressive today.
But to execute in a time when cellphones were rare and emails were esoteric, coordinating that many artists, agents, managers, songwriters and everyone else involved in fashioning one of the most indelible events in pop music history … well, it was a staggering feat.
That historical gathering on Jan. 28, 1985, is spotlighted in the documentary “The Greatest Night in Pop,” which premiered at the Sundance Film Festival Friday and arrives on Netflix Jan. 29.
The 97-minute film weaves the origin of the song, written by Lionel Richie and Michael Jackson , with the tick-tock of how the night-into-morning unfolded as artists worked out their vocal parts, became “hangry” (chicken and waffles from Roscoe’s was ordered) and sweetly emotional (Diana Ross asked Daryl Hall to autograph her sheet music). Original footage peeks into the creation of the recording with the all-star cast that included a baby-faced Bruce Springsteen , characteristically awkward Bob Dylan , spunky Cyndi Lauper , engaged Stevie Wonder and ponderous Paul Simon.
More: Where to watch 2024 Grammy Awards: TV channel, streaming info for 'Music's Biggest Night'
Lionel Richie, Michael Jackson and Quincy Jones spearhead 'We Are the World'
The genesis of “We are the World” stems from Ken Kragen, Lionel Richie’s manager .
Kragen wanted to use Band Aid, the collective of British musicians spearheaded by Bob Geldof that achieved worldwide attention for its charity single “Do They Know It’s Christmas?” in 1984, as a blueprint for a song with American artists.
A call from Kragen to Richie “changed everything,” the R&B-pop superstar recalled in an interview at Henson Recording Studios (formerly A&M Studios), where the assembly of musicians dubbed U.S.A. for Africa recorded “We Are the World.” (New commentary also comes from other original participants, including Springsteen, Lauper, Huey Lewis , Dionne Warwick and Kenny Loggins .)
The snowball effect led to Richie enlisting good friend Quincy Jones to produce, Jones contacting Michael Jackson to help write the song with Richie, and Harry Belafonte sparking the idea to funnel proceeds from the single to benefit starvation in Africa.
The idea was sound. The implementation was challenging. And the result? Never to be duplicated.
Here are some revelations from the documentary spotlighting that one exceptional congregation with one rule from Jones , plastered on a handwritten sign above the doorway, Ted Lasso-style: “Check your egos at the door.”
Many of the biggest stars almost didn’t make the ‘We are the World’ recording session
The recording date for “We are the World” purposely dovetailed with the American Music Awards earlier in the evening of Jan. 28 at the Shrine Auditorium in Los Angeles. Richie, as if he didn’t have enough to focus on between tightening the song with Jackson and helping steer the stable of artists, also hosted and performed at the AMAs.
While the majority of singers attended the AMAs and could hop in their chauffeured cars for the 9-mile ride to A&M Studios in Hollywood after the ceremony, some schedules gave Richie heartburn.
As of 2 p.m. that day, Wonder was in Philadelphia.
Springsteen had wrapped the first leg of his “Born in the U.S.A.” tour the night before in snowy Syracuse but vowed to hop on a flight west.
Jones called Warwick and told her she needed to be in Los Angeles, to which she replied, “No, I’ll be in Las Vegas.”
She wound up in Los Angeles.
Even those already on site, like Lauper, a two-time winner that night at the AMAs, injected drama into the run-up.
“Cyndi came to me during the (AMAs) and said, ‘My boyfriend heard the song and he doesn’t think it will be a hit, so I can’t come,’” Richie said. “I said, ‘Cyndi, it’s pretty important for you to make the right decision.’”
Lauper, in a new interview , defended her stance at the time.
“Well, nobody knew (if it would be a hit)!,” she said with a smile. “It was a great group of people, but I was so punch-drunk tired.”
The pressure mounted on Richie , who succinctly summarized: “We had one night. They’re not coming back tomorrow.”
Sheila E. felt she was used to try to get Prince
The ace percussionist and longtime friend of Prince's performed “The Glamorous Life” on the AMAs and was invited by Richie to come to the studio after the show.
Prince was also at the show to collect three awards and uncork an incendiary rendition of “Purple Rain.”
At the time, he and Jackson were perceived rivals, with each leapfrogging the other on the charts and magazine stands with “Thriller” and “Purple Rain.” So, as Sheila E. said, the two of them singing on “We Are the World” would have made a potent statement.
At the studio, many musicians were murmuring about why Prince wasn’t there.
Sheila E., led to believe she’d have a solo in the song, called Prince while she was waiting and told him. “Man, you should come. It’s really cool.” The enigmatic musician was at Mexican restaurant Carlos ‘n Charlie’s and told her he would stop by if he could play a guitar solo in another room, the antithesis of the spirit of the night.
“I knew he wasn’t going to come because there were too many people,” she remembered in a sit-down at Henson Studios.
After hours passed, Sheila E. realized , “They never intended to have me sing a verse, which was a little heartbreaking.”
The lyric earmarked for Prince was given to Huey Lewis at the suggestion of Loggins.
Lewis, in a new interview, said that assignment made him so nervous that his legs started shaking.
Why wasn’t Madonna part of ‘We Are the World’?
While Kragen helped organize the throng of artists, Harriett Sternberg worked with him (among her duties was to express mail 45 cassettes of the demo Richie and Jackson recorded so artists could hear the song in advance) and recalled arguing with her boss about two of the biggest female stars at the time.
“I wanted Madonna, but Ken wanted Cyndi,” she said matter-of-factly.
It’s never explored why Madonna – a bonafide hitmaker by 1985 who presented at the AMAs – wasn’t invited to participate, but in a recent interview, producer, musician and industry insider Nile Rodgers said that “some of her peers” felt she didn’t deserve a spot in the lineup.
Lauper, meanwhile, a standout with her persimmon and banana-yellow hair, stunned the group into awed silence with her bulldozer of a voice. Amusingly, she needed a couple of takes because noise from her layers of jewelry kept tarnishing the recording.
Waylon Jennings left in the middle of recording
Early in the recording process, Wonder suggests the song should include Swahili, in honor of Africa. As he spitballs phrases and chants, with Al Jarreau leaning in to suggest or correct, Waylon Jennings loses patience with the process and the inclusion of the native language.
In the documentary, cameraman Ken Woo recalls Jennings’ disgust.
“He said: ‘Ain’t no good ol’ boy ever sung Swahili. I think I’m out of here',” Woo said over footage of Jennings taking off his headphones and weaving his way through the cluster of artists and toward the door.
Richie also remembered the moment.
"(He said) ‘I’m not dealing with this. I don’t know what that means, but I’m not gonna say it,'" Richie says. "We lost Waylon right there."
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