for sequences of violence, sexual content and brief strong language
A high school security guard, who is addicted to video games, in Atlanta, GA has two goals in life; marry the woman of his dreams and become a cop. There is one obstacle that stands in the way of both goals coming to pass; his lady’s imposing cop brother. Ride Along is an action comedy starring Kevin Hart and Ice Cube that is equal parts Training Day and Kevin Hart stand-up.
Right from the start you realize that this movie is all about being entertaining with little regard placed on being award worthy in any category. The two main characters, loner badass cop, James Payton (Ice Cube) and wise-cracking school security guard, Ben Barber (Kevin Hart), are total opposites and over-the-top in their own unique ways. They remind me of the characters from the old 48 Hours movies played by Eddie Murphy and Nick Nolte.
James decides to take his soon to be brother –in-law out for a ride along that will also serve as Ben’s “training day.” Ben has to prove his worthiness of being a cop and marrying James’s sister Angela. The movie unfolds as a series of “126 in Progress” calls that Ben is tasked with handing to see if he can make the cut. The circumstances that he is placed in and the consequences of their actions are hilarious almost to the point of being totally ridiculous.
The potential comedic chemistry between Ice Cube and Kevin Hart was a point of concern for me going in. After seeing the first on-screen interaction between the two, those concerns were quickly put to rest as they “clicked” right away. Ice Cube and Hart were a truly dynamic pairing when it comes to gaining a laugh. Kevin Hart played up his short stature and addiction to video games for several good laughs. Ice Cube worked as the straight-man for most of the movie, but also got to interject some of his own comedic and note-worthy lines. I even had a Gangsta Rap geek-out moment when Ice Cube delivered his famous lyric “Today Was a Good Day” after a particularly funny scene.
The movie is funny, but don’t go into this looking for any type of dynamic story or surprise twists to go along with the funny; it is VERY predictable. When the director, writers and producers of the movie were creating the story I’m sure the creative process went a little like this:
Producer: “I haven’t seen a funny buddy cop movie in a while.”
Writer: “Me either, wanna make one?”
Director: “I really liked training day and LOVE that short little black man… What’s his name, Kevin Hart?”
Writer: “Make Training Day funny? Use Kevin Hart to do it? PSSHHT!! That’s easy!!!”
Producer: “Let me write you a check…”
Despite the simplistic story, I do recommend seeing the movie if you are in the mood for a few good laughs AND are a fan of Kevin Hart. If you find Kevin Hart even a little annoying, he is in full force in this one. Consider yourself warned.
for sequences of violence and intense action, and brief strong language
Back in 1990 the movie world was introduced to novelist Tom Clancy’s character John Patrick “Jack” Ryan in the hit The Hunt for Red October. The movie was the first of Clancy’s novels to be adapted to film. Alec Baldwin is the first actor to get the opportunity to play the role on the big screen. Jack had to convince the Navy that Russian Submarine Captain Marko Ramius, played by Sean Connery, was trying to defect to prevent a war from breaking out. The movie was such a success in the box office, a sequel was ordered.
Now it is 1992 and Jack Ryan is back, this time Harrison Ford is the guy tabbed to play the role of a now retired Ryan. Patriot Games is the novel that was selected to be adapted. Jack is on vacation in London when he happens to be in the right place at the right time to intervene in an assassination attempt on a British Government Minister. Afterwards, he and has to deal with the revenge of the assassins for foiling their plot. Yet again, we have a box office success and another sequel ordered.
In an effort to keep milking this cash cow, Harrison Ford is brought back to play Ryan in the 1994 Clear and Present Danger. Now, Jack Ryan is the Deputy Director of the CIA tasked with stopping a Columbian drug cartel. As no surprise, the movie is another box office success for the character but this time no sequel is put in motion.
It is eight years before we are to be given another Jack Ryan movie. In 2002 Ben Affleck is given the role as Ryan in The Sum of All Fears. This time the movie steps out of the continuity that was in place with the previous three movies with Ryan back to being a lowly analyst in the CIA. He must stop a nuclear showdown with the Russians while simultaneously trying to stop a terrorist from blowing up a major US city. The movie was released a little after the attacks of September 11, 2001. This time, we do not have the major box office success or the acclaim of the previous installments.
That little history lesson was to set the tone for my expectations for this new installment in the Jack Ryan franchise. I enjoyed The Hunt for Red October, because of Connery, Baldwin was okay at best. I liked Patriot Games and Clear and Present Danger because of Harrison Ford. I HATEDThe Sum of All Fears because of what Affleck did to the character that I loved. All that being said, I went into the screening of Jack Ryan: Shadow Recruit thinking, “How bad is Chris Pine going to mess Jack Ryan up?”
Shadow Recruit is a reboot of the franchise, chronologically speaking. We are taken back to September 11, 2001 in London, England where a young John P Ryan is working on his PhD. After the horrific events of that day, Jack joins the Marines and volunteers for combat duty in Afghanistan. While serving he is severely wounded and forced out of the Marines. During his recovery from his injuries he is recruited by the CIA, sent back to school to finish his PhD and put in play as an undercover analyst tracking the financials of threats to the United States.
As for the villain and threat that Jack is trying to stop, it is something very real, very up-to-date and something that is possible at any given time in the real world. Not to give up any details, but it is not your run of the mill terrorist bomb plot. The individual villain, Viktor Cherevin, is played by Kenneth Branagh. He is a credible villain but not your typical “bad guy”, you get the impression that he is really just a misguided patriot.
Chris Pine as Jack Ryan… Not bad at all. My fears were unfounded as Pine and the filmmakers did not turn the character into another James Bond or Jason Bourne. He was the scared, over his head, yet supremely intelligent guy that Jack Ryan is supposed to be. In one scene; the look of shock, awe and horror that are on Pine’s face say more about the mindset of the character than 30 minutes of dialogue by Affleck in The Sum of All Fears. Pine does a wonderful job getting the point across that Ryan has absolutely ZERO desire to be on the operational side of things with the CIA.
As with any movie in this genre, there are going to be aspects of the story that are a little too much. The scenes with Keira Knightley playing Cathy Muller, she hasn’t married Jack yet, are just too sappy. I just rolled my eyes at the way the two were portrayed as a couple. Also, the American accent that Keira was attempting was just so awkward, thankfully, her dialogue was limited
Do I recommend it? Yes. Jack Ryan: Shadow Recruit has a good plot, unique story, decent acting and minimal annoyances. It is worth your time and money to go check it out.
One of the country’s premier comedians, Jay Leno has performed hundreds of comedy shows around the United States for the past 20-plus years. Experience America’s favorite TV personality when he comes to DPAC March 28, 2014 for an unforgettable night of stand-up.
Jay Leno – named America’s Favorite TV Personality in the 2009 Harris Poll – had been America’s late night leader for almost two decades before moving from late night to primetime in September 2009 and then returning to host “The Tonight Show with Jay Leno” in March 2010.
Jay served as the host of the Emmy®Award-winning and top-rated “The Tonight Show with Jay Leno” since 1992. His engaging manner enabled “The Tonight Show” to capture its time slot for a remarkable 15 consecutive years, while making the show one of the most valuable properties not just for NBC but in all of television.
Indeed, Jay’s “everyman” style and personality have helped him earn millions of fans worldwide, people who relate to his personable style and work ethic. He has been touted as one of the nicest people in show business and the hardest-working — a winning tandem for the man who says “Anyone can have a life – careers are hard to come by!”
Once is a Broadway play, with music, inspired by the 2006 film of the same name. The story revolves around a young man who lives his life through music in Dublin, Ireland. The young man’s music leads him into relationships and trials that change his world. As actor Matt DeAngelis put it, “love is the central theme of the show… the love for music, the love for family, the love for your city, the love for each other.”
As a lover of theatre, it is always humbling to be able to speak with an actor about his art. In advance of the January, 21-26 performances of Once at the Durham Performing Arts Center I was given the opportunity to speak with Matt DeAngelis about acting and his role on the tour.
DeAngelis, who performs the role of Svec in Once, is also known for his performances in Songs for a New World, Hair, and American Idiot.
MAC – I am really interested in this show, because I actually teach theatre in addition to writing about it. I am really intrigued by how this show operates with so many new aspects of theatre. What influenced you to audition for this show?
Matt DeAngelis – That’s actually a funny question. I audition for what my agent tells me to audition for. I love the show, I had seen the show. Before I got it, I had seen it two or three times on Broadway. One of my best friends is in the show on Broadway so whenever he goes on, instead of one of his understudies, I would go see it. So yeah, I love the show, but basically we are all actors and we have to work.
MAC – Was this an easy transition to go from American Idiot into Once? Was that easy for you?
Matt DeAngelis – Yeah, it was a really easy transition because now I am getting paid and for a really long time after American Idiot, I wasn’t. Easy is a difficult word too. I think I always get cast in shows that you don’t necessarily… We have to be actors, but we have to be authentic versions of ourselves. I think that even though they are very different, Hair and American Idiot and this all have that similar quality to them. I think that there is an element of truth. It’s not about acting all the time, there definitely is acting. Not to say that we are not acting, because we are. I think there is a real big portion of it that is about being yourself. I think that is a through-line in all the shows I have been fortunate enough to be cast in
MAC – Would you consider yourself a method actor or a technical actor with the truth in who you are?
Matt DeAngelis – Honestly, I am the wrong to ask when it comes to questions like that. There’s an old James Cagney quote that I love. He was asked, “James, how are you such a good actor?” He said, “Well, I try my best to hit my mark, I look them in the eye and I tell the truth.” I think that is at the root of it all, I think that is what we do for a living. We have to tell people the truth. So I don’t get wrapped up in that. I didn’t move to Dublin to prepare for the role, so I’m not a method actor. I don’t really get wrapped up in the technicality of it either. I try to look at the roles and I try to see what parts of that role are like me and then I try to behave as if the scenario was really happening to somebody. I don’t think for me… I know for a lot of actors it’s different and everybody has different ways of doing things. For me, that’s what works for me.
MAC – How similar to the role are you for Once?
Matt DeAngelis – Well, he’s a little crazy and I’m a person who likes to have fun and be silly. I definitely bring elements of myself to him but mostly this role is all about me being free just to play, to just play around. In the rehearsal process there was a lot of experimenting with just how silly I could be.
MAC – You ended up pushing the director’s buttons?
Matt DeAngelis – I asked the director in the first rehearsal, we started doing one of the scenes that is really ridiculous. I said, “I want to be clear, just how far off the reservation am I allowed to go?” You give me parameters and I will work within them. I want to have fun and I want to explore, but it’s not my gig. I want to make sure I am operating inside the constraints of the director. I don’t want to step on any toes. I wanted to play and I wanted to be spontaneous and fun. But I also wanted to make sure I was telling the story and not just doing it for my own amusement.
MAC – Who influenced you the most in the show? Were in you influence most by the director or what you had previously seen?
Matt DeAngelis – Any smart actor draws inspiration and experience from everybody he works with. I have had the unbelievable good fortune of my first three professional gigs of note. My first four professional gigs of note actually have all been with Tony winning directors. I was with Diane Paulus with Hair. I was with Michael Mayer with American Idiot. I did the workshop of Last Goodbye with Alex Timbers in New York this summer. Now I am working with John Tiffany so I have been pretty fortunate there. I’d be dumb not to pull inspiration from them. I worked with Gavin Creel in Hair. He was Claude in Hair when I did it on Broadway and then I did it in London. He changed my life professionally and personally. He is such an inspirational person. I think that you learn from everybody, especially when you work with a “Theatre Superstar” like Gavin Creel or a Casey Levy or even a Van Hughes. Van Hughes in American Idiot, you learn from them. You observe them and you learn the way that they do their jobs.
MAC – As an actress, I am very jealous of all that you just said.
Matt DeAngelis – It’s all the same thing though. They are just people trying to their jobs too, just different ways of doing your job. You have to try to explore from your circumstances because it makes you a better person and a better artist.
MAC – Are you familiar with the statement “Illusion of the first time”?
Matt DeAngelis – Yeah
MAC – Do you ever find it difficult to continue with that show after show? Or, do you find something new with each performance?
Matt DeAngelis – I think it is a fine line when you are doing commercial theatre, because there is an element to it that has to be the same every time. When you are on the road the sameness becomes more important. There is this one bit in the show where I tell this joke where I never get a laugh unless I do this weird little back bend thing. I’ve learned that it is not funny without it; I don’t know why it’s funny with it. I’m a smart actor and I don’t know why it is funny with it, but I know it is not funny without it, so I do it. There are moments like that, but I think it all comes down to listening, honestly. Like, you can pretend it is the first time if you are actively listening to your scene partner. It is not about what you are saying. You saying something is not what makes it spontaneous, you hearing something is what makes it spontaneous.
MAC – When you are doing the show, how difficult is it to act, sing, dance and play an instrument on top of that “triple threat”?
Matt DeAngelis – It feels pretty normal now; I’ve been doing it for a long time now. It was hard in rehearsals but it’s not dancing, it’s moving and there is music with instruments. We are not a musical either; we are a play with music. I think those are both very important things to understand. That’s the way our creative team approached it. It’s a play first, it’s a story first, it’s music first, then add movement second to enhance music.
Matt DeAngelis – I think truthfulness is important; I just try to do it honestly. The entire company has that same goal in mind. It is not any more or less challenging, just a different challenge.
MAC – What do you believe to be the heart of the show?
Matt DeAngelis – I think there is something really special to live music. I think that is a really special thing to our show. I think that Love is the central theme to our show. And not the type of musical theatre that everybody is happy at the end kind of love. Like messy, real life love where you love somebody but the circumstances aren’t quite right. You struggle with it and you try and it’s hard and it’s scary and it’s sad and it’s tragic and it’s amazing. The love for music, the love for family, the love for your city, the love for each other; I think that love is the central theme, but not in the way people would expect.
MAC – With love being that central theme, is that what you would want the audience to take away. That unconditional loving of family and friends and music?
Matt DeAngelis – With the love in our show I think the audience should leave with an appreciation for love in various forms. Even when you are scared, and love is terribly scary sometimes, always be willing to take a chance. Also, from the other perspective, I think that you see someone who really steps into help someone in need, without knowing why, who is a stranger. The girl in our show doesn’t have any vested interest in this person when she first meets him and they end up having a relationship. She sees a person in need of assistance and she helps them.
MAC – I am fascinated with this show with how you are able to accomplish all of this and play an instrument. Personally, I was always challenged to dance and sing at the same time.
Matt DeAngelis – It is pretty special. I am very blessed to be able to do the shows that I have done in my career, have the experiences that I have had, to perform in London and have national tours and I was the lead in a Broadway show, now this. I am as fortunate as actor can possibly be. I think that this is show is truly special and I think that people are going to love it and I think that it touches people in a way that nobody really expects. And it also touches people in a way that you can’t really quantify. We say it is like a snowball. In the beginning you don’t see it coming and at the end it is just washed over you. Our director, John Tiffany, calls it the world’s slowest moving snowball. It is little moment upon little moment upon little moment and then all of the sudden by the end of the show the entire audience is just floored by the emotional experience. You just don’t really know where it came from, it just happened, because John Tiffany and Stephen Hoggett and Natasha Katz and everyone who put the show together are geniuses.
This weekend Raleigh is being treated to a series of shows at Goodnight’s from funnyman Gary Gulman. Gary brings a comedic style that uses random aspects of everyday life to build material. He will have you laughing about items as mundane as grapefruit and as complex as the impact of the Old Testament on the Jews of today. Tickets are available HERE
MAS – In just a couple weeks you are going to be performing at Goodnight’s in Raleigh. A lot of you contemporaries like to make special requests, did you have any? Like maybe fresh cut grapefruit halves and Vanilla Ice playing in your dressing room?
Gary Gulman – {Laughs} No, I just want to get a check at the end of the week. That would be my only request. I like compensation for services rendered. No, I guess just a hotel with fresh sheets and flights were my only requests.
MAS – You are not like a lot of your contemporaries.
Gary Gulman – {Laughs} Yeah, as long as I can sleep and fly, I am okay.
MAS – I recently had the pleasure of talking with Natasha Leggero and she told me that she got into comedy due to not being loved enough by her parents. What sent you into the life of comedy?
Gary Gulman – {I would say that most of your comedians are going to have a lack of attention paid to them when they are growing up or somebody thinks that everything they say is brilliant and hilarious. Those are the two ends of the spectrum.
I fell in love early with the power that jokes and comedy had over other people. I would memorize the jokes that I heard on Saturday Night Live or on The Tonight Show or whatever stand-up comedy shows I watched. I would just memorize them and then the kids at school would really react. It was early on that I realized how powerful and how exciting it could be to get laughs off of people.
MAS – You are able to make generally random parts of life truly hilarious. For example, your bit on grapefruit had me rolling.
Gary Gulman – Wow! Really? Thank you. That is from a really long time ago, like maybe 2006. I always get requests for that at shows. I guess the origin of that probably was as a child being confused by the disparity of the fruit grape and the grapefruit. That was just something that I finally had the knowledge and the vocabulary to construct.
MAS – In general, with your jokes, are you just sitting around saying, “I haven’t heard a good Discman joke in a while, let me see what I can come up with?” How do you pick topics you make jokes about? They just seem to be random, but always funny.
Gary Gulman – I find that the longer you do it, if you see somebody with a Discman now that you do a double-take or things that occur in your life or are striking in the hypocrisy or the confusion or lack of common sense involved. Like the fact that they have those things on the side of the highway that tell us how fast we are going but there is not one that works equally as well inside the car, like in the dashboard. Those were the types of things that I was interested in at the time when I wrote them. Usually when I identify something as a subject I can talk about it onstage. 9 times out of 10 I can find something funny just by talking it out and then I will try to remember it for the next show. That is usually my method.
MAS – So there really is a certain degree of spontaneity to it?
Yeah, initially, then when I find humorous parts that really stick out or get a great response, then the next time I do it I have to make it seem like it is spontaneous. That becomes the real joke to it after a while.
MAS – In watching “Boyish Man”, I thought it was very funny, especially the bit on Hanukah. Most of my family is Catholic, but a big part is Jewish. We have those discussions over dinner at Thanksgiving. So that part hit home for me.
Later in that show you talked about the contributions of the Chinese. That also had me rolling, especially the handcuff joke.
In talking about Jews and Chinese, there are enough people in this world that have hypersensitivity and what I call the “PC disease”, has anyone ever approached you acting all offended by a joke you did?
Gary Gulman – Not those particular ones. I don’t specifically remember what I talk about with Hanukah. There are certain things that I talk about, like the overall treatment of my people in the Bible by God and our neighbors. I always say that The Old Testament could have easily been called, regarding God, “He’s Just Not That into You.” With God, we’ve been chosen, but he is just very hard on us. He might be trying to break up with us.
To me, that type of thing is light-hearted and fun. To my family it is sacrilege and blasphemous. So when I think about something like that, it is like, “Oh, this would really aggravate my older brother or really make my father uncomfortable.” There is a bit of mischief there and some risk at least in my family if my family was to hear these jokes. They would be furious, so it makes it a little more fun.
As far as the general public goes, I have not had too much trouble with people being offended. To me with comedy going further and further, I am considered tame.
MAS – I can’t think of anyone else that has a style like yours. Who influenced you? Where did you get your style from?
Gary Gulman – I was influenced later on by the comedic actor, Chris Elliott from the Letterman show and Life. I always loved that he was always great at playing people that were over confidant, arrogant, losers. I always admired that. I tried to take some of that confidence into my act. There is just a charm to that type of attitude that I have always loved.
The other thing, as comedians we really love words; the use of words, word play and vocabulary and stuff. So I am really influenced by a lot of authors and rapper and poets and people who are really into getting the most out of a sentence or a word.
MAS – You have appeared on just about every late night show that there is to appear on, been a part of many tours and performed at countless clubs. Is there any one particular show that you did that, looking back, you wished you didn’t? Sort of like Laurence Fishburne in Pee Wee’s Playhouse.
Gary Gulman – Last Comic Standing and Tourgasm were my most well know TV shows. They were forms of reality shows, so there were trade-offs. I would have rather gotten on TV doing something that was strictly my stand-up. So, there is a trade-off; some competitions, some contests and just stuff that had nothing to do with stand-up. You wish you could just do the stand-up but it was a fair trade-off as far as the fans I was able to make and the exposure of getting to play in front of as many as 18-20 thousand people at once. You can’t prepare for that unless you do it. That was very helpful, and I would not trade that for anything. I would have liked to have been able to hold onto a little more privacy.
MAS – I have checked out ”Conversations with Inanimate Objects”, “Boyish Man” and “No Can Defend” all of which were very funny and well worth the visit to Amazon. When can we expect to see a new album or maybe even a comedy special from you?
Gary Gulman – I was just talking to my manager about that. I am going to shoot for the spring to make a new special, which would make it two years from the last one. That is faster than a lot, but not as fast as say Louis C.K. or George Carlin who put them out every year. I’m trying to keep up with them, but it isn’t easy
MAS – Go for quality instead of quantity. George is an icon and a legend, but some of his stuff just wasn’t funny.
Gary Gulman – That reminds me of that Lenny Bruce quote, “I’m not a comedian, I’m Lenny Bruce.” George Carlin transcended stand-up he went into philosophy and social commentary. I guess I’m glad that the he put them out every year, but maybe if he had went every other year he would have been a different type of performer.
MAS – For the show that is coming up at Goodnights, what should we expect from you?
Gary Gulman – They won’t really see anything from my specials or my album. You know, I am close to recording a new special so everything will be new. If there is time at the end, I ask for requests from anything from an old album. It’ll be new, I’ve been touring so my skills are sharp and my brain is moving at a high rate. I was just down in Atlanta and had some really great shows. I will do about an hour or more and I really feel good about the shows I have been doing.
for sequences of intense combat action and violence, and for some sensuality
The Legend of Hercules is a re-telling of the classic story from Greek mythology of a young man that is the son of a mortal and of the god Zeus. That is all you need to know about the story and / or plot.
I was taught a long time ago that a picture can tell a story more effectively than words in some cases.
That being said, here is my opinion of The Legend of Hercules…
This movie was horrible! Summit Entertainment should be ashamed of themselves for putting out that piece of trash.
Acting: I was waiting for some, never got any…
Dialogue: Unintelligible
Editing: Hack job at best
Story: Huh?
If you waste time and money seeing this movie, even on DVD, you deserve to have your armpits infested with the fleas of one thousand camels.
Weezer has released nine full-length albums, six EPs, and a DVD. Their debut album Weezer (aka “The Blue Album”), produced by Ric Ocasek, has been certified triple platinum in the United States, and remains the band’s all-time best seller. With help from the Spike Jonze-directed video, the single “Undone (The Sweater Song)” became a hit in the fall of 1994.
Weezer’s much-anticipated second LP Pinkerton was released in 1996. The band’s talent and style had matured considerably. Pinkerton eventually went gold in record sales and has been a steady seller since. 2001’s Weezer (aka “The Green Album”) debuted at #4 on the Billboard 200 and has since sold more than one million copies in the United States. Songs like “Hash Pipe” and “Island in the Sun” became radio and MTV staples.
The band followed that success with Maladroit, which was released in 2002, reached #3 on the Billboard 200, and was certified gold. The band returned to the studio again to work with Rick Rubin on their fifth full-length album. Make Believe appeared in May 2005 and eventually went platinum in multiple countries, hitting #1 in Canada and #2 in the U.S. The Top 10 single “Beverly Hills” earned the band their first Grammy® nomination for Best Rock Song.
2008’s Weezer featured the single “Pork and Beans” topped the Billboard Modern Rock Tracks charts; its music video won a Grammy® for Best Short Form Music Video.
Multiple Grammy®-winning Emblem/Atlantic recording artist Rob Thomas has announced plans for a month-long North American special headline run, the rare and unique opportunity to catch the superstar performing in a more up close and personal setting featuring a career-spanning set. In his only east coast stop between Georgia and New Jersey, Rob Thomas brings this tour to DPAC, Durham Performing Arts Center, on May 1, 2014.
Ticketmaster.com / Ticketmaster Charge by phone at 800.745.3000
Rob Thomas is one of the most distinctive vocalists and accomplished songwriters in contemporary music, garnering a string of accolades – both for his work as lead singer and primary composer with Matchbox Twenty as well as for his solo work and collaborations with other artists. In 2004, the Songwriters Hall of Fame presented Thomas with its first ever “Starlight Award” – created to recognize a songwriter in the early years of his or her career that has already made a lasting impact. He has won numerous BMI and ASCAP Awards, and has earned the Songwriter of the Year crown from both Billboard and BMI, two years in a row.
Thomas is best known for his chart-topping hits such as “Lonely No More” and “This is How a Heart Breaks” and Matchbox Twenty hits like “Push,” “3AM,” “If You’re Gone,” and “Bent.” Thomas also earned three Grammy Awards for “Smooth,” his smash collaboration with Santana. Thomas wrote and sang the song, which currently ranks first on Billboard’s “Top Hot 100 Rock Songs” chart and second on the magazine’s “Hot 100 All-Time Top Songs.” Thomas last solo album, Cradlesong, generated even more number one hits, including “Someday” and “Her Diamonds.” Overall, Thomas has contributed to sales of more than 80 million records.
Rob Thomas and his Matchbox Twenty band mates recently finished up their hugely successful sold-out world tour in support of their #1 selling album North. Fueled by critical acclaim – as well as the hit singles, “She’s So Mean,” “Overjoyed” and “Our Song”– the album’s unprecedented success marked the band’s first-ever chart-topper and #1 debut. Rob is currently at work on his third solo album.
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