George Michael Bringing "Freedom" to Idol Finale
American Idol wants some freedom.
The big surprise guest performer during the American Idol finale tomorrow night will be “Freedom” hit-maker George Michael, a source has exclusively revealed.
Earlier this week, producer Nigel Lythgoe refused to reveal who the artist would be, only saying that the “biggest star in the world” was coming to Idol.
The appearance will time in nicely for the former Wham! frontman, who starts a 20-city tour on June 17 in San Diego in support of his recently released two-disc CD, Twenty-Five.
A rep for Idol would not confirm Michael’s appearance, while a rep for the singer could not be immediately reached.
In addition, David Cook and David Archuleta may perform Michael hits during the two-hour finale that will also include Carrie Underwood performing her new single, “Last Name.” Producers may still be making last-minute plans with additional singers.
American Idol: Top 9 Perform
(S07E26) The success of these live Idol chats just keeps growing and growing. So come on in and join the hottest American Idol party on the web this week during both the performance and results show. Tonight the festivities begin in time for the live 8pm ET performance show. This week’s theme, mentor and guest performer tomorrow are all Dolly Parton. Dolly’s written some great songs, but we’ve only got one hour tonight so expect wall-to-wall music. Come on in, the chatter’s fine!
Did anyone fall for Ryan’s April Fool’s Joke that the show was going to be pre-empted for a Simon Cowell-led edition of Moment of Truth. Oh, I totally fell for it. I started turning off my computer and was all like “Hey, no review tonight!”
Theme: Dolly Parton
Pedigree: She’s written 3,000 songs, had 110 singles, 25 of which went to number one on the charts and has sold 100,000,000 albums worldwide. This week, she took some time to hang with the kids and help them get some songs from her catalog just right.
Brooke White - “Jolene”
Dolly thought Brooke had a “sweet, warm way about her,” and there was an honesty about her that she liked. For her performance, Brooke took a page from Chikezie’s playbook and brought select members of the band out onto the stage with her. She sang from a stool surrounded by a fiddle player, a percussionist and a single back-up singer. I liked the idea of making an ensemble piece out of her performance, because it gave the audience something to look at as Brooke herself did not move at all during that performance.
Randy: “This kind of music could definitely suit your voice. You could make an album out of it. I don’t know if that was a stellar performance for me, there were some pitch problems and sometimes you rushed the music a little bit. But it was alright.”
Paula: “What’s great about you is that you’re consistent. Your are who you are … You have an emotional connection with each song that you pick. And I think that’s what record companies and executive want. You are Brooke White: excellent and wonderful.”
Simon: “I totally disagree with Paula, because I think what was lacking on that song was any emotion. It looked like you were busking your way through the song. I thought all of you looked very odd together as a group … It wasn’t one of your better performances … I wasn’t that crazy about it.” The music cut him off during the end of this critique.
Jason: “You sang it well enough and I liked the ensemble touch of adding an intimate ’band’ around you, but your performance came off as safe and boring for me, Brooke. And I’m going to have to agree with Simon in that I didn’t really feel anything from you on that one. You have the potential of being a real breakout talent on this show, it just didn’t happen tonight. It wasn’t bad, it was good. Just not great.”
David Cook - “Little Sparrow”
As I expected, just like they did two years ago with Chris Daughtry and Live’s arrangement of “Walk the Line,” Ryan sat down with David Cook to dispel any potential illusions that David has been doing his own arrangement. He name-dropped every band from whom he’s borrowed an arrangement, and then just to prove he’s his own man advised that tonight’s performance would be his own arrangement. Dolly thinks he’s secure in himself and thinks his voice is absolutely beautiful. He opened the piece with almost no accompaniment to better showcase his voice, and his vocal control is just amazing. Like Daughtry and Bo Bice from seasons past, David has a “rock” timbre to his voice but the most beautiful tone.
Randy: “You know what I love that you’ve been doing the past couple of weeks? You’re a rocker but you’ve been showing that you’ve got this unbelievable range. I liked how you went into the (falsetto) there. You made your own arrangement which was very cool, and once again another hot, consistent performance.”
Paula: “I like your haircut. Let me tell you something. I’ve never heard a guy do that song and it was fantastic hearing you do that, going into your false with strength … It shows how well-rounded you are as an artist.”
Simon: “I’m not going to say it was as good as last week because it wasn’t, but if you can make a song about sparrows good, which actually you did, congratulations.”
Jason: “This was as we’ve come to expect from you, which is good. You didn’t slip at all in the quality of your performances as others have done. You didn’t reach new heights or blow me away, but your voice is a real find and a real treasure this year.”
Ramiele Malubay - “Do I Ever Cross Your Mind”
Dolly thinks she’s cute, sweet and scared. Ramiele admitted to being completely star-struck. Dolly connected with her because they’re both equally tiny in stature. Ramiele showed a little more personality in this performance, but I’m not sure how authentically she sold the story of the lyrics. Still, there was some vocal diversity where she could showcase her power. During the more mellow portions of the song, it didn’t work quite as well for me. Overall, though, you could tell she was really trying to bring something more to her performance.
Randy: “I wasn’t jumping up and down, but I wasn’t mad at you either. It was alright. You showed some signs of strength right there and conviction. I thought it was a pretty good performance. I would say six-and-a-half out of ten.”
Paula: “I’m very proud of you because I was a little worried that you weren’t going to connect. But I think that you really had a great minute and thirty seconds and you really connected with the audience and you were having fun.”
Simon: “Look, we’re not going to remember this in ten year’s time are we? It was cute. You sang it quite well. But overall, I thought it was forgettable, and I thought it was very reminiscent of something you would see and hear on a cruise ship, if you want my honest opinion.”
Jason: “You’re starting to come out of that little shell. Are you really that shy? You’ve got this big old voice trapped in that tiny little body and tiny little personality. I know there’s more to you than what we see on that stage, you just need to find that confidence and comfort in yourself.”
Jason Castro - “Traveling Through”
Dolly made a terrible joke “I would dread to have to do those locks” about Jason’s hair. I felt bad for her. She thought he made a good song choice; that it felt his style and personality. I have to agree, as the song and tone fit him perfectly. And I think he took Simon’s advice that he put more effort into the show to heart as this was a very focused performance. I won’t say it was the best Jason has done, but it was an improvement.
Randy: “I thought it started a little bit rough for me … but by the middle of the song I thought you picked it up. I thought, ’Yeah this is kind of cool.’ … You worked it out.”
Paula: “This was one of your strongest performances. You seemed so comfortable, you let go. Your voice sounded so strong and rich and you were confident. It was great. I loved it.”
Simon: “This is the point where I lose my season pass to Dollywood because I didn’t like that at all. It sounded like the same song as before (referring to Ramiele’s song–Simon probably doesn’t know any of Dolly’s songs). I didn’t think you sang it particularly well. I don’t think this kind of music suits you well. If this had been the first time I’d seen you or heard you, I wouldn’t get it. Sorry.”
Jason: “Well, I thought it was better than that. I agree with Paula that this was one of your stronger performances. It’s not always about how familiar the song is you’re singing but what you bring to it. And you’ve gained tremendous confidence on that stage. Was it your best? No, but you’re growing and getting better.”
Carly Smithson - “Here You Come Again”
This was a song not written by Dolly, and in fact Dolly thinks it’s far better suited for Carly’s voice than her own. It’s a much mellower and more tender song than Carly has been giving us. And like others before her, she opted to have a single guitarist join her on the stage. And on this song, she showcased that beautiful voice that she’s supposed to be all about. There were a few places where it seemed like she held back, and she still makes those funny faces when she hits her big notes, like that ending Idol power note she worked in, but it was a good vocal.
Randy: “I do believe that that will probably be one of the better performances of the night. Nice job.”
Paula: “Carly, that was glorious. You are such an amazing talent. You are beautiful, that voice of yours–oh my god! And you look great!”
Simon: “I thought it was good. I don’t think it was great … I also think that you’ve got to have a word with whoever’s dressing you at the moment … I think at this stage, without being rude, you’ve got to start looking more like a star and I’m not seeing that progression at the moment.”
Jason: “The irony of Simon giving wardrobe critique just sells itself. What can you add to that? I thought you had a beautifully controlled performance. I think you’ve kind of fallen into the middle of the pack in past weeks, but that performance right there should remind the people at home why you’re here and how good you can be.”
David Archuleta - “Smokey Mountain Memories”
This is a song dear to Dolly’s heart. The song gave David chills, reminding himself about his own home and family. Dolly thinks he has the voice to become a great, great singer. And he does, he just often shows how young he is still. And he emotes as if he’s trying to come across as a much more seasoned and mature singer. But I think this may be the best David’s been in the past few weeks.
Randy: “David Archuleta is back tonight and I stand corrected. That was the best performance of the night right there.”
Paula: “You have an amazing tone in your voice, you’re strong, you have a beautiful aura about you. You’re just glorious.”
Simon: “I had issues with your choice of song last week. This week, absolutely on the money.”
Jason: “That was a great performance for you, David. You hit a rocky patch a bit there but you seem to have righted yourself this week. This song and style definitely suited you.”
Kristy Lee Cook - “Coat of Many Colors”
This is a true story from Dolly’s childhood but she feels Kristy turned it into something of her own. Kristy went for that homey feel sitting on the edge of the stage. Definitely the country tone of the song fit Kristy’s vocals well, and after “God Bless the USA” last week and this one this week, she’s definitely finding a way to stay in the competition week after week, so while she may not be the strongest vocalist, she’s definitely one of the smarter contestants. And wow did she give a really snarky and overly arrogant response to Simon’s critique.
Randy: “Country music is definitely your wheelhouse, and I think you gave a very nice performance … This is kind of the Kristy Lee week.”
Paula: “You look stunning tonight … You just gave a beautiful performance. I think this was your best performance.”
Simon: “I totally disagree. I thought last week was your best performance, and I thought this was pleasant but forgettable.”
Jason: “I knew that this would be a good week for you because this is the kind of music you can sing. And if this were Country Idol, I’d be praising you as a contestant. But it’s not and I know as soon as you can’t sing something country you’re going to go back to being the girl who’s just way out of her league on that stage. Or maybe you’ll grow as a performer in the meantime and surprise us all. But I’m sure we’ll see you next week.”
Syesha Mercado - “I Will Always Love You”
Dolly liked that Syesha created a blend of both Dolly and Whitney’s approaches to it. And of course, Syesha has found a way to do another Whitney-esque song by doing a Whitney song. The problem is she’s doing what could be the most well known Whitney song and there’s no way she can do it as well as Whitney. She keeps reaching for the stars and as Simon said, no one is as good as Whitney. Still, Syesha sings well and pulled it off a lot stronger and better than I thought she would. And all of that from the seated position on a grand piano. And she hit the grandmother of all ending Idol power notes. By the end of it, she’d sold me on the Syesha version of that.
Randy: “You took on the biggest tiger of the night, and I think you did pretty good. It’s still hard for me to hear anyone else sing that song. It was alright.”
Paula: “You look beautiful. That color’s gorgeous on you. Let’s talk about your voice. Your voice [has] like a velvety tone. That’s it for you and I just think you’re growing and growing and growing and you’re connecting with the audience so much more and I love it.”
Simon: “You forget what a brilliant song writer Dolly Parton is because this is one of the best pop songs ever written. I almost wish you hadn’t got it in a strange way … the first part was good, the second part, as I had a feeling, unfortunately paled by comparison to the Whitney version … I don’t even know if it helped you that much. It was a good; it wasn’t a fantastic version of the song.”
Jason: “If we try really, really hard to not hear the Whitney version in our heads I think you did a really good job on that. The problem is it’s so hard to not hear that version. You’ve got a beautiful voice and I think you sang really, really well tonight. I just worry that people won’t be able to forgive you for not being Whitney Houston.”
Michael Johns - “It’s All Wrong, But It’s All Right”
Michael revealed that his first concert in 1986 was a Dolly Parton show and he was overwhelmed by the chance to meet her. As for Dolly, she liked his voice and thought she could write some nice songs for him so was hopeful that he became a star to give her that opportunity. Everybody felt the need to jam with various members of the band tonight as Michael kept Syesha’s grand piano and added a guitarist. And then he turned around and gave one of the strongest performances of his Idol run to date, and the most controlled and passionate vocal of the night.
Randy: “You keep on bring it up every week a notch, dude. That was a blazing hot performance. Nice job.”
Paula: “I just want to say one thing … You’re a star, a rock star, a blues star … and you look gorgeous.”
Simon: “I think this is the best I have heard you sing throughout the competition.”
Jason: “Far and away not only your best performance to date, but the best performance of the night as well. Great job!”
Best of the Night
Carly Smithson, Syesha Mercado, Michael Johns
The Bottom Three
Ramiele Malubay, Jason Castro, Kristy Lee Cook
Going Home
Ramiele (or could Kristy Lee’s time finally be up?)
Amy Irving Biography
A dark-haired beauty with striking eyes and an intelligent air, Amy Irving seemingly came by her talent genetically: Her father Jules was an accomplished stage director and her mother Priscilla Pointer is a fine character actress. (Pointer has often been teamed onscreen with her offspring, playing either the mother or a motherly figure to characters essayed by Irving.) Although she actually began her career as a guest performer in episodic television and on stage, Irving shot to attention as Sue Snell, the sole teen survivor of Brian De Palma’s splashy “Carrie” (1976). Irving lent her astringent good looks and spunk to De Palma’s “The Fury” (1978), playing a woman with psychokinetic powers, and to her portrayal of an Indian princess in love with a British cavalryman (Ben Cross) in the HBO miniseries “The Far Pavilions” (1984). She also triumphed on Broadway, first as Constanza Weber, the wife of Mozart, in “Amadeus” (1980) and again as Ellie to Rex Harrison’s Shotover in a 1983 revival of Shaw’s “Heartbreak House”. Despite having some misgivings over the role, Irving accepted the part of Hadass, the bride of “Yentl” (1983), a woman masquerading as a man, in Barbra Streisand’s directorial debut. Despite the inherent pitfalls, she imbued the role with a delicacy and intelligence that was rewarded with an Academy Award nomination as Best Supporting Actress.
Despite her strong performances, for much of the late 1970s and into the 80s, Irving was better known for her on-again, off-again relationship with rising director Steven Spielberg. Their 1985 marriage overshadowed her career. With the perspective of hindsight, the actress told THE LOS ANGELES TIMES (April 17, 1994): “During my marriage to Steven, I felt like a politician’s wife. There were certain things expected of me that definitely weren’t me. One of my problems is that I’m very honest and direct. You pay a price for that. But then I behaved myself and I paid a price too.” Despite putting these pressures on herself, she continued with her career, turning in well-rounded portrayals of a woman who may or may not be the Czar’s daughter in “Anastasia: The Mystery of Anna” (NBC, 1986) and a sophisticated New Yorker who is romanced by a pickle seller in “Crossing Delancey” (1988). Irving also displayed her sultry vocal abilities providing the singing voice of the animated Jessica Rabbit in “Who Framed Roger Rabbit” (also 1988; Kathleen Turner provided the speaking voice). During the filming of “A Show of Force” (1990), the actress, cast as Puerto Rican TV journalist, fell in love with the film’s Brazilian director Bruno Barreto.
After an amicable split from Spielberg in 1989, she and Barreto moved in together and gave birth to their son in 1990. After playing a brassy blonde cocktail waitress in “Benefit of the Doubt” (1993), her husband gave her a fine role as a middle-aged schoolteacher finding romance in “Carried Away” (1996). Irving continued to return to the stage as well, headlining the West Coast production of Wendy Wasserstein’s “The Heidi Chronicles” (1990), playing a Brooklyn woman who suffers paralysis from her over-identification with German Jews in Arthur Miller’s Broadway play “Broken Glass” (1995), and teaming with Lili Taylor and Jeanne Tripplehorn as Chekhov’s “Three Sisters” (1997). Irving again teamed with Barreto to play an acerbic, overly-ambitious FBI agent in “One Tough Cop” (1998), based on the life of NYC policeman Bo Dietl, and as an American teacher in Brazil who finds unexpected romance in “Bossa Nova” (2000). The actress also revisited the role of Sue Snell in the sequel “The Rage: Carrie II” (1999).
Irving appeared as part of director Steven Soderberg’s high-powered acting ensemble in 2000’s traffic, playing the wife of Michael Douglas’ drug czar and mother to their troubled drug addict daughter, and the critically acclaimed indie “13 Conversations about One Thing.” In 2002 she reunited with Spacek in another feature film, this time a family-oriented flip side to their “Carrie” collaboration, Disney’s adaptation of author Natalie Babbitt’s children’s classic “Tuck Everlasting.” She also was featured in a recurring role on the ABC spy series “Alias.”
- Also Credited As:
Amy Davis Irving - Born:
on 09/10/1953 in Palo Alto, California - Job Titles:
Actor, Producer
Family
- Brother: David K Irving. born in September 1949
- Father: Jules Irving. died on July 28, 1979
- Mother: Priscilla Pointer. appeared with Irving in several films including “Carrie”
- Sister: Katie Irving. born in January 1951
- Son: Gabriel Barreto. born on May 4, 1990
- Son: Max Samuel Spielberg. born in June 1985
- Step-daughter: Helena Barreto. born c. 1977
Significant Others
- Husband: Bruno Barreto. Brazilian; together since 1989; met when cast in Barreto’s “A Show of Force”; has daughter from prior relationship
- Husband: Steven Spielberg. had on-again, off-again relationship from c. 1975; introduced by Brian De Palma; separated in 1979; reunited in 1984 when he escorted her to the Academy Awards; married on November 27, 1985 in Santa Fe, New Mexico; separated in 1988 over reports Spielberg was having an affair; divorced in 1989
- Companion: William Katt. dated before filming of “Carrie”
Education
- American Conservatory Theatre, San Francisco, California, 1971-72
- London Academy of Music and Dramatic Art, London, England, 1972-75
- High School of Music and Art, New York, New York
- P S 44, New York, New York
Milestones
- 1954 Stage debut, “Rumpelstiltskin” at the Actor’s Workshop, San Francisco
- 1975 Made guest appearances on episodes of “The Rookies” and “Police Woman”
- 1976 Had featured role in the NBC miniseries “The Last Convertible”
- 1976 Film debut as Sue Snell in “Carrie”, directed by Brian De Palma
- 1976 TV-movie debut in “Panache”, a busted ABC pilot based on “The Three Musketeers”
- 1978 Reteamed with De Palma for “The Fury”
- 1980 Broadway debut succeding Jane Seymour as Constanze in “Amadeus”
- 1983 Received a Best Supporting Actress Oscar nomination for her performance as the bride-to-be Hadass in Barbra Streisand’s directorial debut “Yentl”
- 1983 Returned to Broadway in support of Rex Harrison in an acclaimed revival of Shaw’s “Heartbreak House”
- 1984 Co-starred as Dudley Moore’s pregnant girlfriend in the Blake Edwards’ comedy “Micki & Maude”
- 1984 Starred as an Indian princess romanced by a British calvary officer in the HBO miniseries “The Far Pavillions”
- 1985 Married director Steven Spielberg after decade-long on-again, off-again relationship (November)
- 1986 Portrayed Anna Anderson, a woman who claimed to be the daughter of Russian Czar Nicholas II in the NBC miniseries “Anastasia: The Mystery of Anna”
- 1986 Reprised her stage role opposite Harrison in the Showtime production of “Heartbreak House”
- 1988 Appeared off-Broadway in Athol Fugard’s “The Road to Mecca”
- 1988 Provided the singing voice of Jessica Rabbit in the combination live action-animated feature “Who Framed Roger Rabbit”
- 1988 Starred as a upscale New Yorker who is matched with a pickle saleman in “Crossing Delancey”
- 1989 Divorced Spielberg
- 1990 Cast in “A Show of Force”, directed by Bruno Barreto; became romantically involved with Baretto
- 1990 Headlined the L.A. production of Wendy Wasserstein’s award-winning play “The Heidi Chronicles”
- 1996 Second film with Baretto, “Carried Away”; played a middle-aged schoolteacher embarking on a romance
- 1997 Appeared in Woody Allen’s “Deconstructing Harry”
- 1997 Returned to Broadway alongside Lili Taylor and Jeanne Tripplehorn in Chekhov’s “Three Sisters”
- 1998 Co-starred as a tough-talking FBI agent in “One Tough Cop”, directed by Barreto
- 1999 Reprised role of Sue Snell in “The Rage: Carrie II”
- 2000 Appeared as the wife of a drug czar in “Traffic”
- 2000 Reteamed with Barreto for “Bossa Nova”
- 2001 Acted in “The Vagina Monologues” in London
- 2001 Had featured role in “13 Conversations About One Thing”; screened at Toronto; shown at the 2002 Sundance Film Festival
- 2002 Cast in the family feature drama “Tuck Everlasting”
- 2002 Cast in the recurring role of Emily Sloane in the ABC spy series “Alias”
- 2005 Starred opposite Robert De Niro and Dakota Fanning in the thriller “Hide and Seek”
- Starred in Arthur Miller’s stage play “Broken Glass”; played role on Broadway