Celebrity Love

There is no doubt that love for some celebrity exists within us all. This isn’t the traditional definition of love but rather defined by an excessive admiration for a famous person whom we will probably never meet. The use of “love” is appropriate here as we who love celebrity tend to exhibit signs of undue influence by those highly visible. Famous people, the non-elected representatives of the human race, have always held some influence over the masses. In the days before mass media, television sets and computers fame was circulated orally, carried by the gossipy nature of social beings. Today, we open our eyes and cannot avoid these people. Of course, in a developed society entertainers are necessary. We laugh and sometimes cry at a quality performance. Our memories are seared with images, movies and songs which have touched us, frightened us and stimulated us. They dramatize the political, the romantic, the good and bad. We see in them the potential for perfection of man or woman as an expression of utopian ideals of love and success. 

    Yet, have we gone too far? How much influence should they have over us? Our choice of clothes, jewelry and hairstyle, our languages and ideas are often areas that we look toward celebrities to define. If you deny this then you are exceptional; the rest of us are invariably, more susceptible. Our culture has become saturated with celebrity influence. We watch their every move including who they are with and what they do. We absorb their politics and gobble up their quotes. We think about what it may be like to be that beautiful, rich and powerful. Fame is an aphrodisiac or so it seems to the unrecognized. Today we have TomKat(Tom Cruise and Katie Holmes). Yesterday it was Bennifer(Ben Affleck and Jennifer Lopez).  Public Interest in these people is frighteningly obsessive in nature. After all, their claim to fame is usually based on pretense or non reality. They are the constant pretenders, illusionists with screens as their canvas.  Check out here hotcelebritygossip101.net

   The entertainment value of a celebrity stretches beyond the screen or stage and they are wholly aware it. We are witness to carefully arranged relationships, sudden sightings in sports arenas and controversial quotes days before a new movie or show opens. They appear on your screen suddenly seemingly not to promote themselves but rather attempting to come across as natural, likable, smart and funny. Sometimes we get a glimpse into what certain celebrities are really like. Unfortunately, it is usually when they do something wrong. Drugs, infidelity and physical assaults are a few areas where celebrities have slipped in their public presentation. Mug shots and unflattering photos of famous people are the currency of entertainment news outlets. Being a celebrity has its drawback in this regard as they are monitored as closely as governmental heads of the biggest nations on earth. Alas, the power of celebrity is here with us to stay. Or is it? Can we teach our children who the chancellor of Germany is before we explain the history of Madonna? If we can’t, America will become a nation of uninformed celebrity worshippers numb to the more important realities of the world.

4 Secrets To Becoming A Guest On Top Tv Talk Shows

The phone rings. You hear an authoritative voice say, *Hello, I'm the producer of...Good Morning America or Oprah, or Larry King Live* or any other top talk show, you name it. This is your big moment, the break you've been waiting for. After you catch your breath what do you do? 

Producers make an instant assessment of you in thirty seconds--or less. When you get that coveted call from a producer, you aren't just *talking* to him: you're auditioning. You are being screened to be accepted or eliminated as a guest on their show. How can you pass the audition? 

Secret #1: Ask Before You Speak 

Before you even open your mouth to start pitching yourself and your story to the producer, ask them a simple question: *Can you tell me a little bit about the kind of show you envision?* In other words, ask the producer the angle he is planning to take. 

Doing so has two advantages. First, it gives you a moment to overcome the shock and to collect your thoughts. 

Second, once you hear the producer's reply, you can gear your pitch to the type of information he's seeking. Listen closely to the angle that he's interested in and tailor your points to it. Publicists often use this technique to get their clients booked on shows. They *get* before they *give* - so they are in a good position to tell only the most pertinent information about their client. 

Secret #2: Wow the Producers with Brevity 

Follow the advice of jazz musician Dizzy Gillespie: *It's not how much you play. It's how much you leave out.* Keep your list of talking points by the phone when you call a producer (or a producer calls you), so you'll be succinct. You will already have rehearsed your points so that they'll sound natural and inviting. Be prepared with several different angles or pitches, different ways to slant your information. *Nobody gets on these shows without a pre- interview,* says publicist Leslie Rossman. *Be a great interview but don't worry about the product you want to sell them because if you're a great guest and you make great TV, they'll want you.* 

And keep in mind the words of Robert Frost: *Half the world is composed of people who have something to say and can't, and the other half who have nothing to say and keep on saying it.* 

Secret #3: Prove You're Not a Nutcase 

If you area nutcase on the air, the producer will lose their job. What constitutes a nutcase? You may think it's a positive trait to be enthusiastic (and it is), but anyone who is overly zealous about his passion is considered a nut. Best-selling author and screenwriter Richard Price talks about this phenomenon as *The dangerous thrill of goodness.* He says, *What happens is you can get very excited by your own power to do good.* Don't get carried away by this thrill. 

One way to tell if you're being too zealous is that you're hammering your point at top speed with the energy of a locomotive pulling that toot lever nonstop. I remember a man calling me up about how he was single-handedly taking on Starbucks - who, he felt, had done him wrong. He wanted me to promote his cause. While this could have been a great David versus Goliath type story, he was long on emotion and short on facts. Some statistics or figures would have tempered his mania. 

But he also never checked in with me to see if he had my interest. By talking loudly and barely pausing for a breath, he appeared to be a man who wouldn't take direction well. His single-mindedness was off- putting, not engaging. 

When you're talking to a producer speak for 30 seconds or so and then check in by asking, *Is this the kind of information you're looking for?* Listen for other verbal cues, such as encouraging grunts, or *uh huhs.* 

Secret #4: Can You Mark *The Big Point?* 

Contributors to the popular radio show *This American Life,* hosted by Ira Glass, have taken to calling the wrap-up epiphany at the end of a story, *The Big Point.* This is the moment that the narrator gives his perspective on the story in an attempt to elevate it from the mundane to the universal. 

Another radio personality, Garrison Keillor, is a master at it. He tells long, rambling stories (not good advice for you), then ties up all the story strands in a coherent and satisfying way. As a great guest, you want to illuminate your story with a big standout point that helps the audience see the significance of your story in their world and the world at large. Rather than hitting them over the head with a two-by-four, you want to share your insights with a feather-like touch. By framing your story you alert the producer to the fact that you're a thinker and can contribute great insights and clarity to a story thus increasing its appeal. Please visit CelebrityNewsUpdate.Net to get more news update.

The Joe Loss Orchestra 75 And Still ‘In The Mood’

In 1930 a talented musician aged 21 decided to form a dance band, and hey presto, the country’s, if not the world’s, longest serving entertainment unit was born and has been doing jus that nonstop ever since! The Joe Loss Orchestra now directed by Todd Miller is still appearing countrywide to this day.

I say “entertaining” because Joe always said, “although we are in the music business we are also entertainers.” When Joe became ill in 1990 he asked Todd to take over the Orchestra and not one booking was cancelled. Todd himself joined the Orchestra in 1972 and is now regarded by many as one of the best front men in the business.

It was in 1969 that Joe decided, for financial reasons, that he would reduce the personnel to ten musicians and three vocalists. He felt that when the moment was right he would re-assemble the big band. Indeed to this day there are many musicians playing in present day big bands who appear in the Joe Loss Big Band whenever the band is booked.

On the subject of big bands and their leaders there is an amusing story relating to Joe and Billy Cotton. It appears that one morning just after the end of the war, Joe arrived home after a gig just before breakfast. Having had a quick cup of tea and still in pyjamas and dressing gown, who should be knocking at the front door other than Billy Cotton with a brand new motor car. He insisted on taking Joe for a spin and although the weather conditions were pretty grim, bitterly cold and with thick snow off they went into the surrounding countryside. Unfortunately, before too long the car ran out of petrol (it still being rationed that time didn’t help) and Billy left Joe in the car whilst he set off in the quest for a garage. There sat Joe as cold as ice and with teeth chattering when along came the local bobby. Pushing his bicycle, he enquired as to why Joe was sitting in the car in freezing weather wearing his pyjamas and dressing gown. Joe informed the police constable that he was Joe Loss and that Billy Cotton had gone off to try and get some petrol. By the look in his eye the constable was finding it hard to believe such a story, until Billy re-appeared with a can of petrol and convinced the sceptic that the story was indeed true! The constable cycled away with a smile on his face with two prized autographs in his notebook!

But I digress. It was with an eight-piece band, playing in the style of Oscar Rabin’s Romany Band at the Astoria Ballroom, that Joe took the first steps to becoming well-known. His growing popularity brought him a job at the Kit Kat Club where he made many of the BBC outside broadcasts. During his time there he raised the personnel to 11 plus a young lady vocalist - a croonette as they were known. She made her first broadcast singing “Red Sails In The Sunset” the top hit of the day in 1935. She was only 18 and in years to come became the “Forces Favourite” non-e other than Vera Lynn.

After a long residency in London Joe began to tour the music halls, as did many bands of the day. During the war he took the band to entertain the troops around the UK and eventually to France and Holland. In 1946 Joe began a regular residency in the Isle of Man from May until the end of September, which lasted until 1959. With the coming together of the ITV companies Joe and the orchestra became the house band for ABC and opened up all of the television regions throughout the UK during the period from 1956 to 1960. They were to be seen regularly on television often up to four times a week. This was followed by a long residency at the Hammersmith Palais until August 1969 broken only by an 18-week season at the Empire Leicester Square and 12months at the Lyceum in 1967. They then moved on to the Empire until November 1970 at which point Joe decided to retire. He told Sam Watmough, the current manager of the band, who joined in 1956 that during the meeting he was to inform the band of his decision.

Joe opened his speech saying “Gentlemen, we shall be leaving the Empire and Mecca in 6 weeks time on November 30th.” This brought Stan Pickstock, lead trumpet, to his feet, Stan had been with the band since 1961, who said, “bloody great, now we can get back on the road,” at which point the band applauded.

Joe however was taken aback and said, “I didn’t think you would want to go on the road again, but if you do that’s fine.” So the Joe Loss Orchestra was back on the road once again and had remained so ever since.

When Joe first became too ill to travel To0dd fronted the Orchestra until Joe eventually retired on January 31st 1990, two weeks before his 81st birthday. Joe passed away on 8th June, many thought that the Orchestra would not carry on without him, how wrong they were! They remain one of the most popular and busiest bands in the country. To quote Sam Watmough, who had been Joe’s manager for 30 years, “I knew what Joe wanted and we are still proud to be known as Todd Miller and the Joe Loss Orchestra.” As Todd himself says, “We must be doing something right!”