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Posted by Naomi Pfefferman
In 2008, while doing research for what would become his first feature, "Beasts of the Southern Wild," Benh Zeitlin climbed inside the pickup truck he had purchased for $500 and drove down each of the five roads leading to the bayou's edge about 80 miles south of New Orleans. At the end of one of those roads he discovered the Isle de Jean Charles, a remote fishing village made up of a swampy enclave of about 20 shacks connected by planked walkways over brackish water. Mattresses patched sagging bridges, discarded refrigerators served as wading pools, and dead cypress trees loomed like skeletons.
"I got chills, because I had been trying to write about holdouts at the end of the world, and I sensed that this was truly the last stand," Zeitlin said of his post-Hurricane Katrina mindset. "It was almost as if there was a different kind of air there; the atmosphere was so salty that everything rusted, and all the dead trees and shattered houses had this incredibly apocalyptic feel. [In another town], I asked someone why they didn't try to replant the population somewhere else, and they said, 'We were made by the marsh; we're like this exotic plant that can't grown anywhere else.' "
Zeitlin thought about the dying towns and their stalwart residents, and how they reminded him of the characters in a play by his childhood friend Lucy Alibar titled "Juicy and Delicious," in which a child struggles to achieve a state of grace after he learns his previously robust father is dying.
"I realized I had two stories that were both circling around this one emotion: What do you do when the thing that made you starts to die in front of you? And how do you survive the loss of the things that created you — whether a community or a parent?"
The result is Zeitlin's haunting, operatic independent film, "Beasts of the Southern Wild," a fable about a 6-year-old girl named Hushpuppy (Quvenzhane Wallis), who is pondering her place in the universe as her father ails and her harsh but utopian hamlet is threatened by a raging storm. The film won the Grand Jury Prize at the Sundance Film Festival last year, the Camera d'Or at Cannes and has four Independent Spirit Award nominations and is now enjoying Oscar buzz alongside the likes of such major studio features as "Lincoln" and "Zero Dark Thirty." Along the way, it's joined the ranks of a growing number of acclaimed films (think "Life of Pi" and "The Tree of Life") that tackle spiritual concerns onscreen.
Filmmaker Benh Zeitlin
Zeitlin, 30, called in for an interview from the stairwell of the New York Public Library, where he retreats to work on projects whenever he visits his native New York. His home these days is a rundown house on the outskirts of a construction site in the upper ninth ward of New Orleans, where, he said, his used car recently died. "I've pretty much lived in varying forms of shanties or shacks since I moved down there [around 2006]," he said.
The heroine of "Beasts" is left homeless when a hurricane destroys her detritus-filled hovel; only on the precipice of destruction does she come into a kind of spiritual enlightenment, Zeitlin said. "An important moment is when she regards the funeral pyre that is cremating her father and watching the sparks fly out into the air," said Zeitlin, who directed the film and co-authored the script with Alibar. "She realizes that just because she cannot see them anymore, they have not disappeared — in fact, that nothing disappears, but things live on in different ways. It's her understanding that while both her father and her community are going to be gone from the earth, the wisdom passed down from them is internalized in her, and she is now the vessel that will carry that forward into the future. She starts to feel like the intangible parts of the universe are taking care of her, as opposed to trying to destroy her, and that moment of enlightenment is related to visions of what God is."
The funeral scene was influenced by Jewish thought, Zeitlin said — specifically the midrash of two ships, one leaving the harbor as another heads for shore, which suggests that one should rejoice over the returning ship, just as one should celebrate the death of a righteous man. "It's one of my favorite pieces of wisdom," Zeitlin said.
Zeitlin's parents, both folklorists, celebrated all kinds of wisdom and fables; they studied carnival barkers, traveling medicine shows and, during frequent trips to Coney Island, they jotted down histories of the residents of the local freak show. Zeitlin remembers hanging out with a contortionist called the Elastic Man, who could slither his way through a coat hanger, as well as Otis the Frog Boy, who rolled up and lit cigarettes with his mouth.
"The myth in my own family is that we had basically one relative who escaped the pogroms in Russia in a hay cart," said Zeitlin, whose father is Jewish and mother was raised Protestant in North Carolina. "My father very much studied Jewish culture and mythology, and he wrote several compilations of Jewish stories, folktales and jokes. He was always reinventing Jewish customs and making sure that the tradition was very much part of our lives. Every Shabbat we all had to bring a reading or some piece of wisdom we'd discovered during the week, along with a ritual where we would remember all the people we had lost."
Not long after his backyard bar mitzvah, Zeitlin traveled with his family to New Orleans, which he found to be "an almost supernatural place where both death and joy are in the air.
"All Jews are obsessed with death, right," he added, only half joking. "It's recalling all the people before you who have died, and using their knowledge in your own life."
Zeitlin moved to New Orleans after graduating from Wesleyan University in Connecticut, initially to make a short film, "Glory at Sea," and then to embark upon "Beasts of the Southern Wild." He began writing the film several years ago while recovering from a shattered pelvis after a drunk driver rammed his car as he was on his way to a film festival. When he could walk again, he returned to Isle de Jean Charles, hanging out with his laptop at the town's marina and interviewing locals, who initially hazed him as an outsider.
Over seven weeks in 2010, his largely improvised production came together in 100-degree heat, amid swarming flies and mosquitoes, with sets cobbled together, in part, from abandoned scrap metal. After Zeitlin's pickup truck exploded in a fiery maelstrom, his crew transformed the charred shell into the boat in which Hushpuppy and her father traverse the swamp in the film. Zeitlin persevered even after the BP Deepwater Horizon oil spill occurred on the first day of production, jeopardizing the locals as well as the movie.
The shoot, which took place in 20 locations, proved to be an exercise in independent filmmaking at its most extreme — which is why the low-key Zeitlin particularly appreciates his movie's Oscar buzz. "It's certainly not why I make films," he said, "but any time a film gets recognition that was made outside of the film industry, the more leverage it gives to other filmmakers who are trying to tell stories in ways that are unconventional. So it's just trying to forge that space in the world."
"Beasts of the Southern Wild" is now available on DVD and Blu-ray from Fox Searchlight.
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December 28, 2012 | 1:37 pm
Posted by Naomi Pfefferman
"There are a couple of Jewish jokes that I think are just great," actor Paul Rudd said, eagerly, leaning forward on a couch at the Four Seasons Hotel, where he was recently promoting his new Judd Apatow film, "This is 40." "This Jewish kid asks his dad, 'Can I borrow $30?' And his dad says, 'Twenty dollars? What do you need $10 for?'" And Rudd – a startlingly boyish-looking 43 -- throws his head back and laughs like a kid.
On YouTube you can check out a video of Rudd, when he really was a kid, decked out in a yellow tuxedo shirt, joking around and playing DJ at a bat mitzvah years before his performance in 1995's "Clueless" made him a breakout star. Since then, Rudd's become one of Hollywood's go-to comic actors, especially for Apatow, who's previously cast him in films like "Knocked Up," "Forgetting Sarah Marshall" and "I Love You, Man," starring Jason Segel.
In "This is 40" – Apatow's comedy drama about mid-life angst, billed as a "sort of sequel" to "Knocked Up" -- Rudd plays Pete, a lovably childlike Jewish record label owner, father and husband to Apatow's real-life wife, Leslie Mann. Pete's career and marriage are on the rocks; among other indignities, he's appalled when the only reporter who turns up to interview his star client is from the Jewish Journal. (Thanks, Judd!) Pete is also caught avoiding his family while playing Internet Scrabble in the loo, farting in bed and urging wife Debbie (Mann) to check out a growth on his derriere.
"It was embarrassing to do a lot of those scenes," Rudd admitted during our interview. "Look, I'm sitting on the toilet playing Internet Scrabble; I'm getting a hemorrhoid looked at – none of these things are fun to film. But if you're going to try and make something comedic, you've got to throw vanity to the wind. I would never do those kinds of scenes just for the shock value, or if it wasn't conducive to the story and the character. It's not gratuitous comedy. Judd had said, 'Let's make a movie about marriage and the things that we fight about – kind of a real, warts and all view of it.' And sometimes you do need to ask your wife if there's something on your [backside]."
Here are further excerpts from our interview, when Rudd described growing up from the age of 10 in a very non-Jewish neighborhood in Kansas City, Kansas; how that helped turn him into a comedian, and why having your wife examine your tush can actually be kind of romantic.
Q: What was it like growing up Jewish in the Bible Belt?
A: I always felt a little bit like an outsider, not only because I was Jewish, but because my parents are European; they're both from England. And we moved around a lot because my father worked for TWA; TWA's hub was in Kansas City, which is how we ended up there. I didn't go to a school where there were a bunch of Jewish kids, and I realized growing up that my way of not getting beaten up was to try and make people laugh -- and to deal with any kind of trauma was to make people laugh. That's still at work; it's still very much part of my psyche.
I did kind of realize at a young age that if I made Jewish jokes about myself, that a lot of kids in my school would laugh, like harder than other stuff. I never quite realized that maybe that was a little messed up.
Q: Your character of Pete is nominally Jewish. What's your own Jewish identity today?
A: My whole family is Jewish; my wife, Julie, is Jewish – there isn't anyone in my family who isn't Jewish. I was bar mitzvahed Reform; we were pretty laid back, but it's like, oh yeah, I went to synagogue. I know what it's like to look for matzoh (laughs). I know the culture and I know the food. I know what a Haggadah is! I know these things, and I did a play many years ago [in 1997] called "The Last Night at Ballyhoo," which was a new play at the time, about Eastern European Jews and the anti-Semitism they faced by German Jews in the South. Alfred Uhry, the playwright, became somewhat of a surrogate father to me in New York – I live in New York still and he does, too. And every seder at Alfred's house he would say, "You know, if you are Jewish, it almost doesn't even matter how religious you are. If you're Jewish, it's just in the marrow of your bones." We have a lineage that is so many thousands of years old, that you just relate. It is a tribe; it's like, "Oh, yeah, that's my team," and I feel that for sure.
Q: You and your wife participated in conversations and videotaped improv to help create some of the situations in "This is 40." What, if anything, from the movie, comes from your real married life?
A: Actually, there were more specifics in "Knocked Up." When Judd was writing that movie, my wife once said, "I'm so sick of looking at your back," because I was just on the computer all day, checking my fantasy football scores.
Q: You're whispering right now. Is your wife in the next room?
A: No, but I'm certain that she can probably hear me somewhere (laughs).
Q: There's a scene in "This is 40" where your character and a friend are fantasizing about their wives' deaths and becoming sexy widowers.
A: Not that I would ever fantasize about my wife's death, but I think everyone has those moments where you play out the death of your spouse -- and I thought that could be funny but also incredibly raw and exposed and hopefully not offensive, though I'm sure it will come off that way to some people. It's just [mining] the things you would never say, and then turning them into a conversation. You could create laughs about how attractive you would look to someone if you were in mourning (laughs). I know that sounds horrible.
Q: What about the hemorrhoid scene?
A: Sometimes in a real marriage, it's about asking your wife to look at this and what does that look like? While it's not traditionally romantic, I would say it's arguably romantic in its intimacy. The idea that a couple can do that for each other is very romantic. I also think that in a strange way, being able to fart in front of each other – that's a very sweet gesture! (Throws his head back, claps and laughs.)
Q: I heard you improvised farting in a scene in bed with Leslie Mann – and her character isn't pleased.
A: We were doing that scene and I wasn't going to fart, but I felt like I probably could at the moment. [Normally], you would never do that because anybody with any decency would never do that; you certainly wouldn't ever do it when you're shooting a scene in a movie. But again, it was that thing of well, that's what marriage is. I also think farts are funny, just at a very basic level. I'm not trying to deconstruct that scene too much – farts are funny – but I do remember kind of deconstructing, if I do it, that's what the movie is about, so why not, and just see what happens?
Q: You drew the line of having the hemorrhoid scene on the movie's poster, however.
A: Yeah, I didn't want it on the poster. But by the way, I wasn't so excited when the poster we went with shows me sitting on the toilet, because you're not seeing it in the grand scheme or the context of the movie. It's not my proudest moment.
Q: How has starring in this film about a real-life marriage affected your own relationship with your wife?
A: It's a little bit like couples therapy, except it's happening in front of millions of people.
"This is 40" is now in theaters.
December 19, 2012 | 4:41 pm
Posted by Naomi Pfefferman
"I insult myself all the time in my movies, so why not you?" comedy mogul Judd Apatow joked during a recent interview.
He was addressing my question about a scene in his new movie, "This Is 40," where a shlubby journalist wearing a yarmulke shows up to do an interview and is described as being from the "Jewish Journal" — much to the chagrin of Pete (Paul Rudd), a record-label owner whose career and marriage are on the rocks. The only reporter who's shown up to profile Pete's star client, rocker Graham Parker, is (gasp!) from the Journal. "Apparently old Jews are the only ones who still buy hard copies of records. ... Because they don't know what downloading means," one of Pete's employees explains.
"Why is this album different from all other albums?" the reporter, played by Rolling Stone journalist David Wild, asks Parker. "It isn't," comes the tart reply.
So what gives, Judd? "I'm sure this scene makes no sense to the reality of the Jewish Journal, or who reads it," he said, with a laugh, during our meeting at the Four Seasons Hotel. "It's just a general, 'We didn't get Rolling Stone to cover this.' It literally came from the fact that it just sounds funny. And while there's been many great Jewish rockers over the years, you don't instantly think that our people are rocking that hard, even though the truth is they probably are."
Watch the Jewish Journal's trailer for "This is 40."
So why is this movie different from all other movies? "It doesn't have a Hobbit in it; it doesn't take place in France; we don't kill Bin Laden, and it does not have a tiger in a boat," he quipped, referencing this season's slate of holiday films. "But actually, it's just one in a series of my movies that explores different periods of life that interest me. I guess I'm going through every stage, from high school to college, having babies, getting married, sex and mortality. I don't know what else to write about. I'm not that interested in murder, although I guess at some point I'll kill somebody [onscreen]."
Apatow, 45, has taken this cinematic journey in the four films he has directed, including "The 40 Year Old Virgin," "Knocked Up" and "Funny People," along with the many films he has produced, from "Superbad" to "Bridesmaids."
In person, he didn't seem so much a Hollywood icon as the scruffy, affable Jewish guy next door as he scrambled to clear off a couch littered with clothing and swiped up a belt that had fallen to the floor. "I'm starting to look like a rabbi," he said, glancing in a mirror and stroking his salt-and-pepper beard.
He was wearing a red string around one wrist, which he assured me was "not a kabbalah thing. My youngest daughter, Iris, made it for me, and now it's like a good luck, bad luck thing; I can't take it off."
The conversation then turned to his teenage daughter, Maude, who had been cursing a bit at home, as she does in her role as Pete's daughter in "This Is 40." "I tell her, 'You don't sound smart,' " he said. "And she'll say, 'Well, you swear all the time in your movies!' I say, 'Yes, but I'm trying to show that these people are not smart.' "
"This Is 40" is a family affair for Apatow; it stars his wife, Leslie Mann, as well as their two daughters as Pete and Debbie's kids — all shot in a home located just nine houses down from Apatow's real home in Brentwood.
"All sorts of funny and terrifying things were happening in our house; there were so many tensions and obstacles to being happy," he said of the impetus for the movie. So Apatow decided to reprise the characters of Pete and Debbie from "Knocked Up" to explore some of his own midlife angst over family, work, marriage and sexual insecurities.
While the mishaps in the movie are exaggerated for comic effect, he said, some of Pete's flaws reflect his own, like "being emotionally detached, not tuned in, not in my body and focusing on other issues while not dealing with the emotional problems I should be dealing with."
In one scene, Debbie accuses Pete, who is holed up in the bathroom playing Internet Scrabble, of retreating to the loo to avoid the family. Apatow admits he does tend to retreat to the bathroom, in his case to read the Huffington Post: "Leslie never opens the door, but I know she's timing me," he said.
The bathroom trick is a tactic he learned long ago to hide, at times, from his own Jewish relatives: "People joke about Jewish guilt, yet there is some aspect to Jewish culture where we take care of each other, but some of the time that turns toxic," he said.
Apatow's childhood home was filled with strife at the time of his parents' divorce when he was in junior high in New Jersey. "Also everyone was an atheist," he said. "After the Holocaust, it felt like the attitude was, 'Our families died in Europe and I'm not buying religion anymore.'
"When I said I wanted a bar mitzvah, my parents said no, which was a dark thing; it didn't give me any spiritual grounding. What's left after that is just need and emptiness, which turns you into a comedy writer. You're looking for your own answers to the big questions in making jokes and seeing the absurdity in life. But you don't feel safe, which is why you go into the bathroom, because you just need to shut down when things become overwhelming."
The toilet scene is played, in part, for laughs, as is another sequence in which Pete asks an appalled Debbie to examine a growth on his bum (it turns out to be a hemorrhoid). "On one level, these scenes are silly," Apatow admitted. "But they're actually about something that's real for people. You do get lazy, and then intimacy disappears."
Rudd said it could be awkward, even embarrassing, to shoot some of those raunchy scenes, but he doesn't think they're gratuitous. "Marriage is sometimes about asking your spouse to look at this, and what does that look like," he said. "And while that's not traditionally romantic, I'd argue it's romantic in its intimacy."
The interfaith dynamic of Apatow's own marriage (he's Jewish, Mann is Lutheran) also surfaces at times in the film. "For me, sometimes, it's like a variation of the joke in 'Annie Hall' where Woody Allen is eating with her family, and he envisions himself like a Chasidic Jew," he said.
At one point in "This Is 40," Pet'ees mooch of a father, Larry (Albert Brooks), accuses Debbie of picking on him because "you hate Jews," prompting Debbie to retort, "Don't play the 'Jew card, Larry.' "
The "Jew card," Apatow explained, "is the sense that 'we've suffered and been mistreated so you have to cut us extra slack,' and I thought that was the ultimate inappropriate way for Albert's character not to take responsibility for his own part of the equation."
Later, Larry assures Debbie that Pete loves her, and that loyalty is "in our [Jewish] DNA."
Apatow appears to follow suit. "God bless the Jewish Journal," he said, accompanying this real Journal reporter to the door.
"Remember, I only make fun of the people I love."
"This Is 40" opens Dec. 21.
December 18, 2012 | 8:22 pm
Posted by Naomi Pfefferman
Screenwriter Dan Fogelman took a two-week cross-country trip with his mom six years ago as research for "The Guilt Trip," which stars Barbra Streisand and Seth Rogen as a fictional (and seemingly Jewish) mother and son taking their respective meshugas on the road. Recently, I caught up with the 36-year-old Fogelman ("Cars," "Crazy, Stupid Love," ABC's "The Neighbors") to talk about Jewish mothers and sons, Babs, and, of course, tribal guilt.
Q: So why the title "The Guilt Trip?"
A: I was really close with my mom, but even then your mother has the ability to revert you to the bratty, 13-year-old version of yourself, no matter what your age is. It's the ultimate, underlying subtext of any Jewish mother-son relationship -- which is a son always getting annoyed and wanting to explode prematurely and holding it back, but at some point he loses that battle and says something nasty to her and then feels terrible about it. And then he walks away from that dinner or that visit feeling that he should've been nicer to her and it's too late.
When I watch friends with their mothers, I'm constantly horrified at how short their fuse is with these women who seem, yeah, a little bit comedically a pain in the ass but not that bad in the grand scheme of things; yet with your own mother it's amazing how quickly you can react to anything that pushes a button.
Q: How'd you get the idea for the movie?
A: I'd always wanted to do a kind of mother-son movie; there hadn't been a lot of them done and it was territory I wanted to explore. Then my mom died about a year after we took the road trip – she was only 60 – and we hadn't known she was ill. It was just kind of sudden and tragic: complications from surgery to remove a tumor. My mother was not a pop culture addict, but Barbra Streisand for this Jewish girl from Brooklyn was her icon of icons. So this movie became a mission for me; come hell or high water, I was going to get this movie made.
Q: How close is Barbra's character to your own mom?
A: Barbra had her take on the character, but it's really heavily my mom. The character's name is Joyce, like my mother; my mother was also obsessed with collecting frogs, and had a kaffeeklatsch of yenta friends and she was very thin, like Barbra, yet she was obsessed with food and, later in her life, with Weight Watchers. She would sit and eat a 72-ounce steak, like Barbra does in the film, and order the salad with the dressing on the side. And she was obsessed with drinking large amounts of water and refilled her water bottles from the tap, so she wouldn't waste money on buying new bottles. She considered tap water in a bottle "bottled water." (Laughs.)
My mother also grew up with very little money and didn't have a lot of money as an adult, so she was notoriously thrifty; but I realized later in life that that was about control and a little bit of neuroses and less about cheapness in some ways.
Q: You kept a diary of everything that happened on the road.
A: My friends thought I was crazy to take a cross-country road trip with my mom; part of what became the movie was that every night during the trip I would send an email out to a massive group of people who were all curious about how it was going. And my mom was like, "You're making a movie about this?" She couldn't quite wrap her head around this in its entirety, but she knew it was a research trip. In fact, the [producers] gave us a stipend to use, so my mom was collecting receipts the entire time to make sure we didn't go one penny over budget.
Q: How did the two of you drive each other crazy on the trip?
A: The relationship that Seth and Barbra have, especially for the first half of the movie, is kind of my mom and I at our worst points. My mom was a bit insane in the best possible way. She drove me crazy comedically.
The biggest fight that we had on the road was when we got lost and it's like that age-old husband and wife fight: I don't want to ask for directions, and she's going "There's a gas station right here…" and finally I say "GO! Go inside!" And the tension is so thick you could cut it with a knife. And she's like, good, because she has to go to the bathroom like every five minutes. But I can't take it anymore and she goes inside, comes back out and gets in the car and I pull away. And I say, "So, where do we have to drive?" And she starts crying and says, "I forgot to ask for directions!"
Q: Did you really listen to "Middlesex," the book on tape, along the way?
A: Yes, and it was a strange experience to listen to some of the sexual stuff, with your mother. You cringe, and you actually just try not to make eye contact to get through it.
Q: Was it difficult to get Barbra Streisand to commit to the film?
A: Barbra doesn't work a lot, so it's a big process to convince her to do something like this. She's in every scene of the movie except for the very beginning, so it's a lot of work for her, and Barbra is very focused on her charities and her life and she's not somebody who seeks out being on camera. Fortunately, I had a director who was unwilling to ever let it go; and I rewrote for Barbra a bit once she came on board to adjust the things she wanted to be adjusted -- especially the scene where she and Seth have a big fight in the middle of the movie, which is kind of Barbra's big scene. We spent a lot of time crafting the dialogue for that and I have mounds and mounds of notepads of us just going back and forth and trying to get the rhythm right.
Q: Was it intimidating to work with her?
A: Barbra's as big as you get and this movie was very important to me, but she puts you at ease. I like to describe her in this way: Imagine your own mother, just with unlimited wealth, talent and fame.
Q: You and your mom were already very close, but did the road trip transform your relationship in any way?
A: There was a point where I had the experience that Seth has in the film, where you start seeing your parent not just as a parent, but also as a human being for the first time. What the gist of the movie is about is that moment when a kid starts seeing their parent as more than just a creature who exists to parent them, and the moment when a parent starts seeing their son or daughter as a grownup who's not just this thing that needs to be cared for by them. That's what the journey of the movie is in a way.
Q: Almost five years after your mom's death, is it bittersweet to finally have finished the film?
A: I've been on this quest to get the film made and I've shut off the emotion to be more focused on it, and at some point, I'm sure it'll catch up with me. I'm sure it's all repressed, like any good, unhealthy male and it will come out at some point.
Q: Your next film is "Last Vegas," starring Michael Douglas, Robert De Niro, Morgan Freeman and Kevin Kline.
A: It's about four buddies from Brooklyn who are now in their 60s. Michael Douglas, who plays the bachelor in the group, calls his buddies to say he's getting married and they're going to do one final bachelor party, for him, in Vegas – the last bachelor's party they'll ever do.
Q: Do you see anything of your dad in these characters?
A: We did take my dad out to a nightclub in Vegas where it was just thumping music; it was funny watching him sit there in all of it. So there's a lot of that vibe in the first half of the movie of these guys trying to figure out how to operate in the world of Vegas, then learning to own it and have fun with it.
"The Guilt Trip" opens Dec. 19.
December 13, 2012 | 10:35 am
Posted by Naomi Pfefferman
In the first image of Travis Fine's heartrending new film, "Any Day Now," set in the 1970s, Marco (Isaac Leyva), a 12-year-old with Down's syndrome, roams the streets of a city, lost, bewildered and clutching a child's doll. The film then flashes back to tell of how Marco was taken in by Rudy and Paul, a gay couple played by Alan Cummings ("The Good Wife") and Garrett Dillahunt, after his junkie mother abandoned him; a custody battle erupts that cannot help but reflect on gay rights issues today. The film has already swept up audience awards at festivals from Seattle to Tribeca.
Fine, a 44-year-old actor ("Young Riders," "Girl, Interrupted") turned commercial airline pilot turned independent filmmaker, is straight, married with three children, and active at Temple Beth Ami, his Conservative synagogue in Santa Clarita. "I didn't set out just to tell a story of gay rights and gay adoption, but also a human story about human rights, and my firm belief that nobody should stand in the way of anyone who has love to give to another human being," he said of the film.
"Any Day Now" came about when Fine had funding in place for a new movie after returning to show business with 2011's "The Space Between," starring Oscar-winner Melissa Leo ("The Fighter"). The problem was finding a story, said the filmmaker, who had read and rejected about 50 screenplays when he came across a 1980 script by Arthur Bloom.
"My music supervisor, PJ Bloom, who is also an old friend of mine from Beverly Hills High, told me that his father, Arthur, had written this script about a man named Rudy, who had lived near his apartment in Brooklyn in the late 1970s," Fine said. "Rudy was a flamboyantly gay man with a sassy mouth, the kind of guy that everyone in the neighborhood knew. And in Rudy's apartment building there was this 12-year-old kid who barely spoke, barely could say his own name, who wore a diaper and crawled around. The kid had a mother who was a pretty horrific drug addict, and Rudy kind of took the boy in and looked after him, got him into school and really tried to be the kid's parent. And George was so inspired by their connection that he wrote the original script."
"It was the only script I read where I kept saying, 'There's some connection to me in this story, something that moves me," Fine added. "But it didn't reveal itself to me until my daughter's 16th birthday, when I found myself on the floor of my closet in my bedroom, sobbing hysterically." At the time, Fine was acutely feeling the distance that had developed between himself and his oldest daughter, his child by a previous marriage -- distance that was a byproduct of his divorce.
"Once I wiped my tears away, I grasped the real understanding and compassion I had for my lead character," Fine said, meaning Rudy's angst upon being separated from Marco. "And I understood that I wanted to tell a story about what it means to be a family. I didn't want to make sweeping political statements, but rather wanted to explore a love story between three unlikely people."
Here are further excerpts from our interview:
Q: You originally wrote the character of Marco as ill tempered. How was it that you decided to change the character into a gentler soul?
A: Isaac Leyva had auditioned for us on videotape and when I finally met with him, I asked him to do the scenes driven by conflict, which included foul language and throwing things and being belligerent. But he just wouldn't do it; he emotionally and physically would not go there.
Then I had an interesting conversation with the man who runs the school where Isaac studies acting; he said Down's Syndrome kids generally shy away from that kind of thing; they're not going to throw things and scream and yell and cuss, because that generally makes them very uncomfortable. So I said to my wife, "Maybe Isaac's not our kid." And then she said something very smart: She brought up the young man who played Michael Oher from "The Blind Side;" how silent he was for so much of the first half of the movie and how that made viewers want to know more about what was going on inside of his head. She suggested that I do the same thing with the character of Marco; that I allow his silence to be something that prompts us to want to learn more about who he is. So I stayed up until about 4 a.m. that morning, in March of 2011, and rewrote the script, then went back and had Isaac read the new scenes. He was wonderful.
I asked him, "Do you want to star in my film?" and he nodded really vigorously, yes. Later on I heard him crying in the corner of the room; there were tears streaming down his face. I asked if he was OK; his acting teacher was holding him, and when he finally wiped the tears away he looked at me and said, "The dream of my life just came true." It was a beautiful moment.
Q: In your film, Rudy is an aspiring singer who works as a drag queen to earn a living. Does he identify with Marco because as a gay man, he, too, feels marginalized by others -- a kind of social outcast?
A: Absolutely. There was a monologue that ultimately we took out of the film, in which Rudy explains to Paul what his life was like growing up with parents who didn't accept him; there were kids who would beat him up and he had to run away from home at a young age. But we felt at a certain point that the monologue was a little bit too on the nose in trying to draw those connections to Marco. My hope is that people will get that Rudy is a guy who clearly had lived on the fringes of society and had to fight his way to get anything he's had. So I think there is a deep connection and understanding on his part of this kid who no one wants.
Q: Why did you choose to set the film in the 1970s?
A: The first reason is that it's based on a true story that really did happen in the 1970s. The second is that I'm a huge fan of '70s cinema, and I wanted to tackle that visually: Could we make the film using modern digital technology to create not only the wardrobe and sets but also the look and texture of a '70s film using certain color choices and palettes? Also, by setting the movie in the 1970s, it allows contemporary viewers to look back and see where we were [in terms of gay rights], and affords us an opportunity to ask ourselves if we're really in a different place.
Q: How was it that you cast Alan Cumming as Rudy?
A: He's not only a great actor but he has great performing and singing capabilities; he's also been knighted by the Queen of England for his work on behalf of LGBT rights and equality through the arts. This is a guy who's not only talked the talk of gay rights but he's really walked the walk. He has the same agent as Melissa Leo, who had starred in my last film. She told her agent, in her own colorful, expletive filled way, that she blanking loved my blanking writing and of course he should read my blanking script and she passed it along to him right away. It was a matter of days before Cumming read the script and said he wanted to be a part of this.
Q: What Jewish values do you perceive in the film?
A: The sense of ethical mitzvot. When Rudy sees that child he has two choices; he can either help or not. And he does the right thing.
"Any Day Now" opens Dec. 14.
December 12, 2012 | 3:16 pm
Posted by Naomi Pfefferman
Who is Bette Midler? There's her onstage alter ego, The Divine Miss M, the brash and bawdy chanteuse with risqué sequin-clad décolletage she invented back in the 1970s at Manhattan's Continental Baths gay spa. And the hilariously over-the-top characters she's played in such films as "Ruthless People," "Down and Out in Beverly Hills" and "The First Wives Club."
But in a telephone interview from her New York home, the 67-year-old Oscar-nominated actress and Grammy-winning performer came off as low-key, no-nonsense, almost aristocratic, eschewing the vaguely New Yawk accent of her comic characters for crisp thespian tones. Midler can certainly be amusing: Ask about the secret to the success of her 28-year marriage to former commodities broker Martin von Haselberg, and she quips: "Be away a lot."
" 'Home Alone' for grandparents" is how she describes her new movie, "Parental Guidance," in which she and Billy Crystal play a couple unexpectedly asked to baby-sit their estranged grandchildren. (The film opens Dec. 25.)
But as she speaks, Midler seems settled into her role as a homebody: as a longtime wife and mother to her 26-year-old daughter, Sophie, as well as an avid reader, gardener, cook, philanthropist and Twitter enthusiast. Last Passover she tweeted: "The brisket's in the oven and the Alka-Seltzer by the sink! Charge!"
She also seems genuinely pleased, even honored, to hear she is considered a Jewish icon of sorts. Midler once told Johnny Carson that she had a Venus flytrap: "I don't have any flies, so I gave it bacon. It spit it out! A Jewish Venus Flytrap, I suppose." In another gag, she claimed to be working on a sequel to the X-rated film "Emmanuelle," which would feature lots of kissing of mezuzahs as well as a risqué encounter with a kreplach.
"I'm glad I'm called any kind of icon," she said with a throaty laugh. "It's very sweet, very nice for people to want to claim me. Much better than the other way around, like 'Uch, she doesn't belong to us.' " Midler once aspired to become a legend: "Ambition used to eat me up alive," she recalled. "But with age, things change. Certain things come to the forefront, and others recede." From 2008 to 2010, Midler headlined in "The Showgirl Must Go On" in Las Vegas — a city she dubbed onstage as "the only town that could teach Kraft something about cheese" — but she admits her film career has been one of the casualties of age. Back in the 1980s, Midler was reportedly one of the highest-paid actresses in Hollywood, but the calls from producers have not been coming as much in recent years.
Then came the chance to star in "Parental Guidance," a Fox studio film directed by Andy Fickman. "I loved the script," she said. "It's a kind of second-chance movie — the idea that there's this man who's so self-involved that his own daughter won't even let him in the house near her children. He goes, against his will, kicking and screaming, to meet these dragons, who are really his grandchildren. And then he has to go through this journey where he comes out on the other side transformed into the good person his wife always suspected he could be."
Just as Midler's character of Diane, the generous grandmother, has overtones of the Jewish mother, Midler has often used her Judaism as part of her persona. But her tribal sense of humor – and identity – was honed in a distinctly non-Jewish milieu: a low-income part of Honolulu, where Midler grew up in the only white, or haole, family in the neighborhood. "I did feel very much alien, an outsider," she said of her time there. "People knew what a white person was — they didn't like them — but they had no idea of what a Jew was. In fact, when my father made us stay home for Yom Kippur, the school wouldn't allow it because they thought it was some kind of fake, made-up holiday. I'm sure if people had known what a Jew was, things would have been worse," she added.
Midler got by because her mostly Asian and Polynesian classmates assumed she was Portuguese. "Not to stereotype, but the Portuguese were very outspoken people who talked a lot and really loud, and I did the same thing," she said.
Even though her home was mostly non-religious, she continued, "In the seventh grade, I was struck by Judaism. I took Hebrew lessons and tried to get through the five books of Moses. I think it was hormones," she joked, before adding, "at some point you do have a kind of awakening, and wonder who and what you are."
While outdoors the landscape was "paradise," she said, "indoors, not so much." Her father, a housepainter, was controlling and a screamer — "I was afraid of him until I turned 14, and then it was just silly," she said, adding that she later cared for him as he was dying of heart issues in the mid-1980s, while she was pregnant with Sophie.
Midler's mother, an avid movie-star fan who named Midler after Bette Davis, was a timid soul who tried to shelter her three daughters and developmentally disabled son from the world. "My mother's family was incredibly superstitious," Midler recalled. "They were old-country Jews who never laughed, because, they said, 'You're going to attract the evil eye.' They'd been through two world wars, the Depression and the Nazi slaughter in Europe. So my mother was an extremely frightened person, almost to the point where it was crazy, and I picked that up as well. I think I've allowed myself to be isolated as a person of note, or whatever you want to call me, for a very long time, and I've realized that's terrible; I've got to learn how to do things for myself. … I also tend to imagine other people's reactions when they're not really thinking that sort of thing at all; it's called over-thinking."
Despite — or perhaps because of — her own problematic childhood, Midler developed what she calls "tremendous perseverance."
"I discovered that if I stood up for myself, there weren't that many people who would try to stand me down."
She got one of her first breaks rising from the chorus to play Tzeitel, Tevye's oldest daughter, in "Fiddler on the Roof" on Broadway in 1970 — no matter that the casting director had initially deemed her, bizarrely, as too Jewish for the part.
When roles dried up, Midler burst into the popular culture at the Continental Baths in the basement of Manhattan's Ansonia Hotel, where her torch songs lured the gay patrons — many of them wearing only towels — from more carnal activities and solidified what would become her gay fan base.
Then came her first album, "The Divine Miss M," released in 1972; Midler's Oscar-nominated turn as a self-destructive rock star in "The Rose" (1979) was followed by more than 30 other movies, including the sudsy "Beaches," in which she played a self-centered singer opposite Barbara Hershey.
As for why Midler identified with the Janis Joplin-esque character she portrayed in "The Rose," she said it was, in part, "Your parents telling you you're never going to amount to a hill of beans, and don't do this or that, and you'd better be a teacher so you have something to fall back on."
She described her own parenting style as firm and loving, but not overprotective, and perhaps as a result, her daughter is "fearless," she said. Sophie skydives, rides dirt bikes and even trekked through China for three months on her own. And even though Midler told Sophie as a child that she would never speak to her again if she went into show business ("I wanted to spare her the pain," she said), her daughter is now studying drama at an Ivy League school. "But don't say which one," Midler asked, slipping into protective mode for a moment. "It would kill me."
December 8, 2012 | 12:02 pm
Posted by Naomi Pfefferman
November 21, 2012 | 2:44 pm
Posted by Naomi Pfefferman
Erich Bergen identifies easily with the brash, impetuous character of Billy Crocker, the romantic lead Bergen plays in Cole Porter's insouciant 1934 musical "Anything Goes," which opens at the Ahmanson Theatre on Nov. 28.
"I'm horrible at waiting for auditions," the 26-year-old actor said during a phone interview from Wilmington, Del., where the show was playing recently as part of the national tour of the 2011 Tony Award-winning Broadway revival production. "I've waited outside casting directors' doors. If someone won't see me, I'll finagle an invitation to a party or somehow find a way to get myself in front of that person."
And when it comes to love, he said, "I don't really have a middle ground; I have a zero and a 10. I've jumped on a plane after a show in Las Vegas and flown to L.A. to surprise my girlfriend at her door and loved that rush. I've written and videotaped songs to women. My whole album 'Vegas Sessions' is like that."
The musical's director, Kathleen Marshall, calls the 6-foot-3 Bergen (best-known for "Jersey Boys") "tall, dark and handsome," with "the deft comic touch of a young Cary Grant."
That comes in handy in his portrayal of Billy, an ambitious stockbroker who stows away on an ocean liner to woo his beloved, Hope (Alex Finke) — never mind that she is already engaged to a wealthy aristocrat. With the help of his gal pal Reno Sweeney (Rachel York, in the role originated by Ethel Merman), Billy eludes the watchful eyes of the ship's purser by disguising himself as a sailor and a gangster. High jinks on the high seas erupt in Porter's lavish, Art Deco musical, which was written as escapist fare during the Great Depression and is jam-packed with leggy dancers as well as well as classic Porter standards like "You're the Top," "It's De-Lovely" and "I Get a Kick Out of You."
Creating his own, distinctive Billy became paramount for Bergen after Marshall cast him earlier this year. The actor had seen his friend Colin Donnell perform the part on Broadway but knew he had to take a different route. "I wish I could be as smooth as Colin is, but I'm not," he said. "So I just had to figure out a way to make the role something I was comfortable with. What I discovered is that Billy is sort of a street kid, someone who talks his way to the top. He watches how the successful businessmen and playboys around him dress and walk, and he sort of found the right suit and talked his way into this job where he's making $35 a week, which he's very proud of.
"Our director was very specific that because the play is a farce — you can't intentionally go to that place or everyone's going to become a clown," Bergen added. "So I've tried to keep Billy as real as possible, so he doesn't become a caricature."
Erich Bergman and Rachel York in "Anything Goes." Photo by Joan Marcus
For Bergen, that meant going further than just watching MGM ballroom dancing classics starring Fred Astaire and Ginger Rogers. He studied photographs of stylish men in Manhattan in the 1930s and envisioned himself walking down those New York City streets.
Bergen also refused to dismiss "Anything Goes" as mere escapist fluff. He notes that Cole Porter was a gay man who married a woman in order to adhere to convention, and that the composer must have brought some of that romantic angst to his lovelorn characters. He thus brings a tangible longing to numbers such as "All Through the Night," where his character yearns for an unavailable lover. "I remember listening to Ella Fitzgerald's recording of the song and thinking, 'You can really hear the sadness and the despair,' " he said.
Bergen was practically born to perform. His parents met as fellow students at the Actors Institute in Manhattan, and while they went on to practice other professions (his mother was an art director in the fashion industry), Bergen grew up among their theatrical friends in Manhattan's Chelsea district. At age 3, at his parents' dinner parties, Erich performed Michael Jackson's 1980s peace song "We Are the World" — which featured the performances of more than 30 celebrities — doing all of the voices himself. He learned to read by studying the songs and record jackets of the family's CDs and envisioned himself as King-of-Pop Jackson bursting through the floor (or descending through the roof) at the beginning of every performance. "I still do," Bergen said.
While his mother is a nonpracticing Catholic, Bergen strongly identified with his father's Jewish family, lighting the Chanukiyah every year as well as attending synagogue and family Passover gatherings. "I found the seder to be a fun, theatrical, improvisational experience that everyone could take part in," said the actor, who identifies as Jewish.
He likens theater — including "Anything Goes" — to the Passover experience: "We're all in one room together witnessing something that people for many years have done before us," he said. "We are not new to this story, but we are experiencing it for the first time together. To me, that's what I've found in the Jewish religion: that the tradition of keeping the story going is what's most important — of making sure that everyone knows and is affected by the story."
The national tour of "Anything Goes" isn't the first time Bergen has performed in the musical. At 11, he was cast as the ship's purser in a production at the rigorous performing-arts summer camp Stagedoor Manor, in New York, where child performers were treated like adults and Bergen got in trouble during the dress rehearsal. "There was a mishap where we were using a live dog in the show," said the actor, who was supposed to carry the canine onstage in one scene but panicked when he discovered that Fido was AWOL. "I walked onstage in the middle of the show and yelled, 'I can't find the dog!' And then I could hear the director screaming at me from the back of the theater. Someone actually had to take him out of the theater to calm him down." It was Bergen's first lesson in the old adage, "The show must go on."
"Thank God we're using a stuffed dog in this production," he said.
The Stagedoor experience, however, gave Bergen an appreciation for Porter's precise, sophisticated style; he still remembers dissecting the complex rhyme and meter in lyrics such as, "When every night, the set that's smart/is intruding in nudist parties in studios." "And of course, the songs can be extremely risqué," he added. "The double entendres in 'You're the Top' alone are scandalous. I don't know what they were thinking, doing this with 11-year-olds."
Bergen's big break came nine years later, when he was cast as Bob Gaudio in the national tour of the Broadway hit "Jersey Boys." He received kudos for his performance, he said, but, "I let it go to my head and behaved like an ass." Three years into the run, his contract was terminated, he said, due to "toxic behavior on my part and others. I had been shot out of a cannon on the road at 20 without paying any dues in summer stock or regional theater, and I never learned the real way to behave in that kind of situation. At the end of the day, it was my fault, and I take responsibility for it now. But none of that has impinged on the love I have for the show."
Nor, apparently, did it impinge on his career: Two weeks after he left "Jersey Boys," Bergen was cast as a guest star on "Gossip Girls" and went on to appear on "Desperate Housewives" as well as in a film, "How Sweet It Is," opposite Paul Sorvino and Joe Piscopo, before being cast in "Anything Goes."
His current gig has come with a lion's share of challenges: Several of the songs, if sung by rote, can come off as "lists" ("Think: 'It's de-lightful, it's de-licious, it's de-lovely,' " Bergen said.) The actor found his way into that ditty by envisioning himself as the suave Cole Porter at a dinner party, pretending to be making up the lyrics on the spot.
Then there's the five-minute dance break in the middle of "De-Lovely," "when we're breathing hard, and we're just exhausted, and I then have to run up a flight of stairs and start singing again," he said. "The trick is how to make it look romantic, and that you're in love with your dance partner. My way in was to just envision myself as Fred Astaire."
Even so, he said, "Every night, I come off the stage spent. I've lost weight since the beginning of the tour: I was 192 pounds, and now I'm 177."
And yet, Bergen makes it all look effortless, director Marshall said in an e-mail. "Erich is that rarity in theater — a genuine triple-threat leading man. He sings beautifully, dances with style and grace, and he is a wonderful actor."
Finke said the actor brings an endearing quality to the subversive Billy. "He's able to create this mischievous character who does some troublemaking but still has such a good heart," she said in a telephone interview. "He manages to keep the audience rooting for him, despite all of his shenanigans."
For tickets and information, visit centertheatregroup.org.
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Here's the truth: So Hot Right Now posts are always hard for me to write. I play those 15 songs obsessively, plucking many of them out of thin air and promptly devouring them over the course of the last week of the month. That's supposed to quell my wandering attention span, that batch of new songs. I line them up and play them on repeat, I pledge my endless listening devotion to them, for the next month at least. I slide one in next to the other, drag it down, rearrange tracks 7 and 15, then 12 and 3, then think about transitions. What sounds delicious? What bridge between two songs is so luscious and unexpected that it has to be honored? A few months ago Joshua slipped "Flowers in Your Hair" by The Lumineers right behind "Summer Breeze" by the Isley Brothers and that movement from one song to the next plucked an emotional chord. It sounded like the first buttery sunshine filled day of summer or the rosy cheeked heat of a new crush. It was perfect. It was the ideal transition. I wanted every transition on my lists to sound as good.
I am obsessive. There are all kinds of corners and knick knacks in my apartment that get fondly pinged by my passing fingertips several times a day. I often listen to a song more than ten times in a row. And that obsessiveness is sometimes fun, but when it comes to making mixes, it's easy for it to get exhausting. One of my favorite songs last year was "Closer" by Tegan and Sarah. It's almost unbearable to listen to now because I listened to it so many times. At this point it sounds like construction or a loud clock—that low level jarring kind of noise that pinches your nerves. I wear out so many great songs, I have to shelve them and come back to them months later, if ever (Seriously, after waiting for the new Tegan and Sara album for months, it's disappointing to have to skip the excellent kick off that is "Closer" every time I listen to it). So Hot Right Now mixes are lists of songs I've worn down to the bone. I post them here, and I run as far away from them as I can.
The past week of this brand new month has been full of big emotions, good and bad. I kept meaning to post my original list, but it seemed like it expired on February 1st. I didn't want to hear all the stuff I'd listened to last month. I wanted the comfort of songs that I loved, songs I could never get tired of. I wanted Tom Petty and Etta James and Liz Phair. I wanted slightly less familiar songs from albums I play often, songs like "Where I'm Waking" by Slow Club and "Again Today" by The Feelies. I wanted the relief of new songs that I'm still charmed with, like "Young Adult Friction" by The Pains of Being Pure at Heart and "Golden Haze" by Wild Nothing. I didn't want to sort them out because they sounded so perfect and right just where they were, all in a row, where I wanted them to be when I needed to find them.
In case you were curious, and because it was a very good mix, that mix I made and couldn't listen to for another second, here's my original So Hot Right Now for February. I hope you enjoy them both—let me know what you're listening to this month in the comments.

subset: commoncrawl


text: Find this wine Find this wine Estancia Pinot Noir 2010 Had a D&S's. Very Good not dry Pin It Tweet 9 months ago by Shellea30 More posts Estancia Pinot Noir 2011 I really like this one. It's light and just sweet enough without being sweet 4 weeks ago by Tammy J Estancia Pinot Noir 2011 Delicious. Brought over by AJ himself. one month ago by Tbeute Estancia Pinot Noir 2009 Gift from topolinski on my birthday one month ago by Stary Estancia Pinnacles Ranches Pinot Noir 2011 Christmas gift. $12. 2 months ago by Robnmel Estancia Pinot Noir 2011 Nice - liked it a lot. At Hereford House and K7. 2 months ago by Jamieswear


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Flower Mound Leader > News
Academy Award-winning artist brings message of hope to Lewisville's Royal Affairs
From staff reports
Published: Friday, February 22, 2013 2:01 PM CST
The Academy Awards show airs Sunday, which reminds friends of the North Texas Wine Opener of their rare opportunity to attend an intimate concert with 2012 Oscar-winning artist, Foy Vance.
Vance performed a benefit show for the Cystic Fibrosis Foundation (CFF) at Royal Affairs Ballroom in Lewisville that generated over $4,000 in donations. To date, the North Texas Wine Opener has raised more than $1.7 million for CF research.
A personal connection between Irish-born Vance and the Strange family (Joe and Chris Strange; Scott and Christi Strange; and Cory and Amy Strange) led to the concert, held the week Vance was in town to open for the sold-out Ed Sheeran show at The Palladium Ballroom in Dallas.
"It was an amazing night that we will always remember," said North Texas Wine Opener co-chairperson Jill Welke. "Foy's music--inspiring and soulful--touched our hearts, and we are grateful to Foy for sharing his gift with us, and to the Strange family for making the evening possible."
Vance composed the score for the short film "The Shore," which won a 2012 Academy Award for Best Live Action Short Film. Fans of "Grey's Anatomy" may also recognize Vance's songs, "Homebird" and "Gabriel and the Vagabond," featured on season two.
General admission tickets to the North Texas Wine Opener, which takes place May 4 at Royal Affairs Ballroom, sold out in 16 days.
Guests can enjoy a seated dinner prepared by acclaimed chef Morris Salerno of The Grotto; a selection of fine wine generously supplied by Newton Vineyard; and a silent and live auction led by GDP Auctioneer Services.
In the months leading up to the event, fundraising efforts will continue with Z Pizza in the Park, lemonade stands by event sponsor The Lemonade Pals and Change for CF, a friendly competition among local schools.
For information on sponsorship opportunities, call the Cystic Fibrosis Foundation of Northeast Texas at 214-871-2222 or visit
About Cystic Fibrosis
CF affects more than 30,000 children and adults in our country and 70,000 worldwide. The inherited defective gene causes the body to produce thick, sticky mucus which clogs the lungs and causes life-threatening infections. CF can also degrade the digestive system by obstructing the pancreas and preventing the body from producing natural enzymes that break down food for absorption. Many patients suffering from CF endure hours of physical therapy and dozens of medications every day just to fight infections and help their bodies absorb the nutrients they need to stay healthy. As of now, there is no cure for the disease.
Copyright © 2013 - Star Local News


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Carl Zeiss is one of those almost mythical lens makers. Focusing on quality, its lenses almost always rely on complex optical formulas. Their price reflects this involvement in quality, and logically Zeiss lenses are on the same shelves as the very high-end Canon or Nikon models.
We have tested 14 of them so far, ranging from the ultra-wide-angle Distagon T18mm f/3.5 to the much heavier Makro Planar T100mm f/2.
The review is available here.


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March 14, 2013 - Hour: 1
Date: Thu March 14, 2013 Show: Ross and Burbank A Pierce County woman was found dead in a Tacoma motel room this morning after her husband called a Seattle TV station confessing to the crime. Chris Sullivan joins us with the latest. Carolyn "Zoom" Piksa, the woman accused of shooting a parks department employee, thought her co-workers were conspiring against her, according to court documents. // Sonics season tickets go on sale today. Chris Hansen has released interior plans for the Sonic's new arena. It is described as both "intimate and noisy." Things keep getting better for the Seahawks. Detroit Lions pass rusher Cliff Avril says he's headed to Seattle. // In her new book "Frankenstein's Cat & Biotech's Other Brave New Beasts," Emily Anthes discusses how biotechnology is altering animals in ways never seen before. Anthes says scientists' ability to manipulate DNA is extraordinary, and that can be both good and bad.
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This is the problem I have Ben. I believe, for whatever reason, Lovie Smith is given a pass by too many on almost everything negative. Believe me, I say this with all due respect and it is not a direct rant at you. The Head coach is responsible for the coordinators and coaches he has on his staff. If he has put himself in a position that he is on the hot seat and cannot attract top talent, then whose fault is that? Lovie is seldom blamed for the personnel choices of Angelo, but then the same people give credit to Lovie for getting some guys because he's a players coach and FA's want to play for him. So...the bad ones are Angelos fault, but the good ones are thanks to Lovie? All those draft picks that did not pan out were all on Angelo, but after his post Superbowl extension, it was widely reported by Chicago Sports media that Lovie would have much more say in personnel matters? Then, as Houston put it, some of our personnel problems have come from coaches either not not developing talent we had or at least inadequately evaluating said talent. If the HEAD Coach of a football team gets a pass on all these things, then I ask, what is he responsible for? The game planning? What is the last game we played against a legitimate playoff team that appeared to be well prepared? It's easy to game plan against bad teams...all the Defense has to do is keep the plays in front of them and wait for the offense to make a mistake, but good teams don't make those mistakes and they often chew up our "vaunted" defense like we're playing a Prevent Defense the whole game. As far as his continued employment, this is an endless circle; the article states that the McCaskey's do not want to pay two coaches for the same season by letting Lovie go and then also paying his replacement, but then goes on to say that NFL coaches are seldom allowed to enter into a lame duck season without an extension. Well, if that premise is true, then Lovie has a job in Chicago for life.
The only time to make a move is when there is only a single season left on his contract, and that is THIS off season. For the record, that is the ONLY reason this discussion even has any merit and the only reason I believe it is worth discussing. At the end of this season, Lovie Smith will either be let go or given an extension. I would prefer to let he and his staff play out the last year of his contract, but since that is not an option in the modern NFL, then he either goes or gets extended. I really don't see either of those as a good choice myself, but if I had to make the call, I let him walk unless he gets this team with this roster to the NFC Title game. If he doesn't even make the playoffs, then the decision is easy.
In closing, I will say what I always must, that I do not dislike Lovie Smith. I think he is a wonderful person, I think he is a GREAT leader, but I think he is only an average coach.


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Stay connected with us through Facebook and Twitter. We'll keep you updated with events, information and special offers throughout the region.
What can't you do? That would be a shorter list. There are attractions, activities, events and features throughout the region to suit all ages and interest groups. From theme parks for children to adventure sports for adrenaline junkies. From gourmet food and wine experiences to bushwalking through campsites. From a simple dip in the ocean to a luxurious spa retreat. There really is something for everyone.
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Embrace the cooler temperatures, avoid the crowds and be warmed by the hospitality and open fires at Barwon Heads Golf Club. Stay on our B&B package to enjoy a fully cooked breakfast, complimentary three-course dinner and golf at our guest green fee rate.
Address: Golf Links Rd, Barwon Heads, Victoria 3227
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Seat Cushion Dimensions: 20.625"W x 22.75"D x 4"H
Would you like us to help you find a similar item? Talk with our Design Consultants toll-free at(866)767-4868.
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£559 per person Catered Chalet based on 2 sharing (scroll down for other group sizes or call)Chalet in Les Gets FranceDep' Sunday 05 January 2014Accommodation only for 7 nights accommodation only
enquire now
or call 020 8133 8899
with holiday ID 60024307
offers are limited and subject to availability at time of booking
The Monet is a gem of a chalet, conveniently located right in the heart of the resort, with a superb range of facilities.
The living areas are spacious and well designed, with a spacious separate lounge with small kitchenette area, ideal for afternoon tea, plus a further, separate home-cinema lounge available, so don't forget your favourite DVDs!
Bedrooms here all offer private en suite bath or shower and wc, and many also have a balcony, as does the attractive dining-room. The Monet also boasts its own sauna, and further aprè ski relaxation in the hot-tub on the terrace.
The main Chavanne ski-lifts and piste and the delightful village centre are only approximately 3 minutes' walk away, and at the end of the day you can ski back to the same point.
Departs Accommodation only Edinburgh Gatwick Heathrow Manchester on Sunday 05 Jan 2014 for 7 nights
Board Basis is Catered Chalet - Price includes Accommodation
Please wait while we're searching your holidays!
Newly refurbished chalet in superb central location
Occupancy: 21 -22 guests
Entrance, ski store with heated boot-racks, sauna with shower and wc, lounge with terrace access, flat screen TV and log burning stove, home cinema lounge with large-screen TV/DVD.
Twin with shower/wc/terrace
L-shaped twin with shower/wc
Open plan kitchen/dining room with balcony and wc
Double room with shower/wc
Twin (end to end beds) with shower/wc
Double room with bath/wc
Twin with bath/wc/balcony
Twin (end to end beds) under eaves with bath/wc
Double with bath/wc/balcony
Single/twin bunk room with shower/wc/balcony (£40 per adult reduction when 2 adults sharing)
Twin under eaves with bath/wc
Twin under eaves with bath/wc/balcony
Supplements per person per night: balcony £2.95; Bath/wc £2.95; Bath/wc/balcony £3.95; Room 9 as a single £9.95 (including shower/wc/balcony supplement.)
Price includes 7 nights' accom (unless otherwise stated). Les Gets ski pass is not included. ski holidays are "Per person per week" based on max occupancy (2 people on this skiing holiday).
To enquire about or book this or any other holiday phone 020 8133 8899
All package ski holidays booked with Sno are fully ATOL and TTA protected.
Book with the confidence that your package holiday is always protected against supplier failure.
Every Sno ski holiday packaged with flights is ATOL protected by the Civil Aviation Authority. All our suppliers are ATOL bonded too, so your holiday money is safe. In addition to this, payments for your holiday are held in trust, by NatWest bank and the Travel Trust, who insure every booking against supplier failure.
Visit the Foreign and Commonwealth Office for the latest official travel information and advice.
In addition to the comprehensive protection provided by SNO ltd, all of the ski holiday companies we work with are also protected by at least one of the following travel organisations:
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Mister Stormy has whipped out his audio Brasso and polished up this rather fine recording of the League of Gentlemen wowing the punters in the Bataclan.
Displaying 4164 items (Viewing 151 to 160 of 4164)
Review of Songbook #1 :: Posted by David S on Fri., Feb 15, 2013
A very detailed description of one writers journey of discovery with The Vicar Songbook#1 on Altrockchick.com
It is difficult to describe the importance for all those making music that there are the discerning ears necessary to complete the cycle. This one review completely changed atmosphere within the office.
"Songbook #1 has everything to do with talent, everything to do with musicianship and everything to do with artistic integrity."
Keeling Brought To Book :: Posted by Sid Smith on Fri., Feb 15, 2013 Andrew Keeling has a second volume of his diaries published this week.
Orchestral Reuter :: Posted by Sid Smith on Thu., Feb 14, 2013 There's an orchestral version of Stick Men's Markus Reuter's extended composition, Todmorden 513 in the pipeline but the Colorado Chamber Orchestra, who are staging a performance and recording of the piece need your help. Find out more by visiting their Pledge Music site and see how you might make it happen.
Stick Men Go Deep :: Posted by Sid Smith on Thu., Feb 14, 2013 You can now preorder the new Stick Men album, Deep, directly from the Iapetus Records website where you can also listen to several tracks.
And The Winner Is... :: Posted by Sid Smith on Thu., Feb 14, 2013 Three names were pulled out of the hat today. Step forward Steven Leak of Ontario, Carlos Romeo of Madrid and Errol Tout of Western Australia. They each get a copy of the Guitar Circle of Europe album because a) they were plucked from the fickle fedora of fate and b) they were able to tell me that director of the GCE is Hernan Nunez. Thanks to everyone who took part and stayed tuned for another great giveaway soon.
Double Trio Bundle Goes Live :: Posted by Sid Smith on Mon., Feb 11, 2013 There are 28 shows available to download either as single gigs or as a budget-beating bundle from King Crimsons North American tour in October and November 1995. The shows go from October 20th in Berkeley through to the 28th November 1995 at the Rosemont in Illinois. Please note that the show Crimso played on the 4th November at New Orleans is unavailable - the ADAT was chewed and the DAT source is unavailable. If youve already purchased all four shows from this tour that were previously available (November 1st, 2nd, 11th & 12th) but still want to buy the bundle, youll be eligible for a free download of your choice.
Adrian Talks & Plays :: Posted by Sid Smith on Sun., Feb 10, 2013 Here's a fascinating talk given by Adrian last year at the Chicago Humanities Festival.
Trey Talks & Plays :: Posted by Sid Smith on Sun., Feb 10, 2013 We've ran this one before but in case you missed it, take some time to listen and watch Trey Gunn talk about how the importance of finding your original voice as an artist. You can watch it here. Trey will also be appearing in New York this tomorrow (Monday) as part of the Security project, playing Peter Gabriel's music. Check out the details here.
Crimson Guitars Blog :: Posted by Sid Smith on Sun., Feb 10, 2013 If you ever wondered what it takes to make a guitar then take a look at the latest blog from Ben over at Crimson Guitars website.
Court In The Act Of Production :: Posted by Sid Smith on Sat., Feb 9, 2013 King Crimson were mentioned in dispatches during BBC 4s documentary When Albums Ruled The World (broadcast on Friday evening). At around 28.00minutes 21CSM is played to a montage of 1969 releases (including Court itself). Later in the show Court is once again featured during a shot of a vinyl album being made in the factory. My thanks go to eagle-eyed viewer Adrian Holmes who spotted that the album in question was the Panegyric reissue of ITCOTCK. If you have access to the BBCs iPlayer you can witness the album being pressed at 1:29minutes, just near the end of the show.
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Bookkeeping Service in Fairhaven, MA
Associated Bookkeeping Tax Service - Fairhaven, MA - Phone: (508) 993-1140
Beaulieu Clement R Tax & Bookeeping Services - Fairhaven, MA - Phone: (508) 993-8659
Benchmark Associates - Fairhaven, MA - Phone: (508) 993-4343
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Helpful Definition for: Bookkeeping Service
Recording of financial transactions including sales, income, purchases and payments by an individual or an organization is usually known as 'Bookkeeping' in Fairhaven. These recordings are done very systematically. The two most common bookkeeping types are single entry bookkeeping system and the double entry bookkeeping system. The bookkeeping method, that uses only income and payment accounts is known as Single-entry bookkeeping. It is recorded primarily in a revenue and expense journal. The above mentioned is also sufficient for many small businesses. The other method, double-entry bookkeeping usually requires recording of each transaction twice, using debits and credits. Bookkeeping is not only a career now, but also a subject considered in schools in Fairhaven.
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A National Organic Policy — Where?
Written by: Lee Ann Rush There is a country in the world where the government has officially opted to describe its national economic state of affairs not in the language of short-term economic gains as measured by gross domestic product (GDP), but rather by the degree to which its citizenry can live and prosper in a holistic framework of..


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Our Connections® Shelving system is inspired by the elegantly simple lines of traditional Asian design. Simply combine Connections® Uprights with Connections® Shelves to create a solution that suits your needs. From the home office to the den, this system offers easy, convenient storage anywhere you need it. Assembly is a cinch - the shelves feature grooves which fit onto the uprights.
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Coupons can not be applied to all brands, in some cases our agreements with manufacturers do not allow the use of Cymax coupons. If you have tried to apply a coupon to your cart, it could be that the manufacturer has chosen to restrict retailers from offering coupons for their products.
In other cases, the coupon you are trying to apply may have a price or category restriction, or both. Coupons from cymax.com have an expiry and many can only be used on certain products or categories. For more information about coupons, please call us toll free 866-740-9830, and talk to an expert.
(based on 47 reviews)
Ratings Distribution
5 Stars
4 Stars
3 Stars
2 Stars
1 Stars
of respondents would recommend this to a friend.
Best Uses
Most Liked Positive Review
Good quality product
My girlfriend and I bought this as a Christmas present to ourselves to replace our old flimsy tv stand in our one bedroom apartment. I really liked this product because of the shelves hidden behind...Read complete review
My girlfriend and I bought this as a Christmas present to ourselves to replace our old flimsy tv stand in our one bedroom apartment. I really liked this product because of the shelves hidden behind glass (not plastic) doors, and the shelf under the TV is great for a digital cable box. The stand itself is sturdy and visually appealing, but I do have a couple complaints. For one, dust and dog hair show up on it right after we dust it. It can get a little annoying, but it should be expected in having a darker stand. [...] Everyone who has come over has said it looks really nice. It was fairly easy to put together. I put it together in a little over an hour, but I took my time and made sure everything was secure. The hardest part is lining up the glass doors correctly, but with some effort, it was done well. It really was a lot easier then I thought.
Most Liked Negative Review
Good Product
This is a good product except that it doesn't have enough vent holes in the rear panel.My X-Box and my receiver both overheated with the doors closed. I will either have to...Read complete review
This is a good product except that it doesn't have enough vent holes in the rear panel.My X-Box and my receiver both overheated with the doors closed. I will either have to cut more holes in the back panels or take off the doors for additional ventilation.
Reviewed by 47 customers
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This stand is perfect for my living room
By Keith
from Methuen, MA
About Me Bargain Hunter, Practical, Stylish
Comments about South Shore City Life LCD TV Stand in Chocolate Finish:
This stand fits my living room perfectly since I have my TV between two windows. The middle section is a few inches taller putting the TV at the perfect height for a 47 inch TV. It also just looks very nice. If you have a large stereo receiver it will be a tight fit on the bottom shelf if you want to use both shelves. Look at he measurements to make sure you can fit it. The design of this stand lends it shelf to position your L/C/R speakers very nicely.The doors are frustrating to line up, but spend some time you can get it done.The only other issue is that mine was damaged in two places, the TV shelf and the lower shelf on the back corners. Obviously something happened in shipping. Fortunately, it is not too noticeable once you cover it up with the marker they supply. However, it is aggravating to spend [$] on something that is damaged. If this was sold a retail outlet it would be sold as a scratch and dent item.
Sleek and Modern
By Pam B
from Chicago, IL
About Me Bargain Hunter, Stylish
I love this for my new place and at that price you can't beat it. The only thing I would add is that it looks smaller than I thought it would...the design is great, the holds our big screen tv and the wood is a great color easy to combine/match with other furniture. I would highly recommend this!
Great value!
By tchills
from Port Richey Fl.
About Me High-End Shopper, Practical, Stylish
Easy Instructions it took less than an hour to assemble.
(1 of 1 customers found this review helpful)
Great Price, Great Quality
By Jay the New Father
from Toronto, ON
About Me Practical
After reading the previous review's I thought that this would have been exceptionally hard to assemble. Aside from alinging the doors properly, I had absolutely no trouble putting the tv stand together. It feels incredibly sturdy and looks fantastic.As noted in other reviews, the colour is darker than in the picture.This was a great buy for me.
Happy transaction
By Barry
from Decatur, Al
OMG!!! The best TV stand ever!
By K Pick
from Rancho Cucamonga, CA
This product is so great! It hides all the things I don't want showing in my living room and keeps all the components that do show, neat. I don't like clutter and this does the job of hiding and keeping the clutter minimized and out of the way. It looks great with my other furniture, which also has the same dark wood color. I love the frosted glass doors, so chic. The stand does not take up too much space and hugs the wall nicely. With all that said, the space inside the glass doors was a little to small for my DVD player.
By Bjarv
from Hemet, ca
We have a 50" plasma fits great. Looks great!!! Easy to assemble.
Beautiful [...]
By Mrs Luke
from los angeles, ca
I read pleanty of reviews on this piece and have to say I feel the same as the majority. It is well made, sturdy, hold my 42 in flat screen easily, and is the perfect color. I am a little disapointed by the plastic legs (reason for the 4 stars), but no biggie cause they make moving it easy. Very satified with this piece.
Everything I hoped for, and more
By Moface
from Kissimmee, Florida
[...] Once assembled the unit is not only practical, but a striking piece of furniture in our retreat.
Just What I Needed
By Perfect for small house
from santa maria, Ca.
About Me Stylish
[...] Serves all my needs and fits my 46 in tv.
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State Police said Richard C. West, 45, died when the 2000 Ford pickup truck he was driving on Pleasant Hill Road ran off the road when the road surface changed from asphalt to packed gravel.
West overcorrected and the truck ran off the road again, went through a ditch and rolled several times before hitting a large pine tree on the passenger side.
West, who was the only occupant of the truck, not wearing a seat belt, police said. He was pronounced dead at the scene.
Excessive speed and impairment are suspected to be factors in the crash.


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Dec 19, 2012 2:47 PM
Can I switch pickup configuration in modelling mode?
Like (0)
I am new to JTV. When I am in modelling mode in Lester setting (for instance, but my question is relevant for any modelling setting), I switch between types of Les Pauls using the pickup toggle switch. Does this mean I can't control the pickup configuration when I am in modelling mode?
The pickup configuration is part of the selected JTV model. Most modeled guitars have several JTV model variants, each of which uses a different pickup configuration. For instance, in the Lester (Les Paul) model bank the same model of Les Paul guitar is modeled in three different pickup configurations, corresponding to pickup selector switch positions 1, 3, and 5. Position 1 models the Les Paul with the bridge pickup alone; position 3 models the bridge+neck pickups, and position 5 models the neck pickup alone (or vice-versa; I get the position numbers mixed up sometimes). Pickup selector positions 2 and 4 in the Lester bank provide different Les Paul model/pickup configurations.
See the JTV manual for details of which guitars and their pickup configurations are modeled in each model bank/selector switch setting.
You can use Workbench (the Variax editor program) to change the models and load your custom models into your JTV.
Thank you for this clear answer. In your example above, if I understand you correctly:
Am I understanding you correctly? If I am, I will better understand how to read the manual.
Thank you,
if you have the 69 or 89, this chart makes it real easy to see whats going on:
the switch on the 59 makes it a little different... although all the same models/pickup configurations are still there.
Pardon my French but that is a ******* cool poster! It is a great way to really understand all of my guitars. Thank you!
agree... always loved this poster... I need to print it HUGE and frame it for my music room
This poster is IT!
Thanks much.
Yep - you understand correctly. And the poster is a great visual reference.
The pickup selector switch mimics the modeled guitar's actual selector switch. A real Les Paul, with only two pickups, has a 3-position switch: Treble (bridge pickup), Mid (both pickups) and Low (neck pickup). The JTV models a Les Paul by using these 3 selector positions. But with 2 more available positions, it also models two other Les Paul guitars in one pickup configuration each.
The mimicry is more clear with the Spank (Stratocaster) bank. The same Strat guitar is modeled in all 5 pickup positions in the JTV, so it plays just like the real guitar.
Thank you!
Stay in the mix and in the know.
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b100: firmware updates for next branch compatability
usrp2: fix fw bug for spi transact (order of operations)
fifo ctrl: various tweaks
fifo ctrl: ~usrp2_fifo_ctrl acks, usrp2 DCM workaround, bootloader no blinkie
fifo ctrl: spi core work and host implementation
spi: work on fw support for simple spi core
usrp2: host and fw implementation for fifo control
usrp2: work on alternative stream destination
usrp2: fw unlocks when ICMP dest unreachable
B100: enable_gpif(0) disables FIFO output clock on FX2. this prevents the "stuffing zeroes" problem and improves transport reliability.
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PlayhouseSquare is located in Cleveland's theater district located on Euclid Avenue, between East 14th and East 17th Streets. For detail directions, visit our Directions and Parking section to find convenient directions. For public transportation, Greater Cleveland Regional Transit Authority provides public transportation to areas around PlayhouseSquare. Click here for more information on public transportation.
Sister Act
- March 5 - March 17, 2013
- Run Time: 2 hours, 35 minutes
- $10.00 - $75.00
- Palace Theatre (seating chart)
- Get Tickets
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Sister Act
SISTER ACT is Broadway's feel-amazing musical comedy smash! The New York Post calls it "RIDICULOUSLY FUN," and audiences are jumping to their feet in total agreement! Featuring original music by 8-time Oscar® winner ALAN MENKEN (Beauty and the Beast, The Little Mermaid, Little Shop of Horrors), SISTER ACT tells the story of Deloris Van Cartier, a wannabe diva whose life takes a surprising turn when she witnesses a crime and the cops hide her in the last place anyone would think to look—a convent! Under the suspicious watch of Mother Superior, Deloris helps her fellow sisters find their voices as she unexpectedly rediscovers her own. A sparkling tribute to the universal power of friendship, SISTER ACT is reason to REJOICE!
Sister Act is part of the Keybank Broadway Series.
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Children under two years old are generally not permitted in the theaters. At designated performances Children of all ages are permitted. However, everyone regardless of age must have a ticket. All children must be seated with an adult. Any person disrupting a performance or inhibiting the enjoyment of an event for guests may be removed from the theater without refund.
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Lunchbox Love® for Kids - Volume 25
Lunchbox Love® - positive notes and fun trivia for your child's lunchbox, backpack, binder, or pillow.
Busy parents and caregivers will love this easy yet meaningful way to share positive feelings and values with their children.
Fun trivia on the back entertains. Positive words on the front enlighten. Each volume contains 12 cards--10 with different phrases and fun facts and 2 blanks so you can add a personal message. Credit-card size plastic case fits easily into a pocket, purse or on a countertop, making it easy to grab and give.


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Training & Nutrition
Last 5 Workout Tips
Train Like a Celebrity04.29.2013 Get an A-list workout with these tips from our trainers to the stars! Beach-Ready Abs in 15 minutes03.25.2013 In this exclusive Gold's Gym video, Senior Fitness Manager Lisa Aitchison shows you how to get a six-pack in time for summer. Radical Resistance Training03.25.2013 Tim Keightley, Gold's Gym Vice President of Fitness, explains the bonuses of boot-camp-style resistance training and presents a powerful workout to get you bathing-suit-ready fast. Torch 450 Calories with 10 Moves02.26.2013 Ready to sweat? This fast-paced workout combines cardio and strength training to help burn calories and build muscle. The Perks of Partnering Up01.29.2013 The studies are in and the experts agree: Finding a workout buddy or a band of fellow fitness fans is good for your mind and body and, sometimes, your love life. |
Last 5 Nutrition Articles
11 Ways to Pick Out Healthy Food01.29.2013 Use these savvy shopper tips from Health.com to choose healthy versions of 11 common snacks, meals and drinks. 5 Habits of Highly Successful Dieters12.21.2012 Why do only some of us reach our weight-loss goals? A motivation expert reveals the strategies that make all the difference. 7 Reasons Your Weight Won't Budge12.07.2012 Are you working out and eating right, but can't seem to lose weight? We spoke with two Gold's Gym Fitness Institute experts, Robert Reames and Nikki Kimbrough, and discovered seven possible reasons why. Bring Your Holiday A-Game11.05.2012 Gold's Gym Fitness Institute experts Belisa Vranich and Robert Reames are here to help you tackle this season's hardest hitters and keep your diet in bounds. 11 Foods for Healthy Bones09.26.2012 When it comes to building strong bones, there are two key nutrients: calcium and vitamin D. Health.com shows you the best eats for both. |
Last 5 Health Articles
Increase Your Endurance04.29.2013 If you're looking to run faster, bike harder or swim farther, here are some great tips to boost your athletic stamina. 11 Ways to Boost Your Energy With Food04.29.2013 Feeling sluggish? Healthy fats, iron-rich foods and smart snacking can help you fight fatigue. Health.com has the details. The Best Summer Salads03.25.2013 These salads from Andrew Swallow, co-founder of eco-gourmet restaurant Mixt Greens, make getting your greens a whole lot more fun. Health.com digs in. 7 Steps to Defy Your Age Inside and Out02.26.2013 Take these simple measures from Health.com to turn back your internal clock and make the date on your driver's license feel like a big fat lie. Stay in Shape on the Road02.26.2013 Keep your workout on track when you travel with these simple tips. Plus: To kick off March Music Madness, we investigated how some musicians keep their rock-star physique while on tour. |


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You are so in the know. You've just landed on the best selection of prams in the UK. At Kiddicare you'll find a huge range of prams and baby wheels - over 400 in fact – from Kiddicare prams to top brands like Stokke Xplory prams, Phil and Teds and Babystyle. Our great range of pram accessories will help kit you out with rain covers, foot muffs and parasols. All prams come with a price match promise guaranteeing we'll beat any price. And remember we offer 365 day returns plus next working day delivery to UK mainland – FREE on all prams over £29.99.
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