THE MOST AND THE LESS. PEOPLE AND PLACES OF THE YEAR. Part 2
This is what, this year, people looked at, selected as the best and the worst, read most, remembered, cared less and completely forgot about...
JENNY SINCLAIR: INTERNATIONAL ARTIST-HUMANITARIAN OF THE YEAR
Photos: British country music leading singer, Jenny Sinclair.
Jenny Sinclair's contributions to country music and charitable causes were well noticed by music lovers, the fans of the legendary Carpenters and her community in Great Britain. Sinclair released a splendid CD as a tribute to Karen Carpenter. And she wrote a heart felt song "Sweet Child Of Mine" dedicated to Mickey, her son who was born disabled with cerebral palsy. The song brings tears to your eyes, joy to your heart and hope to all those who are suffering from that threatening disease. The uplifting part of her musical contribution is not only the serene beauty of her lyrics and music but, her generous donations to various charitable organizations in Great Britain which are helping disabled children. Substantial revenues from the sale of her CD go to those charitable organizations and centers. Sinclair is using her enormous talents and musical gift to bring public awareness about that menacing disease. Jenny Sinclair is more than a superb artist, she is a world class singer with a heart bigger than the world we live in. The European Journal has selected Ms. Jenny Sinclair as International Artist-Humanitarian of the year. Indeed, Ms. Sinclair is a great asset to our world.
TEN MOST WATCHED AMERICAN TV SHOW HOSTS
Photos from L to R: #1. Oprah Winfrey. #2. David Letterman. #3. Jay Leno. Three icons of the American television.
Not difficult to guess. And as predicted, according to a poll by the International News Agency, the 10 most watched American TV show hosts are in no particular order: 1- Jay Leno, (Audience. Age: Between 20 and 56. Gender: 65% men. 35% women). 2-David Letterman, (Audience. Age: Between 20 and 55. Gender: 60% men. 40% women). 3-Oprah Winfrey, (Audience. Age: Between 25 and 60. Gender: 97% women. 3% men). 4-Larry King, (Audience. Age: Between 30 and 75. Gender: 60% men. 40% women). 5-Lou Dobbs, (Audience. Age: Between 32 and 70. Gender: 70% men. 30% women). 6-Robert Osborne, (Audience. Age: Between 32 and 75. Gender: 56% men. 44% women). 7-Howard Stern, (Audience. Age: Between 18 and 47. Gender: 91% men. 9% women). 8-Paula Zahn, (Audience. Age: Between 35 and 65. Gender: 73% women. 27% men). 9-Bill O'Reily, (Audience. Age: Between 32 and 65. Gender: 74% men. 26% women). 10-Donald Trump's whatever, Apprentice, et al, ad infinitum... (Audience. Age: Between 21 and 40. Gender: 79% men. 21% women). Error margin: Between 2% and 5 %. Number of people who participated in the polls: 25,000 in all the United States, except Alaska.
Photos from L to R: #1. Paula Zahn. #2. Donald Trump. #3. Lou Dobbs. #4. Robert Osborne. #5. Larry King.
MONICA CROWLEY IS ALWAYS NO.1.
Photos: Gorgeous women of the American media. from L to R: #1. Monica Crowley. #2. Diane Sawyer. #3. Deborah Norville.
This year INA conducted an international poll on the prettiest and brightest women in the American media. Here are the results: The five brightest women are Monica Crowley, Diane Sawyer, Christianne Amampour, Paula Zhan and Catherine Crier and Nancy Grace, both in five place. The prettiest are Monica Crowley, Deborah Norville and Paula Zahn in third place.
BRITAIN'S
GREAT, BARB JUNGR AT NEW YORK JOE'S PUB : BEST CABARET CONCERT OF THE
YEAR!
Photo: Britain first lady of Cabaret, Barn Jungr.
Her October cabaret show at Joe's Pub in New York City was a smashing success. Barb Jungr took New York and the audience by storm. Listening to her albums is a delight. But, seeing her performing on stage is the ultimate musical treat and an experience at many levels, not to miss. From her very first song to Waterloo Sunset, her international hit, Barb Jungr shined brighter than midnight sunset, enrobed with a femme fatale aura, a sensual intellectualism and the implosion of a dignified femme fatale. Her show was a sort of a tribute to Bob Dylan. She sang his biggest hits, her style and her way and she excelled. But, when she delivered Jacques Brel's "Ay Marieke Marieke", the audience went wild. She mesmerized the hell out of them. Accompanied by a virtuoso American pianist who also played the French musette accordion, Bab Jungr transformed the American pub into a magical 1930 Parisian cabaret boite absorbed and submerged with Parisian nostalgia, the scent of Mata Hari, the dramatic style of Marlene Dietrich and the bursting screams of life flirting with the shadow of Edith Piaf and Juliette Greco. It was a marvelous evening.
A magical moment for all those who appreciate world cabaret. The show had everything: Montmartre, Paris and Berlin 1920s' and 1930s' nostalgia, Piaf's melodramatic cache, Gabriella Ferri's delightful madness, Juliette Greco's finesse, Peggy Lee's stage presence, Barbara's class and of course it had the extremely delightful and graceful persona of Barb Jungr. I "watched" the audience "watching" this mesmerizing British Grande Dame transforming a trendy New York nightclub into a mirage of a vanished golden era of humanistic music...into an oasis of fantasy, musical virtuosity, human drama, fun, and fun and fun too. For, Ms Jungr wit, superb sense of humour, jokes, hilarious story about a seagull she rescued on the beach, her man, her life, the dumb, indifferent and sometime passionate people she met through her trips...
All
those little details, humour, touching stories, bursting anecdotes,
warm, warm, warm stage personality, a superb musical accompaniment, a
sensual and explosive voice of a woman who knows life, its ups and downs
transformed the 90 minutes we spent at Joe's Pub into a musical and
human elixir of escapades, fantasies, dreams, wishes, moments of a great
joy and deep reflection on life. Barb Jungr shined that night. And
because she shined so bright, the whole damned lights and neon of New
York City shinned brighter and brighter and blew up! It was a
magnificent show! It was a great triumph for England's greatest cabaret
and Jazz singer.
PAULETTE ATTIE: COLUMNIST OF THE YEAR
Photo:
Columnist and award winning actress, singer and songwriter, Paulette attie.
Diva Paulette Attie is on the right move. Finally, there is somebody in our tumultuous world and on the turbulent pages of media who cares to bring good news to the readers. Paulette Attie is doing just that. She is the first American writer-journalist who consecutively write positive articles about people and organizations who significantly contribute to our societies, world of art and culture, humanitarian causes and world peace. "Her column "MAKING MATTERS BETTER" also known as "THE GOOD NEWS" is published by the World Jewish News Agency, the International News Agency and The European Journal. At the very top of her column, Attie wrote: "We are constantly bombarded by news that, at best is discouraging, at worst, frightening. We often sum up these exposures with words like,“ going from bad to worse,” “to add insult to injury,” “no good deed goes unpunished,” and “making matters worst.” When was the last time you heard someone say, “making matters better?” You’ll start seeing that expression regularly, right here..."
Photo:
Paulette Attie runs the scales on a piano while students at P.S. 1 in New
York City loosen up their vocal chords. (Photo: Suzanne Freeman)
Paulette Attie, an award winning writer, singer, and actress called her enormously well-read column, “Making Matters Better” , because she deeply believes that there are people and organizations who deserve to be recognized and appreciated for all the "good things" and meaningful contributions they are offering to our world. Attie added: " Should anyone wish to recommend an organization, person, writer, book, that makes a positive impact on people’s lives, send your suggestions to me. If it’s an organization, include their mission and what they're doing to fulfill their goal. If it’s a book, what is the book’s theme and why does it make a difference..." This explains the reason why Paulette Attie has been nominated as COLUMNIST OF THE YEAR. Hopefully, other magazines, newspapers and news agencies will recognize their writers and reporters not exclusively for their breaking news and world exclusives, but also for "making matters better"!
Paulette won the Silver Globe Award by playing a French nightclub singer on TV's The Yanks Are Coming. Other TV credits include the part of Marshal Dobbs in One Life to Live, plus leading roles on General Hospital, Another World, All My Children, Sesame Street, and Mercy or Murder. Paulette has performed on and off-Broadway. Her highly acclaimed one-woman show, About Time, opened off-Broadway in 1997. She has played the leading female roles in musicals and operettas: My Fair Lady, Gypsy, Can-Can, The Merry Widow, La Vie Parisienne, and plays by Neil Simon, Tennessee Williams, and Noel Coward. On her award-winning weekly radio show, "Paulette Attie's Musical Playbill" (on WNYC for two years), Paulette sang songs by America's best-loved songwriters, often accompanied by the composers themselves. Her legendary list of guests includes Lee Adams, Harold Arlen, Jerry Bock, Cy Coleman, "Yip" Harburg, Sheldon Harnick, Burton Lane, Cy Coleman, John Green, Dorothy Fields, Jimmy Mc Hugh, Arthur Schwartz, Mary Rodgers, Harold Rome, Charles Strouse, and Jule Styne. "The songwriter I most enjoyed talking with was Johnny Mercer," says Paulette. "If there ever was a person who could charm the birds out of the trees, it was Johnny." Paulette made two separate shows of her interview with Johnny Mercer and had the pleasure of seeing him on several occasions thereafter. Of her over one thousand concerts, she has appeared at Carnegie Hall, Lincoln Center, the Hollywood Bowl, Bruno Walter Auditorium, Westbury Music Fair and concert halls in Japan and South America. In 1988, she became the first woman performer elected into the Friars Club. Paulette Attie received a citation from President Bush in recognition of the song she wrote "United Are We ". Here it is:
United
Are We
Right here's the place to be, the time for you and me,
Enjoy sweet harmony because united are we.
Our heroes heard the call, saw their brothers fall,
Still they gave their all, that's united are we.
Don't need to be a king, don't need a diamond ring,
We've got everything because united are we.
And through the nation wide, we share the New York pride,
We stand side by side, because united are we.
The reason is simple, it's easy as can be,
When we love one another, united are we.
If I'm a part of you, then you're a part of me,
When we give to each other, we're happy and free.
Don't need remote control, high-techie rigmarole,
Switch on and see the whole, united are we.
And when we're upped and downed, on a merry-go-round,
We can still rebound, turn it around,
We're not lost; we're found because united are we,
Let the words resound: United Are We.
United are we, united are we,
The design is grand, that's the way it was planned,
Let's give ourselves a hand,
Because united are, united are, united are WE!
Photo:
Robert Osborne.
Long time ago, in my first year at the law graduate school, a haunting passion with insatiable appetite devoured my thoughts and feelings. And because of that haunting passion, quite often, I asked myself if studying law instead of cinema was really what I wanted it to do. You guessed it. My "first love" was the silver screen. Not, because I was fascinated by the stars but, because I was taken by the mesmerizing talents of cinematographers, the genius of the directors of photography, the light engineers, the set designers, the visions of films directors, the depth of challenging and engaging dialogues, and of course, the musical scores composers. I did not care much for actors and actresses whom I consider -with a very few exception of remarkable human beings like Audrey Hepburn, June Allyson, Edward J. Robinson, Peter Ustinov, Robert Redford, Ernest Borgnine, etc.,) to be vain, very show-off, extremely lucky with few merits, pretentious and greedy.
My passion for cinema was fueled by my curiosity to know what
was happening behind the curtains, the scene, the screen, the untold story
of a film, the character and persona of the players, the events that
surrounded the creation of the film, the relationship between the movies
makers, the artists and the leading players. In other words, the human
aspect of cinema with all its neglected or hidden stories fascinated me.
And for years, I searched the humanistic history of the movies making.
Back then, it was so difficult to harvest those stories. Few studios
existed in Paris, headlines rotated around world premieres, vedettes
scandals, new releases, events actors and actresses attended, gossips,
affairs ad infinitum, and this left me with few material, events
and inside stories surrounding the making of a film. Sure, from time to
time, a mini documentary on shooting this or that film appeared in movie
theaters, but it wasn't enough, especially when the documentary appeared
more like a trailer than a story behind the story. It took me years to
find my grail. And finally, I found it in Mr. Robert Osborne. Nowadays,
an avalanche of film historians and critics rolls over and over on out TV
sets. But only one cinema historian and story-teller extraordinaire
captured my full attention: TCM's Robert Osborne.
Many other film "introducers and historians" are nothing more than a scenarioed projection of pompous, pretentious and irritating talkers. Mr. Osborne distinguished himself by his warmth, graceful humility, friendly persona, abundance of behind the scene touching and captivating description of what happened back then, on stage, off stage, on location, in the studio and beyond. This very fine gentleman and cinema expert knows what and where are the buried or unknown, unusual and informative movies cosmos stories and how to bring them to his audience. Stories that add more character, meaning, substance, the "un je ne sais quoi", mystique, revelations and cache to the film he is showing. Without Osborne's intros, the films remain simply an enjoyable entertainment, but Helas! without the soul, spirit and multidimensional chronicles that created or metamorphosed through the production stages of the film and brought to us by Mr. Osborne, the magical opened can is simply a cinema empirical projection. In many instances, I found Mr. Osborne's intros and brief narrative historical back-flashes more fascinating and entertaining than the film itself.
This remarkable raconteur, historian and cinema story teller recreates the whole universe and the genesis of movies. He does it with effectiveness, charming style, authoritative, yet warm mannerism, and above all, with style and confidence. Mr. Osborne is the gentle encyclopedia of cinema and its human dimension. His biography as posted on the website of Turner Classic Movies tells us that Osborne was born in Colfax, Washington (population: 2700) and graduated from the University of Washington's School of Journalism, appearing in local plays in his non-study hours. He soon went to Hollywood as an actor under contract to Lucille Ball and Desi Arnaz. But Lucy encouraged him to pursue writing, which he considers among the best advice he's ever been given. She remained a friend and mentor to him until her death. Osborne joined the staff of The Hollywood Reporter in 1977 and six years later began writing the paper's influential "Rambling Reporter" column, which covers all aspects of the movie and television business. He also attends the Cannes Film Festival to review films for the paper and is The Hollywood Reporter's chief Broadway critic, covering New York plays and first nights. Osborne began as the on-air entertainment reporter for the nightly news on Los Angeles, KTTV in 1982. In 1987, he was signed by CBS to make daily appearances on the CBS Morning Program. From 1986-1993, he was also a regular host of The Movie Channel cable network. From 1981-83, he served as president of the Los Angeles Film Critics Association (LAFCA).
He
is a frequent guest on Entertainment Tonight, Good Morning America and
other network shows; won a Golden Mike for excellence (for a TV special he
wrote, produced and hosted titled Lana Turner Today); has twice been a
CableAce nominee for his "Osborne Report" segments for The Movie Channel;
and was nominated for an Emmy Award as Best Host Moderator. Osborne is
also the winner of the 1984 Press Award from the Publicists Guild of
America. In addition to his hosting duties for TCM, Osborne has also done
several specials for the network, including hour-long interviews,
including the last on-camera interview done by Robert Mitchum, Jane
Russell, June Allyson, Ann Miller, Mickey Rooney, Charlton Heston, Jack
Lemmon, Walter Matthau and Tony Curtis. The biography also reveals that
Osborne is also a columnist-critic for The Hollywood Reporter, the daily
show business trade paper. He is known as the official biographer of
Oscar, thanks to a series of books he's written on the subject of
Hollywood's annual Academy Awards. His latest book, the updated 70 Years
Of the Oscar, was written at the special request of the Academy of Motion
Picture Arts and Sciences, and has been called "the most comprehensive and
definitive book ever done on the subject." An expert insider wrote about
Mr. Robert Osborne: "Never volunteer to play Trivial Pursuit with Robert
Osborne: He's going to nail every entertainment question. The host of
Turner Classic Movies and columnist for the Hollywood Reporter has not
only covered Hollywood, he was also a close friend to Hollywood elite such
as Bette Davis and Lucille Ball. Osborne loves his field of expertise. And
it shows...In a way, Osborne built his prestigious career out of luck. He
says he landed in Hollywood at the right time. "Bette Davis and the other
stars were at the end of their careers.
They wouldn't have had time for me in their heyday. So I got the benefit of spending time with them and hearing their stories." Another movies savvy wrote: "Osborne worked at the Rose Theater as a teen-ager, and broke both his arms while putting Elizabeth Taylor's name up on a marquee. "She was bad for me, too," Osborne jokes...Osborne ended up in Hollywood by chance. He had set out for New York but landed in California by way of an actress friend of his. There he met Lucille Ball and became a contract player for Desilu. He said Ball was the first to encourage him to become a writer. The stars took a liking to Osborne because he had studied them and knew their history. "They didn't have to tell me what they had done in the past. I already knew." He was comfortable around them and was invited to dinners and parties. Osborne often escorted Davis to dinner. "She was a very proper New England lady and wouldn't go to a restaurant alone or with another woman." So he was her dinner date...Osborne also accompanied Davis to the Academy Awards in 1977. "Bette wanted to sit in the back so that she could sneak out and smoke. She would go out to the press tent. All of these stars of the time, Travolta and others, would hover, wanting to meet her but were so awed by her. They were afraid to approach her, she was such a star. Here she was, she couldn't get a job and these stars were afraid to talk to her. And she didn't know who the hell they were." At one point Davis leaned over to him and, referring to the man sitting next to them, said, "My God, he sure is attractive. Who is he?" "That's Jack Nicholson," Osborne told her. "
OSBORNE ON THE OSCARS AND TODAY'S MOVIES AND STARS
What does he think of the today's Oscars? Mr. Osborne longs for the days when people, directors, studio executives and stars had more class, style and integrity. He told one reporter: "We've lost class. There's been this declassing of humans. People used to have honor. They never wrote about Spencer Tracy and Hepburn having an affair. You just didn't do that." Anything new or unusual about today's OSCARS? Mr. Osborne commented: "In the past, people used to know the results ahead of time. They simply knew, so they had all the reasons in the world to relax. In the golden days, one could enjoy lavish and splendid banquets. It was a great time and fun for everybody. Today, you just sit there and you don't move. Too many awards are given and more categories are created, like awards for costumes, songs, etc...and of course, today, the OSCARS welcome European and foreign films, a real novelty..." And how about today's movies and stars? Mr. Osborne explains: " Today's films are lacking. "I realize that everyone likes 'Titanic', but if they give (the Oscar) to 'Titanic' I think I'll stop writing books about the Oscars. For $200 million you think that they would have made 'Dr. Zhivago' on board a ship or 'Lawrence of Arabia' on the high seas.
Photo:
Mr. Robert Osborne with the delightful Celeste Holms and actress Rita Gam.
Instead, they wrote this sappy little story...There are a few bonafide movie stars around. Emma Thompson. She's got it. She's wonderful in everything that she does." Another top star, he says, is Matt Damon. "He's a great actor." Is Mr. Osborne satisfied with the awards process, procedures and standards? "Even though, today's films are not as good as they used to be, quality-wise, the Academy Awards still point to some gems out there. And the awards are extremely important because "A film really has to stand out to get a nomination, even if it's just a special effects picture with a big box-office draw. The Academy members take their votes very seriously. "They see their vote as a very respected thing. They take their time and scrutinize the tapes (of the films.)" In an interview he gave, a few years ago, Mr. Osborne mentioned this: "Olivia de Havilland watched Judi Dench's performance in "Mrs. Brown" and had a few notes for the Oscar nominee. "She said that (Dench) needed to work on her eyebrows and the way she carried herself for that period." Mr. Osborne's most cherished and remembered OSCARS moments are when Charlie Chaplin's in 1972, returned to the United States to accept an Oscar for the title song in his film "Limelight." Mr. Osborne said: "He was this little, frail man that people had labeled a child molester and a communist. And as he stood there looking at the people standing up in ovation, you remembered all of the magic that he had brought to the screen. It was very moving to see this little old man just standing there on the stage." Another favorite moment is Louis Fletcher's acceptance speech for Best Supporting Actress for "One Flew Over the Cuckoo's Nest." Mr. Osborne recalls: "This sweet, innocent little girl came up to accept and no one knew who she was," he said. Fletcher had played the bitter and twisted Nurse Ratchett.
"Her parents were deaf mutes so she signed her acceptance speech. It was really something to see..."On a regular basis, I watch TCM for three reasons: 1-My passion for classical movies. 2-The lyrical beauty and nostalgia those black and white films awake in me. 3-Mr. Osborne's intros to films. What a delight and inspirational moment I enjoy and feel upon watching those magnificent moving treasures. Consequently, I developed a great admiration and a deep respect for Mr. Osborne. And this resulted in writing this piece on him. But little, did I know, and delighted I became, when members of our editorial board told me that the board chose Mr. Osborne as THE MAN OF THE YEAR in recognition to his enormous contributions to the world of cinema. Ironically enough, one day later, Ms. Ruth Sielberg, Editor-in-Chief of the International Herald Daily news (London, Paris) called me to ask me if I would be interested in writing an article about Robert Osborne, for the Herald decided to select Mr. Osborn as their Man of the Year! I do not believe in coincidence. Coincidence exists solely in the abyss of uncreative minds. To be selected by another news agency as MAN OF THE YEAR for the same year is NOT a coincidence but, a global and a wide-spread recognition of unusual contributions and outstanding accomplishments in any given field. And most certainly, Mr. Robert Osborne deserves our gratitude and a universal recognition. The man is a national treasure and a great asset to world cinema. La crème de la crème.
