Letterman - Bruno Top Ten List

The Lost Leonardo - 60 minutes

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The Leonardo da Vinci masterpiece, The Battle of Anghiari, is thought to be lost forever, but an art detective thinks he has solved the mystery of the missing mural. Morley Safer reports.

Lena Horne

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Lena Horne
About the Performer

"Even in her eighties, the legendary Lena Horne has a quality of timelessness about her. Elegant and wise, she personifies both the glamour of Hollywood and the reality of a lifetime spent battling racial and social injustice. Pushed by an ambitious mother into the chorus line of the Cotton Club when she was sixteen, and maneuvered into a film career by the N.A.A.C.P., she was the first African American signed to a long-term studio contract. In her rise beyond Hollywood’s racial stereotypes of maids, butlers, and African natives, she achieved true stardom on the silver screen, and became a catalyst for change even beyond the glittery fringes of studio life.
Born in Brooklyn in 1917, Lena Horne became one of the most popular African American performers of the 1940s and 1950s. At the age of sixteen she was hired as a dancer in the chorus of Harlem’s famous Cotton Club. There she was introduced to the growing community of jazz performers, including Billie Holiday, Cab Calloway, and Duke Ellington. She also met Harold Arlen, who would write her biggest hit, “Stormy Weather.” For the next five years she performed in New York nightclubs, on Broadway, and touring with the Charlie Barnet Orchestra. Singing with Barnet’s primarily white swing band, Horne was one of the first black women to successfully work on both sides of the color line.
Within a few years, Horne moved to Hollywood, where she played small parts in the movies. At this time, most black actors were kept from more serious roles, and though she was beginning to achieve a high level of notoriety, the color barrier was still strong. “In every other film I just sang a song or two; the scenes could be cut out when they were sent to local distributors in the South. Unfortunately, I didn’t get much of a chance to act,” she said. “CABIN IN THE SKY and STORMY WEATHER were the only movies in which I played a character who was involved in the plot.” Her elegant style and powerful voice were unlike any that had come before, and both the public and the executives in the entertainment industry began to take note. By the mid-’40s, Horne was the highest paid black actor in the country. Her renditions of “Deed I Do” and “As Long as I Live,” and Cole Porter’s “Just One Of Those Things” became instant classics. For the thousands of black soldiers abroad during World War II, Horne was the premier pin-up girl.
Much like her good friend Paul Robeson, Horne’s great fame could not prevent the wheels of the anti-Communist machine from bearing down on her. Her civil rights activism and friendship with Robeson and others marked her as a Communist sympathizer. Like many politically active artists of the time, Horne found herself blacklisted and unable to perform on television or in the movies. For seven years the attacks on her person and political beliefs continued. During this time, however, Horne worked as a singer, appearing in nightclubs and making some of her best recordings. LENA HORNE AT THE WALDORF ASTORIA, recorded in 1957, is still considered to be one of her best. Though the conservative atmosphere of the 1950s took their toll on Horne, by the 1960s she had returned to the public eye and was again a major cultural figure.
In 1963, she participated in the march on Washington and performed at rallies throughout the country for the National Council for Negro Women. She followed that with a decade of international touring, recording, and acting on both television and the silver screen. Horne had found in her growing audience a renewed sense of purpose. All of this came crashing down when her father, son and husband died in a period of twelve months during the early 1970s. Horne retreated almost completely from public life. It was not until 1981 that she fully returned, making a triumphant comeback with a one-person show on Broadway. LENA HORNE: THE LADY AND HER MUSIC chronicled Horne’s early life and almost fifty years in show business. It ran for fourteen months and became the standard by which one-woman shows are judged. Throughout the past twenty years, Horne’s performances have been rare yet welcome occurrences.
Much has changed since the 16-year old who was Lena Horne danced her first tentative steps across the stage of the Cotton Club. Through myriad triumphs and challenges, she paved the way to stardom for countless others in the entertainment industry. Her continued musical, theatrical, and political efforts grew with the times and met each new decade with courage and grace. But, if one thing hasn’t changed, it’s Horne’s ability to break our hearts with her shimmering resonant voice, singing songs like “Black Coffee” and “Stormy Weather.”

*PBS - American Masters

Bette Davis - january 20, 1980

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Bette Davis opened up to Mike Wallace, about relationships, marriage, and why her work mattered to her most.

Anna Wintour - Rare interview - Anna Wintour, Behind The Shades

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Vale a pena is ate o site da CBS, e ler na integra toda a intrevista com Anna Wintour.

"(CBS) She is said to be the most powerful woman in fashion and she does nothing to dispel that belief. Her name is Anna Wintour, a name that strikes terror in some, loathing in others, and transforms yet others into obsequious toadies.

It should also be said she commands a loyal band of friends and admirers. Nevertheless, she was the inspiration for the novel and movie "The Devil Wears Prada."

For 21 years, this divorced mother of two has been editor of Vogue, the last word in sophisticated fashion and fantasy.

The aura of mystery that surrounds the 59-year-old Wintour is palpable. She is a paparazzi and gossip column magnet. Every twitch, every frown, every suppressed smile is recorded.

She's been portrayed as Darth Vader in a frock, or less harshly, as "Nuclear Wintour." Or is she really just peaches and cream, with a touch of arsenic?

"The blurb on your unauthorized biography reads 'She's ambitious, driven, needy, a perfectionist. An inside look at the competitive bitch-eat-bitch world of fashion' Accurate?" 60 Minutes correspondent Morley Safer asked Wintour.

"Well, I am very driven by what I do. I am certainly very competitive. What else? Am I needy?" she replied. "I'm probably very needy, yes. I'm, a bitch…."

"Perfectionist?" Safer asked.

"Perfectionist?" she asked.

"Well, let's try bitch first," Safer said.

"Well, I hope I'm not. I try not to be. But I like people who represent the best of what they do and if that turns you into a perfectionist than maybe I am," she replied.

High above Times Square, Anna Wintour oversees a small army of girls - coiffed, skinny, beautiful and running scared - the worker bees whose job it is to inspire women to dream.

The pages of Vogue conjure up a never-never land of beauty, of the sweet life. The unattainable comes to life, in the up to 800 pages per issue. Under Wintour's direction, Vogue has been hugely successful.

"Vogue is the best of everything that fashion can offer, and I think we point the way. We are, you know, a glamorous girlfriend," she told Safer.

But the glamorous girlfriend, like Vogue readers, is facing leaner times: "I do wanna make the point that September really has to be about value. But we don't want to give up completely the dream and the fantasy but I also feel like we need to have a sense of being more grounded," she told her staff during an editorial meeting.

Wintour is involved in every detail of the magazine: the clothes, editing the pictures and articles. She is decisive, impatient and bears a look that says "I'm the boss, and you're boring."

"Should I do the faces of the moment because that's what we have on the cover or should I just still keep thinking?" one editor asked her, presenting a spread.

"Keep thinking," Wintour curtly replied.

"An editor in the final analysis is a kind of the dictator - a magazine is not a democracy?" Safer asked.

"It's a group of people coming together and presenting ideas from which I pick what I think is the best mix for each particular issue but in the end the final decision has to be mine," she explained.

"(CBS) There was "Miranda Priestly,"



" the beastly editor in "The Devil Wears Prada," featuring Meryl Streep as Anna incarnate.

"I've heard that Miranda Priestly is just a teddy bear compared to Anna Wintour," Safer said.

"It was entertainment. It was not a true rendition of what happens within this magazine," she replied.

"I understand that. But where people made comparisons with you - that coldness, that Anna must not be spoken to when she's on the elevator," Safer pointed out.

"Oh yeah. I heard that. You're not allowed to get in the elevator with me," Wintour said laughing.

"Well, you can get on, but just keep your mouth shut. Is that true?" Safer asked, laughing.

"That’s an exaggeration. I guess in response, I can only say that. I have so many people here, Morley, that have worked with me for 15, 20 years, and, you know, if I'm such a bitch, they must they must really be a glutton for punishment because they’re still here," Wintour said.

"Well, I wouldn't use the word 'bitch.' I would say a certain coldness," Safer remarked.

"Well, we're here to work. There's on duty time and off duty time and we're drawn together by our passion for the magazine. If one comes across sometimes as being cold or brusque, it's simply because I'm striving for the best," she explained.

"It's not like a tea party here. We work very hard," Vogue's editor-at-large Andre Leon Talley told Safer.

He has worked with Anna for decades. Asked what kind of boss she is, Talley told Safer, "Let's say that Anna can be intimidating. I think that's her armor, to intimidate. To give the people the sense that she is in charge."

"She is not a person who's going to show you her emotions ever. She's like a doctor, when she's looking at your work, it's like a medical analysis," Talley added. "Some of us can't cope with that, we need to be loved."

Fat chance of that, says Vogue Creative Director Grace Coddington, another veteran colleague. "I think she enjoys not being completely approachable, you know. Just her office is very intimidating, right? You have to walk about a mile into the office before you get to her desk and I'm sure it's intentional," Coddington said.

She told Safer she had never seen Wintour less than perfect.

"That must take terrific discipline," Safer remarked.

"I think she's a very disciplined woman," Coddington agreed.

She is also a very pampered one: Conde Nast, her publisher, picks up the bill for her hair and makeup every day of the week, and her rumored $200,000 a year clothing allowance.

"You made yourself the personification of Vogue. I mean, look at you. Not a hair out of place. Do you feel that that's your mission in life? To appear perfect?" Safer asked.

"It's very important to me that I look good when I go out publicly. I like looking at my clothes rack in the morning and deciding what to pick out. I enjoy fashion. Morley I mean, I wouldn't be in this job if I didn't," she explained." ...

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