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A new 'View' of celebs for Whoopi Goldberg

Cristina Kinon
New York Daily News (MCT)

NEW YORK - Whoopi Goldberg is so excited about her gig as moderator on "The View," she says she's ready to start now.

Her official debut isn't until September, so the comedian will have plenty of time to brush up on her celebrity gossip, which is often a focus of the hot-topics segments she will now oversee.

"I don't know about Britney and I don't know about Lindsay or Pookie or whoever," Goldberg said Wednesday.

She'll be filling the slot Rosie O'Donnell vacated in May. But Goldberg - who, like O'Donnell, is known for her outspoken manner - says audiences shouldn't expect her to be Rosie 2.0.

"I'm not Rosie," she said. "I'm not Star (Jones). I'm not Elisabeth (Hasselbeck). I'm not Joy (Behar). I'm Whoopi."

Goldberg said she won't shy away from expressing her politics (something that cost her a SlimFast campaign in 2004, after some double entendres about President Bush at a Democratic fund-raiser), but viewers might be surprised to learn she won't always disagree with the conservative Hasselbeck.

"We have our differences of opinion," said Goldberg. "But there will be many days when she and I are on the same page."

Boss Barbara Walters says she's "thrilled" to have Goldberg aboard.

"There were other people that were very good, but there aren't a lot of great choices," Walters told the New York Daily News. "(Whoopi's) brilliant, she's funny, and she can be edgy, and she's a professional. All the things that we needed."

Goldberg even garnered endorsements from two former "View"-ers.

O'Donnell said in a statement Wednesday that "Whoopi is fantastic in every way. She's perfect for the job. She's amazing and one of my favorites."

And Jones, who's landed her own show on Court TV, said through her rep, "Whoopi is a smart women with an opinion ... and an excellent choice. She brings life experience outside of the entertainment business, and diversity with intelligence."

"The View" actually had two vacant chairs it hoped to fill, and rumors had the second position going to actress Sherri Shepherd. However, In Touch reported Wednesday that the negotiations broke down over money.

"They weren't willing to pay Sherri what she was asking for," an insider told the mag.

But Walters said she's "not sure what that's all about."

"I do hope to add somebody else to the cast," she said. "I don't know when it will be. It won't be this summer. But it would be nice to have another permanent member, because I don't want to be on five days a week.

"I think Sherri Shepherd is wonderful," added Walters. "She's been on our show before, I hope she is again, but right now our concentration is Whoopi."

The year in song reflected the state of the world around us. Here are the 70 songs that spoke to us this year.

70. The Horrors - "Machine"

On their fifth album V, the Horrors expand on the bright, psychedelic territory they explored with Luminous, anchoring the ten new tracks with retro synths and guitar fuzz freakouts. "Machine" is the delicious outlier and the most vitriolic cut on the record, with Faris Badwan belting out accusations to the song's subject, who may even be us. The concept of alienation is nothing new, but here the Brits incorporate a beautiful metaphor of an insect trapped in amber as an illustration of the human caught within modernity. Whether our trappings are technological, psychological, or something else entirely makes the statement all the more chilling. - Tristan Kneschke

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Electronic music is one of the broadest-reaching genres by design, and 2017 highlights that as well as any other year on record. These are the 20 best albums.


20. Vitalic - Voyager (Citizen)

Pascal Arbez-Nicolas (a.k.a. Vitalic) made waves in the French Touch electro-house scene with his 2005 debut, OK Cowboy, which had a hard-hitting maximalist sound, but several albums later, Voyager finds him launching into realms beyond at his own speed. The quirky, wallflower vocals and guitar snippets employed throughout Voyager drop a funk that brings to mind WhoMadeWho or Matthew Dear if they had disco-pop injected between their toes. "Levitation" is as pure a slice of dance floor motivation as theoretically possible, a sci-fi gunfight with a cracking house beat sure to please his oldest fans, yet the album-as-form is equally effective in its more contemplative moments, like when Miss Kitten's vocals bring an ethereal dispassion to "Hans Is Driving" to balance out its somber vocoder or the heartfelt cover of "Don't Leave Me Now" by Supertramp. Voyager may infect you with a futuristic form of Saturday Night Fever, but afterwards, it gives you a hearty dose of aural acetaminophen to break it. - Alan Ranta


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Film

Hitchcock, 'Psycho', and '78/52: Hitchcock's Shower Scene'

Alfred Hitchock and Janet Leigh on the set of Psycho (courtesy of Dogwoof)

"... [Psycho] broke every taboo you could possibly think of, it reinvented the language of film and revolutionised what you could do with a story on a very precise level. It also fundamentally and profoundly changed the ritual of movie going," says 78/52 director, Alexandre O. Philippe.

The title of Alexandre O. Philippe's 78/52: Hitchcock's Shower Scene (2017) denotes the 78 set-ups and the 52 cuts across a full week of shooting for Psycho's (1960) famous shower scene. Known for The People vs. George Lucas (2010), The Life and Times of Paul the Psychic Octopus (2012) and Doc of the Dead (2014), Philippe's exploration of a singular moment is a conversational one, featuring interviews with Walter Murch, Peter Bogdanovich, Guillermo del Toro, Jamie Lee Curtis, Osgood Perkins, Danny Elfman, Eli Roth, Elijah Wood, Bret Easton Ellis, Karyn Kusama, Neil Marshall, Richard Stanley and Marli Renfro, body double for Janet Leigh.

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Mary Poppins, Mrs. Gamp, Egyptian deities, a Japanese umbrella spirit, and a supporting cast of hundreds of brollies fill Marion Rankine's lively history.

"What can go up a chimney down but can't go down a chimney up?" Marion Rankine begins her wide-ranging survey of the umbrella and its significance with this riddle. It nicely establishes her theme: just as umbrellas undergo, in the everyday use of them, a transformation, so too looking at this familiar, even forgettable object from multiple perspectives transforms our view of it.

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7

Those who regard the reclusive Argerich as one of the world's two or three greatest living pianists—classical or otherwise—would not have left the concert hall disillusioned.

In a staid city like Washington, D.C., too many concert programs still stick to the basics. An endless litany of Rachmaninoff and Tchaikovsky concerti clog the schedules and parades of overeager virtuosi seem unwilling to vary their repertoire for blasé D.C. concertgoers. But occasionally you encounter a concert that refreshes your perspective of the familiar. The works presented at The Kennedy Center on 25 October 2017 might be stalwarts of 20th century repertoire, but guest conductor Antonio Pappano, leading the Orchestra dell'Accademia Nazionale di Santa Cecilia, reminded us how galvanizing the canonical can still be. Though grandiose executions of Respighi's The Fountains of Rome and The Pines of Rome were the main event, the sold-out crowd gathered to see Martha Argerich perform one of her showpieces, Prokofiev's Third Piano Concerto. Those who regard the reclusive Argerich as one of the world's two or three greatest living pianists—classical or otherwise—would not have left the concert hall disillusioned.

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