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    dream team

    Beyond Billy Crystal and more than Eddie Murphy: Examining our fantasy Oscarshost

    Brendan K. O'Grady
    Nov 16, 2011 | 9:15 am

    It’s probably safe to say that the Academy Awards telecast has never seen so much pre-show news coverage as it has in 2011.

    The Oscars first made modest waves with the announcement of critical whipping-boy Brett Ratner as producer for next year’s show, and then again when Ratner tapped his friend (and star of his new movie, Tower Heist) Eddie Murphy as Oscars host, a move that generated legitimate buzz in major media circles.

    Then, following an offensive remark or two amid the press tour for Heist, Ratner was forced out of the picture, replaced overnight with Hollywood super-producer Brian Grazer.

    After Murphy quit the show in a somewhat befuddling move of solidarity with Ratner, Grazer wasted no time in seeking out his replacement. The idea was to land a star whose heat could maintain the momentum generated by the initial announcement of Murphy as host and to bring back those viewers who are tired of the same, stagnant show of yesteryear (even a show dressed up with James Franco and Anne Hathaway).

    The result of Grazer’s search? Billy. Freaking. Crystal.

    Perhaps the textbook example of a “safe” pick to host the Oscars (he’s run the show eight times previous), Crystal might well have been the only reasonable alternative given the timeline upon which the event is set.

    He has been reliably competent in the past, managing the gravitas of the event with an appropriate balance of levity and reverence. And, let’s face it, it’s not like he’s got anything else going on that will conflict with The 84th Academy Awards.

    Yet even left in his capable hands, settling for Crystal feels like approaching a tremendous letdown, a squandering of interest and goodwill that could have proven just the shot in the arm that the Oscars has so desperately been seeking in recent years.

    And so, as the awards show faithfuls trudge back to our televisions this February, we’ll be left to wonder what could have been… and to fantasize about what might someday be.

    To that end, let’s look at a few of the more exciting options that have as yet been unexplored as potential Oscars hosts:

    Conan O’Brien

    In a just world, Conan would have been the only choice to preside over the Academy Awards. In the two years-plus since his tumultuous stint as host of The Tonight Show, the subsequent fallout of his clash with NBC and eventual migration to basic cable, Conan has grown up an awful lot.

    He’s still got the silly, gangly schoolboy persona he’s always had, but now, a closer look at the aging O’Brien shows a grizzled-ness revealed less by his beard than by the permeating sense that this guy has been through something.

    At the peak (or nadir) of his suspension from TV, “Coco” embarked on a cross-country comedy/musical revue tour while at the end of his metaphorical rope, the filming of which resulted in one of 2011’s most acclaimed and entertaining documentaries, Conan O’Brien Can’t Stop.

    Now—for perhaps the first time—O’Brien feels like a personality who can and should command the most prestigious entertainment event of the televised year.

    Tina Fey

    While her real-life pregnancy and new child led to the postponement of a new season of 30 Rock and would likely preclude her ability/willingness to host this year, Fey possesses just about every quality that a potential host should embody, beginning first and foremost with the fact that she’s one of the single most respected and beloved creative figures in the industry today.

    She’s presented statuettes at the Oscars before, and in her previous roles (both behind and in front of the screen) at Saturday Night Live and 30 Rock, she’s demonstrated her abilities as a multi-faceted dynamo.

    Were she to be given the gig, she’d be just the third woman to host the show solo, following only Ellen DeGeneres (who hosted once, in 2006) and Whoopi Goldberg (four times between 1993 and 2001).

    If the Academy would like to improve on that figure with another enormously capable female candidate, Fey is the perfect choice.

    Dave Chappelle

    Some suggested a return for Chris Rock would perhaps be overdue, given his successful showing as host in 2004 and the somewhat inexplicable fact that he’s yet to be asked back.

    But if the Academy truly wanted to capitalize on the general sense of curious anticipation that giving the once-notorious Murphy a live microphone momentarily inspired, they missed maybe their best chance at one-upping themselves.

    Dave Chappelle has been a figure shrouded in mystery ever since he walked away from huge money and a runaway hit show on Comedy Central amid rumors of everything from a drug habit to a nervous breakdown. While he’s since surfaced intermittently preceding a much-ballyhooed “return to comedy,” the results have been decidedly hit-and-miss.

    Slaying a crowd for over two hours at 4 a.m one night and angrily glowering at the audience for 45 minutes the next, what does the Academy have to lose by handing him one of the most-watched and most-revered comedic stages in the world for one night only?

    In theory, setting the Oscars stage as the coming-out-again party for Chappelle’s stand-up could blow up in their faces, but it could also yield one of the all-time-greats. And no matter what happened, the ratings would be huge.

    Stephen Colbert

    His nightly counterpart had his turn, and Mr. Stewart succeeded admirably in his duties, but in 2012, Stephen Colbert has the juice to really bring it as an Oscars host.

    The War for Late Night author Bill Carter repeatedly singled out Colbert in his book as a player to watch for the future of cable’s biggest talk franchises and a talent with the clear ambition to rise to any occasion and opportunity.

    Beneath his nightly guise as the character of “Stephen Colbert” on The Colbert Report, Colbert’s full range as a performer might have become somewhat unappreciated in the last few years, even as his show has continued to grow in success and stature.

    Colbert represents one of the highest-potential picks amongst our Oscars host hopefuls. Perhaps not yet a household name, but one on the verge who could turn a successful stint with the Academy into another stepping stone on his way to greatness.

    Tell us: Who would you like to see as Oscars host?

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    Creed concert review

    Creed serve up millennial nostalgia at pyro-packed RodeoHouston concert

    Craig Hlavaty
    Mar 11, 2026 | 11:54 pm
    Creed concert RodeoHouston
    Courtesy of Houston Livestock Show and Rodeo
    Singer Scott Stapp serenades the RodeoHouston crowd.

    Hello, my friend, we meet again.

    I’ve had a torrid relationship with Creed. As a circa-2000s punk rocker, it was implied that I was supposed to hate them. Nevertheless, I enjoyed those hook-laden Mark Tremonti riffs and Scott Stapp’s burly, Bono-grasping vocals, with just a hint of irony deep in the mix. I had “One Last Breath” on a burned mix CD, bunched in with Fugazi, Rancid, and Sham 69. I would skip it as quickly as I could, depending on who was in the car. Driving home from a long day slinging milk in the Kroger dairy cooler? Windows down, Stapp up.

    When I began my music journalism career 20 years ago (!!!), I began sticking up for them, much to the consternation of a lot of my fellow writers who were hung up on stuff that was supposed to be cooler and hipper. Creed’s pop-culture zenith came right as The Strokes and The White Stripes were thrust on us by the music press as a counter to post-grunge, which other music writers were categorically allergic to. Remember when our biggest problems in America were bands that were overtly influenced by Pearl Jam and Alice In Chains?

    In 2012, I interviewed lead singer Scott Stapp along the way for the Houston Press, and I distinctly recall Stapp being confused on our call that a guy from a smug alt-weekly wasn’t asking him stupid questions or making fun of his leather pants. The band was heading to Houston for a two-night stand at the Bayou Music Center in 2012 when they played 1997’s “My Own Prison” and 1999’s “Human Clay” in their entirety.

    Fun fact: “Human Clay” has sold over 20 million albums alone, besting Nirvana’s “Nevermind” and Pearl Jam’s “Ten” by only a relatively small margin. Creed moved more physical CDs when people actually bought music.

    Somehow, along the way, people stopped hating Creed and Nickelback, and the hate gave way to pre-social media, millennial high school, and pre-9/11 nostalgia. The similarly maligned Nickelback sold out the rodeo in 2024.

    On Wednesday, March 11, I saw junior high school kids wearing crispy new Creed shirts with their parents. Gen Alpha is beginning to get curious about what mom and dad were up to during spring break 2001, and Zoomers are rediscovering Y2K fashions. Haven’t you seen those “Mom, What Were You Like In The ‘90s?” memes?

    Creed has been sold out for weeks, drawing 70,007 attendees. If you had told someone 10 years ago that Creed would sell out RodeoHouston, they would have been skeptical. And yet here we are, staring down at a sold-out Creed show. These things run in cycles. Emotions fade. Annoyance turns into wistfulness for the days of Nokia brick phones and 99-cent gas. You can even go on a Creed Cruise now.

    Creed hit the stage just before 9:30 pm, an enviable bedtime for most elderly millennials, kicking off with the TOOL-chugalug of “Bullets,” with Stapp and Tremonti making the best use of their stage platforms, crucial devices for any major rock band in the 2000s. Unrelenting pyro shot from the dirt surrounding the stage every time Stapp lifted or flailed his arms like Elvis if he discovered cardio.

    The dirge of “Torn” — the second single from My Own Prison — was pyro-less, likely giving the cannons a few minutes to cool off. The sweaty Stapp, at just 52, looks to be in better shape than he did 20 years ago, now sporting a conservative haircut like he stepped out of his company’s stadium suite or finished a twilight run at Memorial Park.

    Stapp introduced “My Own Prison” with a preachery pep talk that wouldn’t sound out of place at an altar call at Sturgis. The crowd hung on every emphatic word. Maybe seeing two middle-aged dudes wearing Stryper shirts down on the concourse made more sense than I realized. Is Creed actually just TOOL that accepted Christ? The graphics behind the band could’ve fooled me.

    Stapp introduced “One” with a speech on commonalities and love. Looking back, Creed’s lyrics were much too earnest, hitting at a time when critics were still hungover from grunge.

    During “With Arms Wide Open,” the rodeo cameras would routinely cut to tattooed dads and rocker chicks in the crowd playing air guitar along with Tremonti and singing their guts out like they did the first time they heard it on 94.5 The Buzz. For a large segment of the crowd, they might have had a Gen-X parent jamming this stuff on the way to school in the morning.

    “Are you ready to get higher in here, Houston?” Stapp yells. The place erupts as “Higher” starts. Stapp was in his element, pyro shooting off, his silver jewelry dangling, taking in the crowd, like he didn’t expect such a response.

    Possibly the last true rock power ballad ever recorded, “One Last Breath,” got the biggest screams of the night; it might also be the Gen-Z “Don’t Stop Believing” as long as we’re making wildly controversial statements. [Editor’s note: Isn’t that Mr. Brightside? -ES]

    Welcome back, Creed, from pop-culture purgatory, and props for what might have been the loudest RodeoHouston show in years.

    SETLIST

    Bullets
    Torn
    Are You Ready?
    My Own Prison
    What If
    One
    With Arms Wide Open
    Higher
    One Last Breath
    My Sacrifice

    Creed concert RodeoHouston

    Courtesy of Houston Livestock Show and Rodeo

    Singer Scott Stapp serenades the RodeoHouston crowd.

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