How do you lose an inflatable pig that's as big as a two-story house?

Have you seen this pig? There's a $10,000 reward for its return.

The big escape happened Sunday in Indio, Calfiornia, on the last night of the Coachella Valley Music and Arts Festival. Former Pink Floyd bassist Roger Waters was performing his song, "Pigs," to 50,000 people when a giant balloon in the shape of a 50-foot pig rose from behind the stage and floated above the audience. (Fans will be familiar with such displays going back to Pink Floyd's "Animals" tour in the '70s.)

Organizers cut the anchor cables free Sunday night and made plans to retrieve the pig when it landed - but as of late Monday, the inflatable animal has not been located. Now, his owners are offering a $10,000 reward for his safe return, plus lifelong tickets to Coachella for four people.

If a 50-foot pig floats by your window, please contact lostpig@coachella.com. The pig can be identified by graffiti on its sides, and the name "Obama" spray-painted on its underbelly.

– Denise Quan, CNN Entertainment Producer

Postscript, Wednesday 10:21 a.m. ET: The pig has been found! See this Associated Press article for details.

"What the [bleep] is Sean Penn doing on the main stage of Coachella?" asked the actor-activist to the crowd gathered at the 2008 Coachella Valley Music and Arts Festival - the three-day indie rock celebration held this weekend in Indio, California.

Penn was there Sunday to recruit festivalgoers for his six-day Dirty Hands Caravan, which will make a round trip to New Orleans and back on a fleet of biodiesel buses, spreading a multi-layered message of voting, volunteerism, political activism and continuing the post-Katrina clean-up in New Orleans.

"We got buses right here at Coachella. We'll feed you and take care of lodging at no cost to you. We'll leave at 1 p.m. tomorrow from the clock tower." Musicians Ben Harper and Everlast will provide entertainment along the route.

The 47-year-old Oscar winner went on to tell the crowd, most of them under 30, that "revolution is a young man's job, and you can be the revolutionaries."

He then ended his plea quoting Spicoli, his stoner character from "Fast Times at Ridgemont High." "I'm going to say something I haven't said in 27 years. Hey bud, let's party!'"

– Denise Quan, CNN Entertainment Producer

On Saturday, 47 acts took the stage for Day 2 of the Coachella Valley Music and Arts Festival in Indio, California - but the one name that seemed to be on everyone's lips was Prince. His announcement two weeks ago as the evening's headliner surprised many who thought the '80s pop superstar was an odd fit at this mecca of indie rock.

But at Coachella, anything goes. Two years ago, Madonna played a dance set in the DJ tent.

When Prince finally hit the main stage shortly after 11 p.m., he played for nearly two hours in an all-star Vegas-style revue that showcased his 25-year career. The Time's Morris Day and Jerome Benton added their signature dance moves to "Jungle Love," and Sheila E pounded the skins for "Glamorous Life."

Thirtysomething fans sang along at the top of their lungs, while a number of twentysomethings looked on, a bit bewildered.

The diminutive Rock and Roll Hall of Famer finally connected with all ages of the alt-rock audience when he unveiled an impassioned cover of Radiohead's 1993 single, "Creep" - complete with a blistering guitar solo that channeled Jimi Hendrix. Prince's rendition of the Beatles' "Come Together" was also a crowd-pleaser.

Then there were his selections form his own vast songbook. "1999," "Little Red Corvette, "Cream," "U Got the Look" and "7" all made the Coachella set list. Prince waited until the first encore to bust out a majestic arrangement of "Purple Rain," and when he finally concluded his set at 1 a.m. with "Let's Go Crazy," the jubilant crowd did just that.

On Sunday, Roger Waters revisits "Dark Side of the Moon" to close out Coachella 2008.

– Denise Quan, CNN Entertainment Producer

This year's Coachella Valley Music and Arts Festival in Indio, California, kicked off with a tone as laid-back as Friday night's headliner, Jack Johnson. Forty-three acts performed on five main stages in 96-degree weather.

Our highlights - and one or two lowlights - can be found below (on a scale of one through five, five being best):

Breakout bands:

The Raconteurs *****

Jack White, Brendan Benson and company channeled Led Zeppelin in a highly charged set that took the band to the next level, and caused many fans to wonder which group was really White's side project - the Raconteurs or the White Stripes.

Vampire Weekend ****

They've gone from the Ivy League to the big league faster than you can say "rehearsal in my dorm room at Columbia University." The year's biggest buzz band charmed an overflowing crowd with happy-go-lucky Afro-pop. We'll even forgive the Chachi factor - bassist Chris Baio is the nephew of actor-turned-reality star Scott Baio.

Pendulum ****

Festivalgoers bounced their heads to the beat long after the electronica rock outfit from Australia left the stage. Obviously, this Pendulum is swinging in the right direction.

Rating the reunions:

The Verve ****

When singer Richard Ashcroft launched into the band's classic "Bitter Sweet Symphony," the song was every bit as fresh and haunting as it was 11 years ago. Here's a reunion that sounded like the group had never left.

Breeders **

Unfortunately, the Breeders' first live set in six years sounded as ragged as their troubled history. Kim Deal and her twin sister, Kelley, could have used a bit more rehearsal before taking the main stage - where many in the audience drifted off to see Vampire Weekend next door after the Breeders failed to connect.

The scene:

Star power *

Shia LaBeouf, Steven Tyler from Aerosmith, Gary Dourdan from "CSI" and the dude who played Bud Bundy on "Married With Children." [Editor's note: David Faustino.] Where are Cameron Diaz, Drew Barrymore and Tara Reid when you need them?

Parking:
You get what you pay for *

Parking may be plentiful, and the price is certainly right (free) - but at the end of the night, cars were at a standstill for more than an hour. Turns out somebody forgot to unlock the gate.

– Denise Quan, CNN Entertainment Producer

Before there was “Millennium,” before the “Bodyguard” soundtrack, before “Thriller” and “Saturday Night Fever” and “Rumours,” there was “Tapestry.”

Carole King has been writing hit songs since the late 1950s.

Carole King’s opus, just released in a new, 2-CD “Legacy” edition, came out in March 1971 and quickly became the biggest, fastest-selling album of its time. It spawned a No. 1 hit – “It’s Too Late” – spent 15 weeks as the top album in the country, ranked as one of the top-selling albums of both 1971 and 1972, and stayed on the Billboard album charts for more than six years.

It also won King, who had risen to fame as one of the great Brill Building songwriters of the early ‘60s, the Grammy for album of the year.

Thirty-seven years later, it’s still a revealing record. King didn’t have overwhelming pipes, nor did she hide her voice behind a layer of coyness. She simply sang – about breakups, about sex, about death (in the rather cheerful “Smackwater Jack,” with lyrics by her ex-husband, Gerry Goffin), about life for a woman just turned 30.

“[‘Tapestry’] is an album of surpassing personal intimacy and musical accomplishment and a work infused with a sense of artistic purpose. It is also easy to listen to and easy to enjoy,” wrote Jon Landau in Rolling Stone, praising King’s “marvelously expressive” voice.

King’s quiet, polished directness was a staple of the singer-songwriter movement, a group that included Cat Stevens, Gordon Lightfoot, Joni Mitchell and her friend James Taylor. (Others, including Neil Young, Paul Simon and Van Morrison, were also lumped into the genre at times, though “singer-songwriter” soon became synonymous with a kind of lightweight earnestness that Young, for one, couldn’t wait to leave behind.)

At 67, King is still making and performing music - and, given her amazing output (much done with Goffin), she has plenty to work with. But “Tapestry” remains a high point in a long and honored career.

– Todd Leopold, CNN.com Entertainment Producer

Saturday marks Record Store Day. Its founders say it’s an opportunity to celebrate the culture of the mom-and-pop record stores across the country.

It’s also an opportunity to have a big party. Many of the more than 450 stores taking part in Record Store Day are throwing a celebration. Watch what Record Store Day is all about

Record Store Day co-founder Eric Levin, owner of Criminal Records in Atlanta, Georgia, says the idea was spurred by the notion that independent record stores are becoming extinct – often taken over by large retail chains or vanishing entirely. But Levin says that’s not the case. While some stores do go out of business, he says, many are a strong part of the community - releasing records, hiring musicians and participating in local events.

And Record Store Day is garnering support from some major names in the music business. American heavy metal band Metallica is launching the day with an event at a local record store near San Francisco. Log on to recordstoreday.com and you’ll see a listing of events taking place on April 19, in addition to testimony from musicians such as Bruce Springsteen and Ben Harper on why record stores are essential.

Guitarist, singer and songwriter Joan Jett, known for “I Love Rock N’ Roll” and “I Hate Myself for Loving You,” puts it this way on the Web site: “Any artist that doesn't support the wonderful ma and pa record stores across America is contributing to our own extinction.”

Nowadays, of course, a growing number of people get their music online. Some may have never set foot in an actual record store. But, says Atlanta musician Shannon Mulvaney, there’s a big difference between sitting in front of a computer listening to music and walking the aisles of the local record store, sifting through vinyl and CDs where you are surrounded by “music geeks.” It’s not just bits and bytes in a record store – it’s music, with all its colors.

So take some time Saturday and drop by your local platter seller. You don’t even have to be a music geek to do so.

– Lila Eidi, CNN.com Senior Producer, Digital Content

Ollie Johnston, the last of Walt Disney's "Nine Old Men," died Monday. He was 95.

Ollie Johnston was the last of the Disney stable of animators known as the "Nine Old Men."

Johnston and his colleagues, including Frank Thomas, Eric Larson and Ward Kimball, are the animators responsible for that distinctive invention: the "Disney film," the feature-length animated classics that include "Snow White and the Seven Dwarfs," "Pinocchio," "Fantasia" and "Lady and the Tramp." The early films, in particular, are flawless combinations of art and story, so timeless and indestructible the studio could release them every seven years and instill a sense of wonder each time.

Today we live in an age of computer animation, technologically spectacular but sometimes wanting creatively. Too many films substitute artistic detail for story, something that Walt Disney didn't tolerate, especially in the early days. (As noted in Neal Gabler's brilliant biography "Walt Disney," he rode his animators hard but maintained a paternal relationship until a mid-'40s union dispute. Indeed, the contrasts between the buttoned-down Disney and the wild men over at Warner Bros.' "Termite Terrace," chafing under the stewardship of Leon Schlesinger, say much about the style of their productions.)

There are notable exceptions, none better than Disney's natural successor (and affiliate), Pixar. In the "Toy Story" films, "Monsters Inc." and particularly Brad Bird's amazing work, you can see the attention to detail - including story detail - Disney would have enjoyed. The Nine Old Men would be proud.

It's no surprise that both Johnston and Thomas had small roles in Bird's "The Iron Giant" and "The Incredibles." They knew who upheld tradition.

– Todd Leopold, CNN.com Entertainment Producer

Did "big" make a difference?

(Clockwise from top left) Lil' Brotha, Scar, Khujo Goodie, Janelle Monae and Sam Chris arrive at "big."

The new ballet, a collaboration between OutKast's Antwan "Big Boi" Patton and the Atlanta Ballet, premiered Thursday night to a packed house at Atlanta's 4,500-seat Fox Theater. The idea of pairing one of hip-hop's biggest stars with the often staid world of the ballet was innovative enough - but how would the audience react?

During the intermission hip-hop fans said the night would be a critical turning point for the artistic community. One man echoed a sentiment I heard throughout the night, saying it was time to "take the stigma of hip-hop off the streets and back onto the stage."

The night was pivotal to the ballet regulars, too. Many said the ballet community was feeling a lag, with attendance numbers dropping and a lack of enthusiasm. If putting a hip-hop star on stage performing with a live band reinvigorated the ballet community, most were all for it.

One 75-year-old woman I spoke to observed she had no idea who Big Boi was or what any of his songs were saying - but it didn't matter. Seeing a room filled with children, teens and young adults at the ballet. ­That was priceless, she said.

Indeed, one of the most telling signs of "big's" success was the number of families in the audience. As parents ushered their kids to their seats, one father told me he never goes to the ballet; his wife and daughters usually go, but he and the boys stay at home. But tonight, he said, he was going to be there.

The audience's enthusiasm was evident throughout the evening. It seemed if the crowd would jump up any moment to dance along with the show, which at times gave off more of a concert vibe than a ballet. Stifled by perhaps the more subdued atmosphere of the Fox, many chose instead to dance in their seats.

And no classical show I've ever been to has ended with the cast on stage and some of the youngest performers tearing it up with their freestyle dance. As the entire audience rose to its feet, howling and applauding, Big Boi broke out one of OutKast's biggest hits: "I Like the Way You Move." Move they sure did, and moving it was.

– Mallory Simon, CNN.com Writer

A swarthy man in black pants and a ruffled shirt walked into the room.

Scott Weiland and Dean DeLeo perform at the Stone Temple Pilots show Monday night.

"Are you the fire eater?" asked the bass player of Stone Temple Pilots.

"Yes. Are you Robert DeLeo?" replied Ted the Fire Eater.

And that pretty much summed up the carnival atmosphere Monday night at Los Angeles’ Houdini Mansion, once the home of the famed magician, where a Fellini-esque assortment of contortionists, sword swallowers and waiters serving up hot dogs and churros set the stage for the return of the Stone Temple Pilots.

But then everything surrounding the band has been a three-ring circus.

Monday night's private event in Laurel Canyon officially announced STP's first national tour in eight years. They'd been broken up for five, after several years of alternately pumping out hits and trying to hold it together during Scott Weiland's well-publicized battle with drugs.

In 2008, the mood backstage is quite different than it was during the Grammy-winning quartet's tumultuous heyday. Guitarist Dean DeLeo - who's struggled with his own demons - will notch his fourth year of sobriety in a few days. Their happy-go-lucky drummer, Eric Kretz, is even happier these days, with a wife and young child. In the meantime, Robert DeLeo's angelic two-year-old son, Duke, walked in, sporting a miniature peace-sign shirt. He serenaded the room with "It's a small world after all," perfectly on-pitch. His father groaned and mumbled something about how he'd better not grow up and become a singer. Weiland glanced over, unfazed.

Outside, 300 radio contest winners and VIPs gathered in front of a platform draped with bunting. It looked like a life-sized marionette stage - a giant toy strangely nestled among the trees in the middle of a residential community. The band was scheduled to perform at 8:15 p.m. Just before 9, STP casually strolled onto the stage. Weiland spoke into the mic.

"Sorry to keep you waiting - for five years," he said.

They also apologized for Ted the Fire Eater, saying the fire marshal wouldn't allow him to do his thing.

A sea of cell phone cameras immediately popped up as the reunited Stone Temple Pilots launched into the slow, psychedlic groove of 1994's "Big Empty." For the next 30 minutes, they presented faithful renditions of some of their biggest hits, including "Plush," "Lady Picture Show" and "Interstate Love Song." Weiland leaned into Dean's back during a guitar solo on one song; he draped an arm around Robert's shoulders during another.

The set abruptly ended at 9:30 - a victim of the local noise ordinance. Amid chants of "S-T-P! S-T-P!," the four bandmates returned to the stage for a bow, their arms linked. Fans will just have to wait for their 65-date tour for a real encore. Like Ted the Fire Eater, Stone Temple Pilots are waiting for their chance to truly ignite once again.

– Denise Quan, CNN Entertainment Reporter

Check out Denise Quan's one-on-one interview with the Stone Temple Pilots on CNN Headine News and CNN.com this weekend.

Jules Dassin died the other day. You may know the director's name from his best-known films, “Never on Sunday” and “Topkapi,” the former for the performance by Dassin’s future wife, Melina Mercouri, and the latter for its Oscar-winning turn by Peter Ustinov.

Melina Mercouri and Jules Dassin are shown in 1960. Dassin's films included "Topkapi," "Never on Sunday" and "Rififi."

But then there’s “Rififi,” which should be more famous than it is.

At the heart of “Rififi,” which Dassin directed in 1954 when he was down on his luck due to the Hollywood blacklist, is an almost 30-minute sequence showing a robbery. Not a word is spoken, not a note of music is heard. (After all, the thieves need complete silence.) You want tension? “Rififi” builds it beautifully.

“Rififi” has me thinking of other wordless (if not necessarily music-less) sequences in the movies. “There Will Be Blood,” which is due for release on DVD Tuesday, begins with essentially no speech for the first 15 minutes or so – a thematic echo (pardon the word choice), down to the occasional ominous music, of “2001: A Space Odyssey,” which has no dialogue for the first 20 minutes. (“Blood” director Paul Thomas Anderson has talked about his affinity for “2001” director Stanley Kubrick.)

And though it’s melodramatic, complete with musical stings, I can’t help but remember (SPOILER!) the climactic scene of “Bang the Drum Slowly,” in which Robert De Niro’s ailing baseball catcher loses track of a pop-up, quietly hammering home his fate.

A dialogue-less sequence can be difficult to pull off, but when it works, the result can ... well, leave you speechless.

What are some of your favorites?

– Todd Leopold, CNN.com Entertainment Producer