DO YOU REMEMBER MANNERS? DIGNITY? A CELEBRATION OF TALENT WITH HONOR?
REMEMBER WHITE TIE?
REMEMBER ELEGANCE AND APPRECIATION?
Cary Grant and Jean Simmons
I REMEMBER THIS. THIS IS WHAT PEOPLE LOOKED UP TO. THIS IS WHAT HOLLYWOOD REPRESENTED TO THE WORLD.
Grace Kelly
AND IT HAS NOW TURNED INTO THIS
AS FOR OSCAR 2016.....Funny is funny. Chris Rock's monologue was funny through the Jada Pinkett Smith joke. From then on he was annoying, pushy, shaming, and embarrassing. Talk about jumping the shark.....He had made his point. He didn't need to repeat it over and over and over and over and over. We got it the first time. Go away, Chris. For a long time.
The show should have opened with the hilarious skits of Tracy Morgan and Whoopi. Then cut to Chris doing his opening, and stop after Jada. Move on and do a show. And, Chris, you're not Ellen. You can't go into the audience thinking a Girl Scout cookie can replace her pizza. It's not about the food; it's about the skill of the comic. You lost yours most of the night.
David Hill and Reginald Hudlin, producers----how could you think this was good? How could the Academy approve of this?
AND THE DIRECTION???? What idiot director thinks it's ok to shoot women from below??? Ho do producers not notice this in rehearsals? Every time a presenter came on, it went from longshot to bottom up shot, making all the women look like they have double chins. The third shot in the sequence was head on, but by then it was too late. INEXCUSABLE DIRECTION.
CELEBRATE ART, NOT POLITICAL ISSUES....................
FIRST, I WOULD LIKE TO SAY THAT THE ACADEMY AWARDS SHOWS SHOULD BE TO CELEBRATE ART--GREAT PERFORMANCES, WRITING, SCORE, EDITING, WHAT-HAVE-YOU. IT IS NOT, NOT, NOT THE APPROPRIATE PLACE TO TURN INTO A POLITICAL FOOTBALL. PRESENTERS SHOULD BE BOOKED BECAUSE OF WORK, NOT COLOR. NOMINEES AND WINNERS SHOULD BE PICKED ON MERIT. I KNOW OF NO OSCAR VOTER WHO WOULD EVER NOT VOTE FOR SOMEONE BECAUSE OF RACE, RELIGION, SEXUAL IDENTITY, ETC.
AND ABOUT TAKING AWAY VOTING PRIVILEGES IF YOU'RE OLDER AND HAVEN'T WORKED IN TEN YEARS.... CAN YOU IMAGINE SAYING TO BILLY WILDER (IF HE WERE STILL HERE)--"SORRY, BILLY, YOU'RE TOO OLD TO UNDERSTAND TALENT SO YOU CANT VOTE?" ART KNOWS NO COLOR. I'M AFRAID I'M GOING TO BE VERY DISAPPOINTED AND UPSET IF THIS SHOW DERAILS INTO A RACE-WAR AND SPEECHES ABOUT DIVERSITY AND NUMBERS. AND, I KNOW I CAN ALWAYS TURN IT OFF. I BET THE PUBLIC WILL, TOO. BUT, FOR NOW, LET'S CELEBRATE THE WORK AND HOPE THINGS TURN OUT WELL.
BEST PICTURE: WINNER-THE REVENANT Well, I tried to watch THE REVENANT, and I lasted 40 minutes. It was too raw and violent for me. It had the most momentum going into the voting period
The Big Short-----How can a movie be intense and boring at the same time?
Bridge of Spies------This was just boring
Brooklyn-------Loved, loved, loved this movie. Too real and good to win
Mad Max: Fury Road------I confess, I didn't see it I heard it was terrific
The Martian-------Really enjoyed it a lot. It's just not a Best Picture
The Revenant----------See above comment
Room-------Very unusual and good movie. I put off watching it for a long time. I'm glad I saw it
Spotlight----------Important subject. I found it talky and slow
BEST ACTOR: LEONARDO DI CAPRIO
People feel he has waited long enough. He's winning no matter what. REVENANT was a tough role and hard shoot. It's easier to win an Oscar if you get beat up and ravaged in your role.
All the rest below were wonderful. There's just nothing they could do this year about it. My pick would have been Eddie Redmayne for his work. That was the most difficult role to play. Bad timing, Eddie. You would have been two for two.
Bryan Cranston Trumbo, Matt Damon, The Martian, Leonardo DiCaprio, The Revenant, Michael Fassbender, Steve Jobs and Eddie Redmayne, The Danish Girl.
BEST ACTRESS: BRIE LARSON
She really deserves it. It was a real break-out performance.
My pick would have been either Saorise Ronan or Charlotte Rampling. You can't always get what you want.
Cate Blanchett, Carol, Brie Larson, Room, Jennifer Lawrence, Joy, Charlotte Rampling, 45 Years and Saoirse Ronan, Brooklyn.
BEST ACTOR IN A SUPPORTING ROLE: SYLVESTER STALLONE
And why not? It's fine with me. He never got his due for ROCKY and he's been the underdog for years. Time to celebrate.
As for the other nominees----they were all fantastic. It just doesn't matter this year.
BEST ACTRESS IN A SUPPORTING ROLE: ALICIA VIKANDER She's the "it" girl this year, and her "it" is going to last a long time. Look for more Oscar wins for her in the next few years
SONG---PLEASE GIVE IT TO GAGA AND DIANE WARREN!!!!
DO YOU WANT TO KNOW HOW THE STARS LOOKS SO GOOD FOR THE RED CARPET........ AS WELL AS EVERY DAY LIFE???? THE ANSWER IS KING LANCER AND QUEEN RPK
Queen RPK
Today I had the chance to experience the same facial that the stars have before they make an appearance.
It consists of Dr. Lancer's products, of course, as well as a personally designed facial by an angel named RPK.
AND, IT COSTS BETWEEN $600-$2000 DOLLARS.
And, you know what, if you are a star or want to look like one, it's totally worth it.
For years, RamPrakash Khalsa – ‘RPK’ to
those who know her best - has been recognized as one of the top
aestheticians in Los Angeles, and she remains an expert in her field.
The Los Angeles elite return to her for a very simple reason: she treats
the body, mind and soul together, effectively understanding that skin
does not operate independently.
The order of application matters, plus you need the Lancer Products for most of the steps----i.e, there's no way you can do this yourself.
In addition, one of the reasons I went crazy over Dani Lancer's new highlighting-moisturizer, is that I am transfixed over Jennifer Lopez' skin. I can't confirm or deny, because I certainly didn't hear it from anyone in Dr. Lancer's office, but I would bet my house that she is a Lancer client. Therefore, I had her special facial today. My skin looks incredible now. At least we have that in common....
NOTHING TO HIDE........HAPPY SKIN; HAPPY GIRL
(Lying down face gets wider!!!!!!)
Adolph Hitler had a genital deformity that made his penis
remarkably small, according to historians citing previously unknown
medical records.
The diminutive tyrant suffered from a condition called hypospadias —
which left him with a micropenis, Jonathan Mayo and Emma Craigie write
in their new book “Hitler’s Last Day: Minute by Minute.”
The condition can be so severe that sufferers are forced to urinate from a hole at the base of their manhood.
“Hitler himself is believed to have had two forms of genital
abnormality: an undescended testicle and a rare condition called penile
hypospadius in which the urethra opens on the underside of the penis,”
the historians note.
“Hitler himself is believed to have had two forms of genital
abnormality: an undescended testicle and a rare condition called penile
hypospadius in which the urethra opens on the underside of the penis,”
the historians note.
Hypospadias sufferers’ often have to sit to relieve themselves,
according to the Centers for Disease Control. The condition is also
often accompanied by an undescended testicle.
Awwwwwwwwwww
Two months ago, German historian Professor Peter Fleischmann said he
found proof in medical records that Hitler had just one testicle — which
had long been rumored.
Hypospadias can lead to problems later in life, including difficulty performing in the bedroom, experts note.
The dictator’s personal doctor, Theodor Morell used to give Hitler
hormones, amphetamines and cocaine in hopes of boosting the Fuhrer’s sex
drive, historians noted.
The tiny terror’s anatomy may explain why he gave instructions in his
will that his body be burned after his death–fearing that his body
would be paraded by his Russian captors, historians theorized.
Following the war, those in Hitler’s inner-circle spoke openly about the dictator’s bizarre sex life. “By no means would I describe Adolf Hitler as sexually normal in his
relationships with women,” said late Nazi architect Albert Speer.
IRENA MEDAVOY AND THE GANG took over UCLA recently as she (and Abigail Disney) was honored by the Women's Image Network. WIN celebrates female and male artists whose work advances the value of women and girls.
Her co-chairs were: Ambassador Nicole Avant (who presented Irena with the award), Joyce Arad, Rosanna Arquette, Florence Azria, Red Barris, Danielle Del, Roma Downey, Wendy Goldberg, Lysa Heslov, Ghada Irani,Yue-Sai Kan (the Oprah of China), Jena King, Lauren King, Lyn Lear, Jane Nathanson,Sybil Robson Orr, Lynda Resnick, Florence Sloan, Jennifer Stallone, Alia Tutor,Cynthia Yorkin, and Erica Wertheim Zohar. Whew!
Tracy Danza, Irena's son, Nick, Irena, Bernadette Leonard
KIM NOVAK THRILLS SAN FRANCISCO AND SYMPHONY HALL WITH RARE APPEARANCES FOR "VERTIGO" LIVE SCORE CONCERTS
DEBUT SHOWING OF HER PAINTING "VORTEX OF DELUSION"
IT WAS THE LARGEST CROWD EVER FOR A Q AND A AT THE SYMPHONY. BOTH NIGHTS WERE SOLD OUT. Kim, interviewed by Steven Winn, a respected San Francisco writer, dazzled the audiences with her stories about working with Hitchcock and Jimmy Stewart. VERTIGO, as we now know, has been voted the most important film ever made by the British Film Institute as well as other film organizations.
"I really hated that grey suit with the black shoes. I told Edith Head I didn't like it, and she suggested that I talk to Mr. Hitchcock. I was so pleased that he agreed to see me. I was very young and never expected he'd listen to me," said Kim. "I went to his office and told him the suit was really uncomfortable. He said, 'Oh, is it my dear?' I went on for about an hour talking to him about it and he was so polite. At the end of the meeting he looked at me and said, 'So...you are wearing the suit and heels.' I just left. Later on I realized his choice was deliberate. He wanted me to be uncomfortable as Madeleine. He was just brilliant."
Kim on stage at Davies Hall
Hearing a live orchestra play the Bernard Hermann score is mesmerizing.
Happy time for both of us.
THIS VERTIGO PAINTING, and others of Kim's (which just came back from hanging in the American Museum of Impressionism, are available as prints at www.kimnovakartist.com
Talking Herrmann, Hitchcock, And Vertigo: An Interview With Kim Novak
Alfred Hitchcock's Vertigo may be the greatest movie of all time.
It wouldn't be in that conversation without great acting performances
by Jimmy Stewart and Kim Novak, and a sumptuous score by Hollywood
composer Bernard Herrmann. It's a soundtrack so haunting, so beautiful that the SF Symphony will perform it live
this Friday and Saturday at 8 p.m., with the movie projected above the
stage. In addition, at 7 p.m. both nights there will be a
pre-performance Q&A with Novak, who is flying down from Oregon where
she retired from acting to devote herself to painting.
Bernard Herrmann's scores are everywhere, he wrote music for Citizen Kane and Taxi Driver, among others. But he reached iconic status with Alfred Hitchcock: You can hear the violin screams of Psycho in your head right now, can't you? For Vertigo, Herrmann wrote a lush romantic score, with a Wagnerian love theme which borrows the delayed chord resolution of Tristan and Isolde to coincide with Kim Novak appearing, transformed, before Stewart. Conductor Joshua Gersen
will make sure the orchestra and movie reach their apex at the exact
same time. We chatted with Kim Novak ahead of her appearance in San
Francisco. Did you have any idea of the music as you were shooting the movie?
You know, Alfred Hitchcock met a lot with Bernard Herrmann. He knew
exactly what it was going to sound like. He was very aware of every
aspect of what the film was going to look like, sound like. He thought
out everything in advance and planned on it. We didn't know what it was
going to be like. Everybody that knew him knew he had all that figured
out in advance, because of the way he worked.
For instance, the scene in the staircase going up in the bell tower,
he worked that with a metronome, believe or not. The dialogue had a
certain pace and rhythm to it. I'm sure he had worked it out musically
as well, so it had the rhythm. Bernard Herrmann at the same time watched
that scene as we did that. He had in his mind the rhythm for that
scene. Knowing that he did, you had the confidence the whole thing had a
feeling to it musically, because you were aware of the music, you had a
sense it was orchestrated. Everything by Alfred Hitchcock was
orchestrated.
He tried as much as he could to keep a rhythm in the whole piece. The
way he blocked out, you could see these large cardboard worksheets he
drew out. It was all blocked out for him. You'd be on the set, and see
the worksheets of the set. You would see all the bits and pieces that
were prepared before you were actually there. It was like looking at a
map that was plotted before you got there. You saw where it was going.
You never did that in other movies. Other directors did not have that
map in front of them.
I found that so fascinating, he was the only director I've worked
with he who worked with his map. It was very important that you follow
his map. By the same token, I'm sure he did that with Bernard Herrmann
as well. He also allowed you, all the artists involved, whether Bernard
Herrmann or the actors, he would allow them to bring their own
interpretation. You were allowed to go your own speed, slow down or
speed up, you interpretation could adapt to it, but you still had a map
to follow. And I loved that, it was a wonderful thing. He brought in the
people who could bring these colors to it. Did you know Bernard Herrmann personally, you said he was on the set?
On rehearsals, he would come and visit. We met him. I didn't know him
other than meeting him there. He intensely watched as we performed. I
would have liked to know him better indeed. He was part of the making
off the film, part of the make-up of the motion picture. In the kiss scene, the embrace seems rather cold by today's
movie standards, but the music makes it very passionate and sexy. Do you
feel that way?
The scene was very strong. He wanted to build the passion that was
felt, and make it very strong as far of the colors of the characters,
and establish the music for both characters. There was a strong
identification musically in bringing them together. We didn't know how
he was going to do that until we saw the film. But we saw how much he
was planning for that, how much he met with Bernard Herrmann. I was more
aware of what he was doing with the camera. Musically, it was, oh my
God, it was a great surprise to me and for Jimmy too, when we saw the
film, how wonderful they did musically. I got to see the symphony
orchestra in Toronto and it just gave me goosebumps to see that music
live. It's going to be such a thrill to hear the SF orchestra. I'm going
to be there, and do a Q&A on stage. When the movie The Artist used the Vertigo music, you condemned their use of the music. Why is it important to you?
I was upset, for one thing, it was a wonderful movie. Why do they
need to use it? Why borrow somebody else's music, why not use their own?
There is a pride of ownership for Vertigo's music. For one
thing, it's the love theme, it's my love theme, you know, I was hurt!
They didn't need to, I was offended. I felt very bad about it.
What they were doing was borrowing the feelings of that scene, all of
the sudden the passion that happened in that scene, using emotions that
was arose in a scene by Jimmy Stewart and myself. Hitchcock worked up
to that scene. They had their own emotions, they didn't need that. Why
steal it from us? You don't want at that moment to think suddenly about
our love scene. I love that movie. All of sudden, to hear my theme, it
hurt. It felt like a rape. I was raped as a girl. It felt distasteful to
me. You are retired from movies, what keeps you busy nowadays?
I'm an artist, I paint, you can check out my website atwww.kimnovakartist.com,
I'm a visual artist, I'm a wonderful artist. I would never give up the
arts. I can express myself completely as I feel it. I don't have to use
someone else's interpretation. I express completely what I feel about
what I'm painting. As I go to the SF Symphony hall, I'll bring a picture
I made about Vertigo. It's called Vortex of Delusion. It's a
picture of Alfred Hitchcock, Jimmy Stewart and myself and the Golden
Gate Bridge. I'm displaying it in the Symphony hall. I was influenced
by Hitchcock in my art, I do rather surrealistic art, there is a lot of
mystery in my paintings.
-----------------------------------FREE TIME FUN----------AND THE BIRTHDAY PARTIES. FIRST PARTY WAS AT ABSINTHE, A BISTRO CLOSE TO THE SYMPHONY.
Absinthe is a very hip spot with delicious food. We were all happy as could be until they served Kim's birthday cake. Instead of the cake coming whole with candles so we could sing, they cut it in the kitchen and brought her one piece with a candle on it. WHO DOES THAT???? Their lack of experience in proper serving was inexcusable. I made them take all the pieces back to the kitchen and put the cake back together again--like Humpty Dumpty
The reconstructed cake
BIRTHDAY PART NO. 2 BUENA VISTA BRUNCH ON VALENTINE'S DAY
Our gang--Kim's husband, Robert Malloy, and the friends from Oregon
In shadow....Kim and her art teacher and brilliant landscape painter, Richard McKinley
Buena Vista famous Eggs Benedict
Hiding on a cable car!
Kim and Bob with Larry, the manager of BV, and their star waitress, Katherine
And the greatest Irish Coffee I've Ever Had
AND SOME EXTRA ADVENTURES..................
SPQR at 1911 Fillmore St. is the hottest restaurant in town. It features the most avant garde Italian food. Almost impossible to get into, one of their specials is Angel Hair with Black Truffles in a version of a lighter Alfredo sauce. It is to die!
Take a Look at these Unusual Appetizers and Pastas. We ate FIVE of them
chicken liver mousse, strawberry marmellata and balsamic gelatina
gem lettuce and cremini mushroom, fried white anchovy, frico and rogue smoked blue cheese
mustard green salad, honeyed bacon, pickled pluot, tarragon and goat feta
brassicas and grains, burrata, avocado, green goddess and sonoma olio nuevo
HOUSE OF NAN KING---IT'S WHERE THE LOCALS GO FOR THEIR CHINESE FOOD
Onion Pancake with Peanut Sauce
AND, SINCE 1939, SEARS FINE FOOD. BEST DOLLAR-SIZE SWEDISH PANCAKES EVER.
They serve 18 pancakes per order. At my height I ate 12. Dr Don Robertson ate 18, but Bob Malloy's the winner at 21!!!!
AND LAST, BUT MOST DEFINITELY NOT LEAST, WE STAYED AT THE BEAUTIFUL, REFURBISHED SCARLET HUNTINGTON HOTEL ON NOB HILL----with the BIG FOUR restaurant that is like 21 Club in New York. We LOVED this boutique hotel and can't wait to come back.
In shadow....Kim and her art teacher and brilliant landscape painter, Richard McKinley
