Most crucial albums have been released on CD, so these days, rare
CDs, not LPs, are going for big bucks
Joel Selvin, Chronicle Senior Pop Music Critic

Monday, January 31, 2005



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With compact discs about 20 years old now, most of the great albums
from the LP era have been reissued in the digital domain. No really
crucial albums remain to be rereleased, although every collector has
a couple of favorites yet to appear on CD -- some fondly recalled
act that opened a show at the Fillmore once, its obscurity
undisturbed by CD reissues; some little known soul group that came
and went with one minor masterpiece that nobody else noticed; some
precious, arcane jazz session as yet not collected on a boxed set.

But the CDs staying in release have proved to be another matter. In
fact, some CD reissues that themselves came and went are pulling
down big bucks on the Internet -- higher prices than the original
albums ever did. Some CDs readily available for a few dollars only a
few years ago, now out of print, can easily command three figures.

It's not just the one-time-only, special promotional items that are
fetching premiums. Either of the two major label CDs by the
Traveling Wilburys -- a Top 10, multiplatinum hit in 1988 for a
group including George Harrison, Bob Dylan, Roy Orbison, Tom Petty
and Jeff Lynne -- sell for $40 and more because the discs went out
of print and the principals can't agree on further licensing rights.
British Invasion era bandleader Dave Clark, who owns the rights to
all his old masters, leased a two-CD set to Disney's Hollywood
Records in 1993, and it is now a pricey collector's item.

Youthful CDs by musicians who went on to greater fame are highly
collectable, such as early independent releases by Nirvana or the
Cure. Some artists, embarrassed by their earlier work, refuse to
allow labels to put the old records out, which is why the first
album by singer-songwriter Tori Amos goes for more than $200 on the
Web.

Limited editions have second lives. San Francisco radio station KFOG
has been putting out samplers of live recordings from the station's
broadcasts to raise money for Bay Area food banks for the past 11
years that sell out their small press run almost immediately. Some
of the early volumes of that series go for more than $100 now.
Prince finally released in a 1994 limited edition his much-
bootlegged "The Black Album," originally scheduled for 1987 release
and pulled at the last moment. Now copies of the official second
edition sell for $100.

Audiophile editions of CDs were always produced in small numbers,
but since Sonoma County's pioneer audiophile label, Mobile Fidelity
Sound Labs, has gone out of business, prices for all that label's
releases have gone through the roof. Boxed sets from the mail order
jazz specialists Mosaic, likewise, can command some extraordinary
prices, once the label's limited pressings sell out.

As catalogs switch labels, contents often shift in transit. The
current Virgin line of David Bowie CDs lacks the bonus tracks that
decorated the previous Rykodisc CD reissues from the late '80s,
which, of course, has made the early reissues rare and desirable.
Motown Records, in the first flush of late '80s CD reissues, pumped
out a large number of titles from the soul label's enormous LP back
catalog that were quickly pruned from the roster by the more
sanguine minds of the next corporate owners. As a result, there are
some relatively minor albums by Smokey Robinson or Gladys Knight and
the Pips where the out-of-print CD reissues cost more than the
original albums ever did on the collector's market.

The major labels have even gotten into the act, making limited
edition CD reissues of rare LPs and selling them at premium prices
on Internet-only imprints such as Rhino Handmade or Hip-O Select.
That rare album that used to cost at least $100 on LP, if you could
find a copy, is now available for around $25 on a CD series not
distributed to record stores. As with the out-of- print jazz
reissues on the mail-order-only Mosaic label, it's only a matter of
time before the labels exhaust their limited editions and the
collectors start trading the boutique CD reissues at even further
inflated prices.

As the once hot topic of what LP would you most like to see on CD
dwindles down to the esoteric few, the question is really what
albums would you like to see on CD.



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Here's a list of some of the albums most conspicuously absent from
the CD racks:.
BOB SEGER: "Back in '72"

Too bad Seger hates his vocal performances on this album. It's
prime, pre- "Night Moves" Seger, rough and ready and features his
concert staple, "Turn the Page," and his hard-rocking Van Morrison
cover, "I've Been Workin'.".

THE BEATLES: "Live at the Hollywood Bowl:"

The only Beatles record producer George Martin had nothing to do
with recording -- although he did preside over a perfunctory remix
of the original three-track tapes when the album was released in
1977, a time when Paul and Yoko had less control over the catalog
than they do today..

NEIL DIAMOND: "The Feel of Neil Diamond"

Diamond's sterling debut album featured both his early hits, "Cherry
Cherry" and "Solitary Man," but has never been on CD..


BUCKINGHAM NICKS
The outstanding debut album by Stevie Nicks and partner Lindsey
Buckingham paved the way to their joining Fleetwood Mac and sounds
more like "Rumours" than any of Mac's previous records..

NEIL YOUNG: "Time Fades Away"

Young recently restored four long-missing titles to the digital
domain, but he will probably never be able to bring out this 1973
album because he mastered the original album directly to a now
obsolete piece of equipment.



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These are some of the out-of-print CDs that recently sold for more
than $100 on Ebay: .
HANSON: Boomerang

Independent release from their early days in 1994. $709.

AFI: The Days of the Phoenix EP

Only 500 copies were made in England. $306.

TORI AMOS: Y Kant Tori Read

The singer-songwriter's overlooked debut. $215.

RICK JAMES: Cold Blooded

A rare '80s Motown CD of the funkateer's 1983 original. $200.

CARL WILSON: Youngblood

Japanese reissue of Beach Boys vocalist's 1983 solo album. $174.

CLEO LAINE & RAY CHARLES: Porgy and Bess

The 1989 RCA Victor reissue of the 1976 LP set. $163.

PRINCE: The Black Album

The 1994 official, limited edition release of the 1987 album pulled
from release at the last minute. $153.

JOHN MILES: Stranger in the City

A German CD reissue of the cultish 1977 British pop-rock album with
three bonus tracks. $140.

KFOG Live From the Archives Vol. 2

The 1995 radio station sampler with live tracks by Shawn Colvin,
Dave Matthews, Toad the Wet Sprocket, others. $137.


FLYING BURRITO BROTHERS
The Mobile Fidelity Sound Lab version of the 1971 country-rock
album. $114.

DAVE CLARK FIVE: The History Of

The 1993 two-CD reissue of British Invasion era group's greatest
hits. $103



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Here is a list of the albums Joel Selvin hopes to see make it to CD
some day:.
RON NAGLE: Bad Rice

(Warner Bros. 1970).

JOE SOUTH: Introspect

(Capitol 1969).

SWAMP DOGG: Total Destruction to Your Mind

(Canyon 1970).

BOZ SCAGGS: Moments

(Columbia 1971)

E-mail Joel Selvin at jselvin@....

Page C - 1

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Money behind No. 1 hits raises crucial eyebrows

By JEANNE ANNE NAUJECK
Staff Writer



When Reba McEntire's song Somebody hit No. 1 last summer, it was
hailed as a comeback for a country legend who had dominated the
charts in the 1990s but hadn't reached No. 1 in seven years.

But it ignited a furor on Nashville's Music Row because of the way
McEntire's record label bought radio time to play the song as one of
its marketing tactics.

While label managers occasionally talk about reaching record buyers
over the Internet, the key to hooking customers and selling large
volumes of music remains what it has been for years: radio play. And
lots of it.





The McEntire incident, and the attention it drew, is just one
example of the increased scrutiny of late of how songs get on the
radio.

The spotlight on radio play already has prompted some music labels,
radio stations, chartmakers and artists to change their methods,
pulling back on the use of independent promoters, altering how No. 1
hits are calculated and, in one instance, firing a fan club manager
for crossing the line.

Looming in the background are New York Attorney General Eliot
Spitzer, who has rooted out fraud on Wall Street and in the
insurance industry and is looking into the music business, and the
Federal Communications Commission, which has taken a harder line on
certain types of programming and disclosure rules.

Little has been made public about Spitzer's investigation other than
he is interested in how songs get promoted, and there has been no
indication that anything in country music is involved.

But the story of McEntire's hit single offers a look at the big
money, the high stakes and the carefully choreographed maneuvers in
music marketing.

McEntire's first studio album in years, Room to Breathe, had a soft
opening in 2003 for a major music star. The first single released
topped out at No. 14 on Billboard magazine's ''Hot Country Singles''
chart.

McEntire had refocused her life around acting: moving to Beverly
Hills, appearing on Broadway and starring in her own TV sitcom.
Could she get a No. 1 hit again? People wondered.

Then the second single, Somebody, came out. It spent 30 weeks
climbing the chart, then suddenly vaulted from No. 3 to No. 1 in
early August.

At the time, the Billboard charts were determined by a straight
tally of times a song is played on U.S. radio stations in a given
week. When an Aug. 7 Billboard article noted that Somebody had just
gained 1,150 spins, an unusually large jump, Music Row noticed.

Speculation flew that McEntire's label, MCA Records, got to No. 1
through ''paid spins'' — buying advertising time on radio and then
playing a song during it — to raise the total number of spins a song
gets on radio. It's perfectly legal as long as the sponsorship is
disclosed.

Scott Borchetta, head of promotions for MCA owner Universal Music
Group, acknowledges that the label bought some spins but said it was
just one element of a plan to accrue a large number of spins during
crucial ''push weeks'' — such as the one that moved the song from
No. 3 to No. 1.

He said he spent a fraction of what competitors estimated.

''When promotion is brought up, people think there's some kind of
black art to it,'' he said. ''It's hard work.''

The campaign included taking McEntire on station tours and timing
the song's momentum to appear on syndicated radio shows such as Lia
and After MidNite, which are played on hundreds of stations and
contribute large numbers of spins to the total.

''We saw a hill we thought we could climb, and we climbed it,'' said
Borchetta, who helped McEntire get her last No. 1.

''It's a momentum game. If you coordinate those programs in your
week, you can get a lift.''

Allure of No. 1 song

The payoff for a No. 1 song can be big. It drives record sales for
the performer and labels. And other parties have a stake, too, such
as songwriters and publishers who make royalties each time a song is
played on the radio.

''There are a lot of reasons to take a single to No. 1,'' said Lon
Helton, Nashville bureau chief of trade magazine Radio & Records.

''Publishing, management, ego, an artist's career when you write
that bio or when they're deciding how much to charge for concerts.''

The No. 1 success of Somebody helped revive McEntire's music career
and jumpstarted sales of her album Room to Breathe. The album, which
sold 280,000 copies its first two months out, has since sold about
587,000, according to Nielsen SoundScan.

''It certainly had a positive effect on Reba's record, not just that
but her whole profile,'' Borchetta said.

''There was a concern that Reba wasn't as focused on music since she
moved to L.A. Now she's announced a 40-date tour for this year. The
whole momentum of Somebody going to No. 1 is snowballing — Reba the
TV star, the recording artist, the touring act.''

Music under the microscope

The flap over paid spins — and Borchetta is hardly alone in using
them — comes at a time of renewed focus on the music industry. How
it pushes money around to promote a song has aroused the interest of
the most visible white-collar crime chaser in America: New York
Attorney General Eliot Spitzer.

While paid spins have not been mentioned, last year Spitzer
subpoenaed the major record labels for documents relating to their
dealings with independent promoters. Independent promoters are third
parties who are paid by labels to try to persuade radio stations to
play their songs.

Spitzer's investigation, not necessarily focused on the country
music industry, has revived memories of the payola scandals of the
1950s when radio DJs and stations were bribed to put certain songs
on the air.

After the Spitzer investigation was announced, Infinity Broadcasting
and Entercom said their stations would no longer use independent
promoters. And Infinity fired a program director in Rochester, N.Y.,
after it found he kept gift certificates from an independent
promoter instead of using them for station giveaways.

The Federal Communications Commission also is interested in what's
being played on the radio, specifically how difficult it is for a
large variety of acts to be heard on the public airwaves as part of
its assessment of the 1996 Telecommunications Act. The act loosened
restrictions on radio ownership and led to station consolidation.

It has had a yearlong public comment period, holding town meetings
around the country.

The federal agency also is charged with enforcing the laws on
payola, a federal crime.

Other pressures

Record labels and radio stations say direct bribes aren't the issue
as much as consolidation in the radio and the music business that
has squeezed both the airtime allotted to play music and the money
that can be devoted to developing new acts.

''We have a business relationship with the record labels, but we're
not in the same business,'' said John Hogan, chief executive officer
of Clear Channel Radio, which owns 1,192 stations.

''Their business is to sell new music. And our business is to play
the music our listeners want to hear. We invest an awful lot of time
and money to find out what people will listen to for the longest
amount of time.''

On the other hand, music labels complain that they're being
pressured by radio stations to pay promotional costs, such as
sending a band to play a concert for a station's listeners, even as
they're feeling heat from their own publicly traded corporate
parents to keep costs down.

''They (station owners) paid so many multiples above cash flow for
these properties. I think in many cases the radio companies looked
to the label community to restore that marketing money,'' said Wade
Jessen, Billboard's director of country, Christian, Gospel and
bluegrass charts, referring to a spree of station purchases after
the 1996 law change.

''The net effect was labels became the de facto marketing-budget
providers. They were facing the same pressures themselves. It was an
equation headed for disaster.''

It's put labels in a position of pay, or the show doesn't go on. And
if the show doesn't go on, an artist may not get much exposure in
the market.

High cost of promotion

Marketing a new single by an established star such as McEntire, Alan
Jackson or Toby Keith typically runs in the tens of thousands of
dollars, those in the industry say.

But breaking out a single for a below-star artist can cost upward of
$200,000. And labels in Nashville spend between $250,000 and $1
million to introduce a new act with a single, video and album
release. Pop and rock labels spend even more — two to three times as
much, by some estimates.

Some of the money goes for such things as sending a band to play a
free show in an important market or paying $50,000 to fly in to wine
and dine radio personnel at a showcase.

Complaints that the cost of promotions is escalating are common.

Nancy Tunick, managing partner of Nashville-based Grass Roots
Promotion, compares promotion tactics to a poker ante that ends up
costing every label more.

''It's bad for the business,'' she said. ''They spend so much money
on promotion that when they're finished they generally have to sell
platinum (1 million albums) to recoup.

''It's a poor business plan for a label, and they recognize that.
It's unfair competition, and it creates an unlevel playing field.''

Beyond the money

Some independent labels and artists who don't have the money backing
of a major label have tried other creative methods to get on the
radio.

Volunteer fan clubs have played an increasingly important role
with ''street teams,'' who are organized to call their local
stations to request songs, especially during push weeks, hand out
fliers and CDs at concerts and even approach total strangers to turn
them on to an artist's music in a grocery store or other public
place.

Sometimes, those fans cross the line.

Last month, some members of performer Chely Wright's fan club were
asked to pose as military personnel when calling stations to get the
pro-troops Bumper of My S.U.V. radio play.

Wright, when she learned of the issue, dismissed the head of her fan
club and said she was ''shocked, saddened and deeply upset by this
unethical behavior.''

But some program directors questioned why that tactic was any worse
than paid spins.

''Bumper is one of the only songs on the country charts right now
without labels stuffing money into radio. It's the cleanest airplay
in the nation,'' said Brian Jennings, program director for KZKX/96KX
in Lincoln, Nebraska, noting that Wright had no promotion arm behind
her, save her fans. The song is at No. 43.

What about art?

Bill Ivey, director of the Curb Center for Art, Enterprise and
Public Policy at Vanderbilt University, said record labels are just
doing what businesses do.

''It always seemed to be human nature to do everything one could to
manipulate the system to the benefit of your artist, your company,''
he observed.

''I don't know if it's fair to expect anything else from aggressive
managers who want the best for their artists and shareholders.''

But he cautioned that advancing artists' careers may not advance the
public interest or country music as an art form.

''The U.S. cultural system is very dependent on the marketplace to
sort out the great from the good from the mediocre. But as we've
learned, not just in the arts but in health care and
pharmaceuticals, sometimes the marketplace, left to its own devices,
doesn't always produce the best outcome.''

Others say radio station owners are violating their duty of serving
the public under FCC rules.

''You have to be very careful not to confuse what's popular on the
radio with the overall picture of what people are liking and not
liking, and responding and not responding to, in the music,'' said
music critic Dave Marsh, a longtime editor at Rolling Stone and
Creem magazines. ''It's a situation where money is power. That's the
real world.''

Marsh said the debt service created by radio chains buying each
other has forced owners to maximize cash flow with little
consideration of art.

''Radio is programmed to a particular demographic to sell
advertising,'' he said.

Acts such as Bruce Springsteen and Fleetwood Mac, whose first
efforts were flops, would never get a second shot today, Marsh said.

''Those are the last ones that got a chance. And those are the only
ones that lasted.''

It's a slower journey up the charts. Click for story.

Controversy over paid spins prompts changes. Click for story.

Independent promoters come under fire. Click for story.



Country singer Reba McEntire performs at the Quest Center in Omaha,
Neb., as part of her 2004 tour.
AP

********************************************************************
Press Release Source: Directors Guild of America


DGA Announces Winners of 2004 Outstanding Directorial Achievement
Awards & Recipients of DGA 2005 Career Achievement Awards
Sunday January 30, 2:27 am ET


LOS ANGELES--(BUSINESS WIRE)--Jan. 30, 2005--The winners of the 2004
Directors Guild of America Outstanding Directorial Achievement
Awards and the recipients of the DGA's 2005 Career Achievement
Awards were announced tonight at the 57th Annual DGA Awards Dinner
at the Beverly Hilton Hotel in Beverly Hills.
For the nineteenth time, Actor/Director/Comedian Carl Reiner hosted
the Awards ceremony before an audience of 1,200 guests. The
presenters included: DGA President Michael Apted; Mischa Barton (The
O.C.); Jason Bateman (Arrested Development); DGA Board member LeVar
Burton; Sandra Oh and Paul Giamatti (Sideways); Teri Hatcher
(Desperate Housewives); Regina King and Kerry Washington (Ray);
Diane Lane (Unfaithful); Director Garry Marshall (The Princess
Diaries); Ian McShane (Deadwood); Edward James Olmos (Battlestar
Galactica); DGA Second Vice President Ed Sherin; Abby Singer;
Academy Award® winner Halle Berry (Monster's Ball); DGA Lifetime
Achievement Award winner Steven Spielberg; and 77th Annual Academy
Award® nominees: Cate Blanchett (The Aviator), Leonardo DiCaprio
(The Aviator), Thomas Haden Church (Sideways), Jamie Foxx (Ray and
Collateral), Morgan Freeman (Million Dollar Baby), Virginia Madsen
(Sideways), Catalina Sandino Moreno (Maria Full of Grace) and Hilary
Swank (Million Dollar Baby).

The DGA's Award for Outstanding Directorial Achievement in Feature
Film has traditionally served as a near-perfect barometer for the
Academy Award for Best Director. Only six times since the DGA
Award's inception in 1949 has the winner not gone on to receive the
Academy Award for Best Director.

The winners of the 2004 Directors Guild of America Awards for
Outstanding Directorial Achievement, and the recipients of the
Guild's 2004 Lifetime Achievement Awards, are:

OUTSTANDING DIRECTORIAL ACHIEVEMENT IN FEATURE FILM

CLINT EASTWOOD
MILLION DOLLAR BABY
Warner Bros. Pictures

Mr. Eastwood's Directorial Team:

Unit Production Manager: Tim Moore
First Assistant Director: Robert Lorenz
Second Assistant Director: Donald Murphy
Second Second Assistant Directors: Katie Carroll
Additional Second Assistant Director: Ryan D. Craig

This is Mr. Eastwood's second DGA Feature Film Award. His prior win
was for UNFORGIVEN (1992) and he also received a nomination for
MYSTIC RIVER (2003).

OUTSTANDING DIRECTORIAL ACHIEVEMENT IN MOVIES FOR TELEVISION

JOE SARGENT
SOMETHING THE LORD MADE
HBO

Unit Production Manager: Karyn McCarthy

First Assistant Director: Michele Ziegler

Second Assistant Director: Joseph Incaprera

Second Second Assistant Director: Xanthus Valan

This is Sargent's third win out of seven previous DGA nominations.
He won the DGA Award for Outstanding Directorial Achievement in
Movies for Television in 1973 for The Marcus Nelson Murders. That
year he also won the DGA Television Award for Most Outstanding TV
Director 1973. Sargent's other nominations include: For Love or
Country: The Arturo Sandoval Story in 2000; A Lesson Before Dying in
1999; Miss Evers' Boys in 1997; World War II: When Lions Roared in
1994; and Miss Rose White in 1992.

OUTSTANDING DIRECTORIAL ACHIEVEMENT IN DRAMATIC SERIES NIGHT

WALTER HILL
DEADWOOD - PILOT
HBO

Unit Production Manager: Gregg Feinberg

First Assistant Director: James Hensz

Second Assistant Director: Kenneth B. Roth

Second Second Assistant Director: Kevin Turley

This is Hill's first DGA Award.

OUTSTANDING DIRECTORIAL ACHIEVEMENT IN COMEDY SERIES

TIM VAN PATTEN
SEX AND THE CITY - "AN AMERICAN GIRL IN PARIS: PART DEUX"
HBO

Unit Production Managers: Jane Raab, Margo Myers

First Assistant Director: Bettiann Fishman

Second Assistant Director: Peter Soldo

This is Van Patten's second win in the Comedy Series category out of
four DGA Award nominations. In 2003, he won the Comedy Series award
for "BOY INTERRUPTED" (SEX AND THE CITY). In 2002, he was nominated
in the Dramatic Series Night category for "WHOEVER DID THIS" (THE
SOPRANOS). This year, he was also nominated in the Dramatic Series
Night category for "LONG TERM PARKING" (THE SOPRANOS).

OUTSTANDING DIRECTORIAL ACHIEVEMENT IN MUSICAL VARIETY

BRUCE GOWERS
GENIUS: A NIGHT FOR RAY CHARLES
CBS

Associate Directors: Laura Lyons, Paige Rabban Hadley, Leslie Wilson

Stage Managers: Gary Natoli, Valdez Flagg, Harve Levine, Dency
Nelson, Jacqueline Stathis, Debbie Williams

This is Gowers' first DGA Award. He was also nominated for the
FLEETWOOD MAC REUNION SPECIAL in 1997.

OUTSTANDING DIRECTORIAL ACHIEVEMENT IN DAYTIME SERIALS

BRUCE BARRY
GUIDING LIGHT - EPISODE #14,321
CBS

Associate Director: Tracey Bryggman

Stage Managers: Ann Vettel, Adam Reist

Production Associate: Jan Conklin

This is Barry's first DGA Award and fifth nomination for Daytime
Serials. His previous nominations - in 2000, 1996, 1995 and 1993 -
were all for episodes of GUIDING LIGHT.

OUTSTANDING DIRECTORIAL ACHIEVEMENT IN CHILDREN'S PROGRAMS

STUART GILLARD
GOING TO THE MAT
Disney Channel

Unit Production Manager: Donald Schain

First Assistant Director: Matias Alvarez

Second Assistant Director: Miriam Footer

Second Second Assistant Director: Christopher Barnes

This is Gillard's first DGA Award.

OUTSTANDING DIRECTORIAL ACHIEVEMENT IN COMMERCIALS

NOAM MURRO

Biscuit Filmworks

Carry, Adidas TBWA Chiat/Day San
Francisco
First Assistant Director: Gary Feil
Second Assistant Directors: Robert Kay, Brian Stevens,
James Veal

Glen, Starbucks Fallon,
NY
First Assistant Director: James Giovannetti
Second Assistant Director: Susie Balaban

Toy Boat, eBay Goodby, Silverstein &
Partners
First Assistant Director: Gary Feil
Second Assistant Directors: Robert Kay, James Veal


This is Murro's first DGA Award and third nomination. He was
previously nominated in 2003 and 2002 for Outstanding Directorial
Achievement in Commercials.

OUTSTANDING DIRECTORIAL ACHIEVEMENT IN DOCUMENTARY

BYAMBASUREN DAVAA & LUIGI FALORNI
THE STORY OF THE WEEPING CAMEL

This is Davaa & Falorni's DGA Award.

The recipients of the Guild's 2005 Career Achievement Awards, are:

GILBERT CATES - DGA PRESIDENTS AWARD

For Leadership and Extraordinary Efforts in Enhancing the Welfare
and Image of the Directors Guild of America and the Industry.

HERB ADELMAN - FRANK CAPRA ACHIEVEMENT AWARD

For an Assistant Director or Unit Production Manager in Recognition
of Career Achievement in the Industry and Service to the Directors
Guild of America.

STANLEY FAER - FRANKLIN J. SCHAFFNER ACHIEVEMENT AWARD

For an Associate Director or Stage Manager in Recognition of Career
Achievement in the Industry and Service to the Directors Guild of
America.

STEPHEN McPHERSON - DGA DIVERSITY AWARD

For Outstanding Commitment to and Leadership in the Hiring of Women
and Ethnic Minorities in DGA Categories.

Note: Only six times since the DGA Award's inception in 1949 has the
DGA Award winner not won the Best Director Academy Award:

1968: Anthony Harvey won the DGA Award for The Lion in Winter while
Carol Reed took home the Oscar® for Oliver!

1972: Francis Ford Coppola received the DGA's nod for The Godfather
while the Academy selected Bob Fosse for Cabaret.

1985: Steven Spielberg received his first DGA Award for The Color
Purple while the Oscar® went to Sydney Pollack for Out of Africa.

1995: Ron Howard was chosen by the DGA for his direction of Apollo
13 while Academy voters selected Mel Gibson for Braveheart.

2000: Ang Lee was chosen by the DGA for his direction of Crouching
Tiger, Hidden Dragon while Steven Soderbergh won the Best Director
Academy Award for Traffic.

2003: Rob Marshall was chosen by the DGA for his direction of
Chicago while Roman Polanski won the Best Director Academy Award for
The Pianist.



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Contact:
Directors Guild of America
Morgan Rumpf or Allison Holmes, 310-289-5333



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Source: Directors Guild of America