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Job's First Reply. 1Then Job answered and said:
2Ah, could my anguish but be measured
and my calamity laid with it in the scales,
3They would now outweigh the sands of the sea!
Because of this I speak without restraint.
4For the arrows of the Almighty are in me,a
and my spirit drinks in their poison;
the terrors of God are arrayed against me.
5Does the wild donkey bray when it has grass?*
Does the ox low over its fodder?
6Can anything insipid be eaten without salt?
Is there flavor in the white of an egg?
7I refuse to touch them;
they are like loathsome food to me.
8Oh, that I might have my request,
and that God would grant what I long for:
9Even that God would decide to crush me,
that he would put forth his hand and cut me off!
10Then I should still have consolation
and could exult through unremitting pain,
because I have not transgressed the commands of the Holy One.
11What strength have I that I should endure,
and what is my limit that I should be patient?
12Have I the strength of stones,
or is my flesh of bronze?
13Have I no helper,b
and has my good sense deserted me?
14A friend owes kindness to one in despair,
though he has forsaken the fear of the Almighty.
15My companions are undependable as a wadi,
as watercourses that run dry in the wadies;
16Though they may be black with ice,
and with snow heaped upon them,
17Yet once they flow, they cease to be;
in the heat, they disappear from their place.
18Caravans wander from their routes;
they go into the wasteland and perish.
19The caravans of Tema* search,
the companies of Sheba have hopes;
20They are disappointed, though they were confident;
they come there and are frustrated.
21It is thus that you have now become for me;*
you see a terrifying thing and are afraid.
22Have I said, "Give me something,
make a bribe on my behalf from your possessions"?
23Or "Deliver me from the hand of the enemy,
redeem me from oppressors"?
24Teach me, and I will be silent;
make me understand how I have erred.
25How painful honest words can be;
yet how unconvincing is your argument!
26Do you consider your words as proof,
but the sayings of a desperate man as wind?
27You would even cast lots for the orphan,
and would barter over your friend!
28Come, now, give me your attention;
surely I will not lie to your face.
29Think it over; let there be no injustice.
Think it over; I still am right.
30Is there insincerity on my tongue,
or cannot my taste discern falsehood?
* [6:5–6] Job would not complain if his life were as pleasant to him as fodder to a hungry animal; but his life is as disagreeable as insipid food. White of an egg: thus the obscure Hebrew has been understood in Jewish tradition; some render it "mallow juice."
* [6:19] Tema: in northwest Arabia. Sheba: home of the Sabeans; see note on 1:15.
* [6:21] It is only at this point that the previous lines (vv. 1–20) are clearly directed to the three friends. The style of replying in these chapters (3–31) is often indirect. Job and the friends become mouthpieces through which the author presents current views on divine retribution in dramatic fashion. In chap. 7, Job will not even speak directly to the friends.
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While I was at girls camp a week ago, one of the camp leaders taught the girls to make purses from placemats and after seeing how great they turned out (I was totally coveting Grace's Asian-inspired bag with the red wooden bead handles) I decided to make one for myself.
Trouble was, I couldn't decide which pattern I liked better so I grabbed one of each and spent a morning this week making bags--enough to satisfy even me perhaps. Maybe.
Here's the step-by-step tutorial and even if you're not a seamstress or have never made a handbag before in your life (that's me) this is so easy and goes together so well you can't go wrong. If you make one, post a picture of it because I'd love to see what others come up with.
Oh, and by the way, I ordered a bag from Lisa Lam over at U-handblog last week and word is it's done and on it's way across the Atlantic to my waiting arms. I'll have to post pictures when it gets here . . .
* One rectangular placemat (I got mine at Fred Meyer, lighter weights are easier to sew but any rectangular mat will do). No notched or angled corners.
* 28 inches of 1-inch wide grosgrain ribbon in a color that matches the place mat.
* clear nylon quilting thread
* 1 set of purse handles (I got mine at Joann Fabrics for $2.77)
Step 1:
Measure out a 7-inch length of ribbon and lay it on the shorter side of the placemat, four inches from edge on what will be the outside of your purse. Though most place mats are reversible be sure to place the ribbon on the "right" side or outside. See the first photograph where I'm measuring distance.
Step 2:
Pin the ribbon in an upward direction, fold it down, thread one side of the wooden handle onto the ribbon and then fold the ribbon upward one more time. This may seem confusing but all you're trying to do is sew the end of the ribbon onto what will be the top outer edge of your purse and to have the end of the ribbon tucked in so it won't fray. There isn't a perfect way to do this but as long as you know what you're trying to do you can come up with another way of doing it if you wish. This is the trickiest part.
Step 3:
Sew a rectangle around the end of the ribbon where it will attach to the purse. You could sew an x pattern as well but I used a rectangle. Repeat steps 1 and 2 for the other side of the handle then repeat the whole process for the second handle on the opposite edge of the placemat. See the second photograph for the finished handle.
Step 4:
Fold the placemat in half, with the handles meeting and the "wrong" side (or inside of your future purse) showing. Stitch 1/4 inch seam allowance down the sides, starting at the top and working down to ensure that the top edges meet exactly. You will not need to finish any seams because the place mat edges are already finished.
Step 5:
With the wrong side still showing, open the purse and lay the corners flat so that they form a triangle. With the seam opened flat, sew across the corner at a distance of 1 1/2 inches from the point, about where my thumb is in photograph three. Photograph four shows what the corner should look like once it's sewn, rather squashed flat. Repeat on the second corner then turn the bag right side out.
No ironing, no finishing, it's done and ready to go! The top two pictures show two other bags I did and I like the one on the right the best. Not only was the thinner placemat easier to sew but with the border and sheen to the fabric it looks sleek and finished and the Asian wood beads on the handle are match perfectly. Lillian wants me to make her a pink one now.
Using my Custom Search Engine (see the search bar at the top of my sidebar) I found some other sites on the subject:
* Amy's Favorites has a tutorial and a different way of tackling the project (and she uses the placemat I have for our table, go figure!)
* The Monkey Basket has instructions for a basket-bottomed purse.
* Crafty Chica with her pre-lined placemat purses
* Stardust Shoes has a funky-handled bag and a placemat with great fabric
Technorati tags: handbags, crafts, purses, sewing

subset: commoncrawl


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100 Red Roses London
Roses arrive with naturally-occurring guard petals to protect them during transport. Please remove these outer petals upon receipt to enjoy the optimal beauty of your flowers.
The color range of the product may also differ from the photo of the product. The shade of the roses is always different, and the packaging of an identical color may not be in stock.
All our bouquets are individual and made according to your wishes. We reserve the copyright to determine the final composition of the bouquet, given the seasonality of the flowers, but we promise that the bouquet will remain as stylish and unique.
Send luxury 100 red roses London in same day. The team at ChelseaFlowerShop is committed to providing you the highest quality flowers, peonies and roses available in London, at the fairest price possible.
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We started flower delivery in UK, in 2010 from our head office in London. ChelseaFlowerShop, has proudly influenced trends and designs on online flower stores for the past years.
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Send luxury 100 red roses London with ChelseaFlowerShop
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Bob Graham on CorporationsFL Sr Senator (retiring 2004); Democratic Primary Candidate for President |
Whether you own a business, represent one, lead a corporate office, or manage an association, the Chamber of Commerce of the United States of AmericaSM provides you with a voice of experience and influence in Washington, D.C., and around the globe.
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WATCH: Jerry Looks At The Sunny Side (featuring Chatterer The Red Squirrel)
Jerry Muskrat needs to refuel, so he gets a special food delivery at Sunnyside Beach in Toronto.
Chatterer the Red Squirrel races through High Park to collect the park's most delicious invasive species for his friend. Chatterer the Red Squirrel is an expert in all trees, bushes, plants... and what you can eat from them!
Join Jerry as he rows his way through the cities, towns and parks of the Great Lakes and Saint Lawrence Seaway in his series "The Greatest Lakes – a Jerry Muskrat™ Adventure!"
Jerry has packed his bags, rendered a raft, and is travelling through the world's largest freshwater Lake System. Did you know the Great Lakes hold over half of the world's fresh water? They are the heart of Canada and America's population and industry, and Jerry is going to meet the people, animals, and towns that make it happen.
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In 'This Is 40,' Family Life In All Its Glory
Judd Apatow draws on his own experiences as a husband and father in a new comedy that explores the ups and downs of family life. The film stays close to home, literally and figuratively. It stars his wife, Leslie Mann, as well as their two daughters, and was filmed a few doors down from his house.
December 6, 2012
Guest: Judd Apatow
TERRY GROSS, HOST: This is FRESH AIR. I'm Terry Gross. Joining me for a return visit is Judd Apatow, who wrote and directed the new movie comedy "This is 40." He was an executive producer of the high school comedy series "Freaks and Geeks." He wrote, produced and directed "The 40-Year-Old Virgin" and "Knocked Up" and produced many film comedies, including "Superbad," "Forgetting Sarah Marshall" and "Bridesmaids."
He's an executive producer of the HBO series "Girls," and Apatow is guest editor of Vanity Fair's first comedy issue, which is on newsstands this week. Several of Apatow's films are about people who don't want to or don't know how to grow up, but "This is 40" is about a married couple with two children, dealing with adult life, like it or not.
The main characters were featured in the film "Knocked Up." Paul Rudd plays Pete. Apatow's wife and collaborator, Leslie Mann, plays Pete's wife Debbie. Their daughters are played by Apatow and Mann's children, Maude and Iris. Set five years after "Knocked Up," "This is 40" finds Pete desperate to keep his indie record label afloat. Debbie owns a boutique that is just breaking even.
With work and parenting keeping Debbie and Pete exhausted and anxious, it's been difficult for them to keep any spark in their relationship. Here's a scene from the film. The family is having dinner together. In an effort to simplify their lives and connect as a family, Pete and Debbie decide to get rid of Wi-Fi and encourage their children to spend time away from TV and computers.
PAUL RUDD: (As Pete) Because you need to get outside more. Do some playing outside.
LESLIE MANN: (As Debbie) Yeah, you can build things, you can build a fort outside.
MAUDE APATOW: (As Sadie) What?
MANN: (As Debbie) Yeah, build a fort, play with your friends and...
APATOW: (As Sadie) Make a fort outside? And do what?
MANN: (As Debbie) Have little...
APATOW: (As Sadie) Do what in the fort?
MANN: (As Debbie) When I was a kid, we used to build tree houses and play with sticks.
APATOW: (As Sadie) Nobody plays with sticks.
RUDD: (As Pete) You and Charlotte can have a lemonade stand.
MANN: (As Debbie) Play kick the can.
RUDD: (As Pete) Look for dead bodies.
MANN: (As Debbie) It's fun. That's fun to do.
RUDD: (As Pete) Get a tire and then just take a stick and run down a street with it.
APATOW: (As Sadie) Nobody does that crap. It's 2012.
MANN: (As Debbie) You don't need technology.
IRIS APATOW: (As Charlotte) No technology.
MANN: (As Debbie) Charlotte, put that down.
GROSS: Judd Apatow, welcome back to FRESH AIR. It's great to have you here.
JUDD APATOW: It's great to be here in Philadelphia.
GROSS: Yes, we're actually face to face, which rarely happens on our show. It's usually a long-distance interview. So let me start with what turning 40 meant for you. You are now, what, 44?
APATOW: I just turned 45.
APATOW: I'm halfway to 50. I already have to start a new movie.
APATOW: But when I turned 40, I said: What are we going to do? And Leslie said: Well, I have to work that day, I'm shooting a movie. So I said, well, I'll visit you on the set. And she was shooting a movie called "17 Again," and when I got there, what she was doing was erotically dancing with Zac Efron, and he was holding her and spinning her, and I had to spend my 40th birthday with my big, fat gut watching sexy...
GROSS: You don't have a big, fat gut.
APATOW: Well, I'm going to put it on the table for you right now so you can see. See now that I'm here in person, you can see what it is.
GROSS: I see all your lies now.
APATOW: So that was a little bit of a meltdown for me. But I think 30 was harder because you're - I always thought you were supposed to go nuts in your 20s and party and be crazy, and then you settle down. But I was always working and trying to get my career going, so I didn't have any fun. So when I hit 30, I'm like well, I guess I just didn't do it.
APATOW: And you don't want to be like kind of drunk and crazy when you're older.
GROSS: When you knew you were making "This is 40," did you start taking notes about funny, ridiculous things about being in your 40s?
APATOW: You know, I'm always making notes of things I think are interesting, and I'm - I was coming out of doing "Funny People," and I wasn't sure what I wanted to write about next, and it occurred to me that I did want to make a movie about family life. And I didn't think it would be about Pete and Debbie from "Knocked Up."
And then it just occurred to me when I - oh, I have the cast, I have the family. Why am I sitting here trying to figure out who to put in this movie? And then everything fell into place. So then it's, you know, a year or two of, you know, coming up with scene ideas. A lot of it is in collaboration with Leslie, where I would tell her an idea for a section of the movie, and then she'll say, well, you know what you should do a scene about, and a lot of the great scenes are things that she pushed to do.
Sometimes people see the movies, and they think how can you make your wife do that. And I'm like she begged me to do that. She thought of it.
GROSS: Like what?
APATOW: Well, there's a scene where she comes into the bedroom topless and basically, you know, wants to have sex with Paul Rudd, her husband, and he's preoccupied with work and his problems, and he doesn't even notice what she's doing. And it's a really painful rejection because they're just in different head spaces.
And she thought it was important to show that aspect of marriage that, you know, you get older, you want to feel loved and still appreciated and sexy, and sometimes you're just not connecting and how painful that is. And then she said: And I think it would be much better if I was topless when we did it. I would never think to ask her that.
And then I said, well, don't you think that would be embarrassing for the kids? And she's like: Who cares? They can handle it.
APATOW: Now she says I just want to get them on a record.
GROSS: Well, on a related note, early in the film the couple, Leslie Mann, your wife, and Paul Rudd, are having birthday sex.
APATOW: Yes.
GROSS: Until she realizes that he's taking Viagra, and that's, like, going to end. She is so offended by that. And is that what turning 40 means to you?
APATOW: Well, I've never taken Viagra, but I have thought about that...
GROSS: Let that be on the record.
APATOW: I'm going to say officially, but I've thought about what her reaction would be to it, and I just thought that must be a funny thing for most men, because I guess, intrinsically, you know, a woman would say why do you need that, am I not enough, you actually need medication to do that now. It is a real sign of age even though in the commercials the men are handsome.
The men on the commercials look like erections.
APATOW: You get all these, like, tall, skinny guys with, like, nice heads.
GROSS: But with hairdressers.
APATOW: Yeah, when would you tell your wife you're using Viagra? Would you ask for permission beforehand? And if you took - said it afterwards, she would be mad. So I thought that would be really, you know, a funny way to start the movie.
I like starting the movie with a bang, as they say.
GROSS: Since so much of the movie is about tension in a marriage, what did you - I mean, I read in the New York Times that you and - that basically you had your wife improvise on camera - do I have this right - thoughts about tensions in marriage.
APATOW: Well, our process usually works like this: I will come up with an idea, and then I need the family's permission to make it. You know, I can't make the movie with my wife and children unless they say OK, and I don't want to write it if I think they're ultimately not game. So I start there.
And then I go off and start outlining, and outlining for me is coming up with just hundreds of scenes. You know, I start with just moments. Then an outline just reveals itself, and I'll go off and write a draft. And as soon as I have a draft, I call Paul and Leslie, and we do a rehearsal. And at that rehearsal we had dinner with Paul Rudd and his wife, and we said, you know, how are you guys getting along, what are your obstacles these days.
And we read the script, we improvise, we play, and by the time we get to shooting, we've just - you know, we've all collaborated so deeply on it that we understand the material, and we'll shoot both the script and extra ideas that we thought of that we're not even sure where they go, but we've got to have them say this.
And then we play a little. We do a little bit of improv. But improv gets kind of overblown. People kind of assume you show up, and you don't know what you're going to do. Usually, it's - you know, it's just a little seasoning at the end, because I feel like if the actors know they're allowed to change their lines, they act differently.
Most actors are obsessed with getting their lines exactly right, and I always say it doesn't matter. I just want a truthful moment. So if you like the line the way it is, say it. If you want to put it in your own words, or if you think of some embellishment, you know, go for it. And then they - they're more in the moment because of that.
GROSS: One of the lines that Paul Rudd says, well, I'm not going to do the line, I'll just give the thought, is he thinks, sometimes, about his wife dying.
APATOW: Yes, well that Paul Rudd's idea.
GROSS: Oh, OK.
APATOW: Anything bad was Paul Rudd's idea.
GROSS: So he thinks about his wife dying a kind of decent death, not a painful death.
APATOW: Yes, not painful, just slipping off.
GROSS: And then being a widower and getting to have sympathy sex.
APATOW: That's true. Well, in all honesty, that was Paul Rudd's idea. But as soon as he said it, every single person associated with the movie said oh my God, I think about that all the time, and women have said that to me: Oh, I'm always thinking about what life would be like if my husband died.
So again, it turned into a universal secret thought a lot of people have. And they did some pretty hilarious extended versions of that scene, where Paul Rudd and Robert Smigel are fantasizing about their second wives. And they start listing everyone who has a second wife in Hollywood who seems happier: Tom Hanks, Rita Wilson, second wife; Paul Newman and Joanne Woodward, that's a second wife; Will Smith and Jada Pinkett.
That is what, you know, the movie is about is that you can be very happy and love your wife and your family, but there's always a little part of you that's expressing your terror or your unmet needs. And that to me is the funny part, you know, the disgruntled little piece of your brain.
GROSS: Some of your movies are about characters who either don't want to or don't know how to grow up. And "This is 40" is about, you know, it's a couple. They're grown up. They're 40 now. They have two kids. The kids are growing up. One of them is on the verge of being a teenager. So did you always want to be a father, or is that something that just kind of happened to you, you know, as opposed to I really want this to happen?
APATOW: I never thought about it. I never was planning. When I had children, what occurred to me, very early on, was I don't know if I had ever held a baby. I hadn't hung out with a four-year-old since I was four. I didn't have, you know, nieces and nephews, and there were no young people in my family. I wasn't like the funny uncle to anybody. So that's what blew my mind when I had kids.
GROSS: Did you feel like I don't know how to interact with a baby or child because I don't have experience?
APATOW: Completely, and beyond that, I realize how much I hadn't worked out mentally. Because, you know, when you have a kid, and your kid's a year-and-a-half years old, they just want to tool around and talk to their dolls and play doctor. You know, my kids always liked to get old medical equipment, like the little toy medical equipment, and pretend to check your heart rate.
And they want to sit with you for hours in their fantasyland, because they're completely healthy.
APATOW: And when you're not healthy, you want to run out of that room so fast. Like this is too much time in my own head. Like, you realize like oh, I'm running my problems 24 hours a day. I'm running my work problems, my writing problems, my general neuroses, and she just wants me to play doctor here for the next hour and a half.
And it makes you realize how noisy your mind is. And it took me years to figure out how to quiet it down and just appreciate that moment with my kids, and that's the best part of life is that moment alone with my kids. But I - no one ever prepared me for that fact. No one ever said, you know, when you play with your little kids, sometimes you have a nervous breakdown because you've never actually gotten outside of your own egomania to just be a purely giving person.
But it's been very healthy, but harder than I anticipated.
GROSS: So the way you've solved the problem is to bring them into the work room.
APATOW: Well, part of is...
GROSS: Bring them into your fantasies instead of playing doctor with them.
APATOW: Well, you know, it's very hard to have bounds in show business because it's a real circus life, and so, you know, people shoot movies in Croatia for four months. You know, like I always think about people's schedule, like wow, they really traveled around the world doing those "Bourne Identity" movies. That's a lot of days out of town.
And so I shot this movie on my block, like nine houses from my house, and all the scenes where Paul Rudd's riding a bicycle around in his Spandex suit is like, literally, my block because I'm trying to figure out ways to be around my family. And then, you know, everyone's in the movie together, so that's another way to not leave them.
So I'm not actually - just so people know, I won't be directing the next James Bond movie.
GROSS: If you're just joining us, my guest is Judd Apatow, and his new film, which he wrote and directed, is called "This is 40." Let's take a short break here, and then we'll talk some more. This is FRESH AIR.
GROSS: My guest is Judd Apatow, and his new film is "This is 40." Before you had children, and when you were single, and when you imagined what marriage and family life would be, did you think: OK, that'll be great, there'll be a woman in my life all the time, and then we'll have children maybe, and that will be great, or that will be the end of life as I know it?
APATOW: You know, it's much different for me. I couldn't believe Leslie would date me. You know, I couldn't believe that I found this, you know, amazing woman and that she was in my life. I never really got to the point of thinking about marriage and having a baby.
What I realized after I had kids was every single thing people think about what it's like to be a parent and to have babies is not what it is. All you know is television or diaper commercials, and there's always, like, talk about oh man, you're going to have to do diapers. And like that has actually nothing to do with the emotional experience of, like, creating life and being responsible for it.
And all of your priorities suddenly change. You know, I spent my whole life, you know, worrying about a job and doing comedy and meeting someone I could share my life with, and suddenly all of that takes a back seat to something else. I didn't anticipate any of that.
Someone told me, you know, you go from being number one in your world to number four instantly. And then a lot of guys don't talk about it, and they're quietly having a nervous breakdown because they're not, like, the king of the castle anymore, they're the last person that's being dealt with in any situation, as it should be, but I didn't think about any of it.
And it wasn't in any of the baby books. No one's written a good baby book that explains the emotional change, you know, that thing that happens where you have a kid, and you're up at three in the morning with your ear next to their mouth making sure they're breathing. You know, that's what it's about.
GROSS: So in the forthcoming edition of Vanity Fair, the comedy edition that you edited, you interview Albert Brooks, who's one of the stars of your new film, and you tell him in one of your questions that most of your neuroses stem from your parents' volcanic divorce. And you say it made me think things could go really badly. I've got to be on my game.
So since we're talking about marriage here, can you talk a little bit about how your parents' divorce affected you and maybe even affected you wanting to be a comic, if it in fact affected that?
APATOW: I always feel weird talking about it. You know, my mom, you know, passed away a few years ago, but my dad, he always feels bad when I talk about how much pain the divorce caused me. But, you know, if two people aren't getting along, you know, to that extent, they need to break up.
And back when they got divorced, you know, people weren't watching Dr. Phil. You know, things got intense, and people fought, and they fought in front of the kids. And the kids were, you know, in our family we weren't shielded from what they were talking about.
My dad was very good about not telling us the details of what they were arguing about, but my mom told us every single detail.
APATOW: And was not happy with him and told us why. And that was a very painful aspect of it. What it did to me was it made me realize that adults are not perfect, and I can't listen to all their advice. And I think that's a bad thing to happen to a kid when he's still pretty young, this is like early teens, you know, 11, 12, 13 years old.
So then it made me think oh, I need to figure out the answers for myself because if the two people who give me advice completely disagree with each other, one of them is wrong.
GROSS: Right.
APATOW: So who's right? I guess I'm the arbiter of what's right. And I also thought: And I need to get a job. They were fighting about money, and it put, like, money issues in my head. I need to be solid so that I don't have to worry about any of these things. And so from an early age, I thought: How am I going to be a comedian? How am I going to get into this business?
So I started interviewing comedians when I was very young because I was 15 years old, but in my head, I was thinking: Tell me how to get a job. Tell me what the way in to this business is. And so it made me very hyper-vigilant, which leads to workaholism, you know. It makes you think OK, I have to take care of myself.
That doesn't mean my parents weren't trying to take care of me. They took great care. I mean, you know, my dad drove me to comedy clubs at night. He'd drop me off and pick me up in the middle of the night, and he was the big comedy fan that, you know, played Bill Cosby for me for the first time. So they were both, you know, very nice people.
But when two nice people dislike each other, it does shatter your world as a kid, and it confuses you because it's adult issues you really don't understand. I'll tell you a funny story about it, which is when I was a kid, I lived with my dad, not with my mom, because my mom moved to a different city, and I wanted to stay in my neighborhood and stay around my friends.
And one day I found a book in the house, and it was called "Growing Up Divorced," and it was a self-help book about how to treat your kids when you're getting divorced, how to communicate with them. And I read it as a little kid, and it helped me. It really did help me understand their conflicts and why they weren't getting along, and it was valuable.
And a couple years, I mentioned that to my dad, and he said: I left that out for you so you would read it.
GROSS: Really?
APATOW: On one level, you think that's like a sweet thing. And on another level, you think, well, you could have talked to me directly.
GROSS: Obviously he couldn't.
APATOW: You don't have to, like, leave breadcrumbs of books that you're hoping I'm going to read. What if I didn't read the book? But that was, you know, a different era. People weren't as communicative about their feelings and problems. So in movies, I tend to always push people to want to be together, even though it's hard, to try and work things out. That's why there's a lot of brutal conflict in these movies.
People fight, and it's rough. I don't, you know, sand down the edges. But I guess it's my way of saying, like, even when it's rough, you can figure it out.
GROSS: Judd Apatow will be back in the second half of the show. He wrote and directed the new movie "This is 40." I'm Terry Gross, and this is FRESH AIR.
GROSS: This is FRESH AIR. I'm Terry Gross, back with Judd Apatow. He wrote and directed the new film "This Is 40," which comes out December 21st. It stars Paul Rudd and Apatow's wife, Leslie Mann, as a married couple. Their children are played by Apatow and Mann's two daughters. Apatow also wrote and directed "The 40-Year-Old Virgin," "Knocked Up" and "Funny People," and produced "Superbad," "Forgetting Sarah Marshall" and "Bridesmaids." He's an executive producer of the HBO series "Girls" and he's the guest editor of Vanity Fair's comedy issue, which was just published. It includes a history of the TV series "Freaks and Geeks," on which Apatow was an executive producer and also features a couple of his interviews with comedians.
So in your new film, "This Is 40," Albert Brooks plays Paul Rudd's father. I know he's one of your heroes and you write about him and you interview him in the comedy edition of Vanity Fair that you edited. So what does Albert Brooks mean to you?
APATOW: What does he mean? Figures from my youth who inspired me to want to get into comedy. I used to watch Albert Brooks' films on "Saturday Night Live" when I was very young. I just thought, who is this guy making these movies? They were so funny. He was just one of the first people that I saw as a person. Also, like I saw his short films but he was this very specific character who I related to as well. And then I saw his movies, "Modern Romance," "Real Life," "Lost in America," and there are those people you think he's hilarious and neurotic and I relate to a lot of those feelings that he's expressing in an extreme way. And so I bought all of his albums. And "The Ben Stiller Show," which I worked on, was very much modeled after his work on "Saturday Night Live" and "Second City" sketches. So he's always been someone I've looked up to. And I'm always afraid to try to work with someone who I idolize because I think I don't know if I can make my movie as good as his best movie, so then why waste his time? This will be like one of his weird side things that's not as good as "Lost in America." But for this one I thought I'm just going to go for it and I wrote the part for him. I would sit in my office doing impressions of him trying to figure out his voice.
GROSS: Oh, yeah. Which is?
APATOW: My personal impression of him?
GROSS: Yes.
APATOW: Well, the only way I can do it is in a story, which is, I met him in the early 90s. I had dinner with him and Garry Shandling when I was writing for "The Larry Sanders Show" and I was so excited to talk to him that when I got home I wrote down everything he said at dinner in my journal. And at the time the Menendez trial was on and I remember writing down that he said, you don't kill your parents and then buy a Rolex watch. That's the first thing you don't do.
APATOW: Anyway, it was a big, you know, honor to have...
GROSS: Did you call him and say I wrote this role for you? Would you take it?
APATOW: I did. I...
GROSS: And you called him after you wrote the role for him?
APATOW: I did. I rolled the dice that I could get him.
GROSS: Gee, what if he said no?
APATOW: That would have been difficult. Then I'd have to CGI myself doing a bad impression of Kevin Pollack's impression of him. But I took him out to lunch. I told him the whole story and then I gave him the script and he really connected with it. And then we went very quickly into rehearsals, where he definitely helped create that character and came up with a lot of the amazing lines he has in the movie. I mean you don't ask Albert Brooks to be a part of your movie if you don't want to do a deep collaboration with him because he, you know, he's one of the greatest writers and comedy writers of all time.
GROSS: Can you give us an example of how that collaborative effort worked in terms of writing for his character or improvising for it?
APATOW: He would just mainly email me lines the night before he shot a scene. Like, I would just get an email, you know what might be funny for Larry to say? And, you know, it always would top my joke, but that's why I wanted him there.
GROSS: So in the movie he plays - both Leslie Mann's character and Paul Rudd's character, their parents are divorced.
APATOW: Mm-hmm.
GROSS: And Paul Rudd's father, who is Albert Brooks, is remarried to a younger woman, and through in vitro fertilization she's had triplets. They're, but they're toddlers.
APATOW: They're three-year-olds.
GROSS: Yeah. And so it's just weird because Paul Rudd's father has children much younger than Paul Rudd's children.
APATOW: Yes. That's why he says to Paul's daughter, go play with your tiny uncles.
GROSS: So...
GROSS: So the Paul Rudd character used to work in the music business for a major label but he was kind of downsized out because of hard times in the music industry and now he has his own label that's not doing so well. He signs Graham Parker to it. The real Graham Parker is one of the stars of the film. Your grandfather was a real record producer...
APATOW: Yes.
GROSS: ...Bob Shad, a name that's familiar to jazz listeners. He produced a lot of jazz. He founded the MRC label, produced Clifford Brown and Max Roach, including the album that has a great track "Parisian Thoroughfare" on it. So was he alive when you were young?
APATOW: He died when I was a senior in high school. You know, he was this, you know, legendary figure, you know, in our family. You know, he did something remarkable, which is he, you know, he grew up in the Bronx. You know, he didn't come from, you know, a family with any money, and at some point in his teen years he decided he loved jazz and somehow raised enough money to just hire a few guys to record some songs. He had them printed up and went around to record stores and had them sell it and then he kept doing that until he had an official record label. Then he owned his own record store and then he became the head of a lot of record labels in his life. And over the years he worked with people like Charlie Parker and Dizzy Gillespie and Sarah Vaughn.
So what it did to me was make me realize oh, anything is possible. I mean if you have guts and are willing to take risks, you can make your dream come true. There's no reason why that guy should have become a legendary jazz, blues producer. He just worked really hard. And somewhere in my head I thought I guess it's possible in comedy too. My grandfather went down South with a tape recorder. He was one of the first people to ever go down south and record blues artists in their, in their homes. I mean he recorded Ray Charles when he was 18 or 19 years old when he was playing guitar, and he just traveled around recording people like Lightning Hopkins and no one had ever done that before. So I guess that entrepreneurial spirit stayed with me.
GROSS: Did you listen to his records when you were growing up?
APATOW: I, you know, I did listen to some of his records but I didn't understand them. You know, it's hard to get into jazz when you're 10 years old. As I was in high school...
GROSS: Did it seem just like not interested or did it seem like old man music to you because it was your grandfather?
APATOW: You know I, I didn't have sophisticated tastes anyway. I mean I was just, you know, you know, I just sat home all day long listening to my record collection, which was a lot of Styx, a lot of Kansas.
APATOW: There was a fair amount of the Chicago catalog, and then I was evolving into enjoying, you know, The Who that, you know, became my favorite band. So I didn't dislike it. I just hadn't connected with it yet. And then when I was a DJ at my high school radio station, I started listening to all of it and I really liked it. And I was planning to travel to California to visit my grandfather in high school and I wanted to talk to him about his life and jazz as someone who was beginning to understand it, and before I got there he died of a heart attack.
GROSS: Oh.
APATOW: And so I never got to have those conversations with him.
GROSS: Oh, that's really a shame.
APATOW: It's very sad. Recently, we found nine hours of recordings. Someone recorded an interview with him for a project he was working on where he tells all the stories from his entire career. So we have that.
GROSS: If you're just joining us, my guest is Judd Apatow. His new film, which he wrote and directed, is "This Is 40."
Let's take a short break here, and then we'll talk some more. This is FRESH AIR.
GROSS: If you're just joining us, my guest is Judd Apatow and he wrote and directed the new movie "This Is 40."
We were talking earlier about improvising. And your two daughters are in the film. How old were they when you made the film?
APATOW: Eight and 13.
GROSS: The eight-year-old in particular seems to me to be improvising a lot in it, in the sense that my impression was - and tell me if I'm wrong here - that instead of getting her to memorize lines and then feel like she's reading them, you say to her, say something like this, tell her that you think blah, blah, blah, and then she'd say it. Because it sounds so, it sounds real when she's saying it. It doesn't sound like she's doing a script. So what did you do with her?
APATOW: You know, it changes in each situation. When we did "Knocked Up," I would just, you know, buckle my youngest daughter Iris, into a chair, you know, give her a bunch of bacon and then she would just sit there, you know, listening to the scene. And, you know, and I'd say, you know, just say, what are you doing here? And then she'd go, what are you doing here? And she would always be very natural. But now she's kind of hilarious, my daughter, Iris.
So there are certain fights that the kids have all the time. One of the fights is, what is appropriate for Iris to watch on television? She gets very upset if you think she's not mature enough to handle anything. And Maude, my older daughter, thinks it's very important that Iris does not get to watch anything at an earlier age than she was allowed to watch it. And she will fight hard to prevent her from watching shows like "Lost," until it's the age she was allowed to see it. So on the day I'll just say, Iris, ask Maude if it's OK if you watch "Lost." And Maude, Maude both is - she's still mad. She's mad to even be asked the question and they'll start having the debate on camera. And they're very comfortable in front of cameras because they've always been around them. But they also know where the comedy is. And then occasionally I'll chime in and tell them to say a certain line because I can hear the fight but I know there's no punch line, and if they say this one line this very real exchange will become comedic.
There was a line where Maude says, you can't watch "Lost." Then Iris says, I watch "Shark Week." People get eaten on "Shark Week." And Maude goes, that's not real. None of that's real. It's re-creations. And Iris says, I know it's re-creations but it really happened.
APATOW: And so I didn't write any of that and they, you know, it's funny. They do know what I'm trying to accomplish. They're not mistakenly being funny. I don't want to take that away from them even as little kids, they just are funny. But then Maude said something about it'll give you nightmares. And then Iris says well, you're a nightmare every day for me. And I might've fed that to her to, you know, to get out of the scene somehow.
GROSS: So your older daughter Maude is terrific in the film and she was also really terrific in - it was a small scene in "Funny People" where she sings. We, I talked about this the last time you were on the show. She sings, what's the song that she sings?
APATOW: "Memory" from "Cats."
GROSS: Yeah. I assume she loves Broadway.
APATOW: Yes.
GROSS: Does she want to be a professional? Does she want to be an actor?
APATOW: You know, it's hard to know because she's 15 now and she's doing so many things. You know, she's in the movie. She does musical theater at school. She tweets and has like 100,000 Twitter followers @maudeapatow, if you're looking to follow someone new. And she's really...
GROSS: Well that...
APATOW: ...funny. And she talks about the experience of being a 15-year-old. And it has nothing to do with me. People don't follow her because they like me. She's really sharing what her life is like in a fascinating way and...
GROSS: Wait. Let me stop you right there...
APATOW: Yeah. OK.
GROSS: ...because when I had read about how many followers she has on Twitter - and what did you say it was 100,000?
APATOW: Yeah.
GROSS: It's up since I read about it.
GROSS: That's a growing following. I was thinking like what position does that put you in as a father? Usually when your kid is 15 you're trying to have some mediation of their media diet.
APATOW: Yeah.
GROSS: And here she is, she's the person putting - not only taking it in but she's putting it out. Do you want to like edit her tweets? Do you read what she's tweeting just to make sure you're OK with it?
APATOW: Well, when she started it about a year ago...
GROSS: Or is that - should that be none of your business? I mean I have no idea.
APATOW: You know, in the beginning, we read everything that came in and that she was tweeting, and there wasn't much weird coming in. And we just said, if someone says something weird, just block'em, so she learns, you know, she learns about that. And we would tell her the first, you know, month when she was tweeting, well, don't say that, that's obnoxious, or that makes you look this way, don't do it. But very quickly it's like she learned how to be polite. She learned how to express herself in a way that was not cruel and judgmental of other people or things she's seen in the media. And it's more about her and about our life, and people really respond to it in a big way.
What's interesting now is we're all nervous about the kids being on the Internet. They see everything, so this idea that you're going to prevent kids from seeing things - yeah, good luck with that. All you can do is raise a kid who will talk to you if they see something weird.
It's like in "Knocked Up" where she says I Googled murder. Well, what did you see? There was some people on the ground and blood and blah. But...
...will talk to you if they see something weird. It's like in "Knocked Up," where she says I Googled murder. Well, what did you see? Oh, there was people on the ground and blood and bleh. But they're going to see those images. You just want to raise a kid that knows to just shut them off, or to know how to process all this information, because all kids do all day long is judge each other.
They put up a photo and people like it or don't like it. So they're not as sensitive as we are. They're used to way more input, and it doesn't throw them off their game. Like, if someone says, like, I hated the movie, Judd. I'm devastated. But Maude will read a thousand comments on the movie, and if 900 of them are good, she's pretty happy.
APATOW: Because it is - you know, she's from the world of Rotten Tomatoes. I'm from the world of, you know, one bad review in the New York Times, and I'm going to cry. But she's like, but, dad, your Metacritic score was 82. So it's just - everything about it is different. And she's found her voice on it. So I feel like that's positive. And - but I could be wrong. I mean, you know, I - we still pay, you know, attention to it.
GROSS: You're an executive producer of the HBO series "Girls"? Do I have the title right?
APATOW: Yes, I am.
GROSS: And you kind of made it happen, is my understanding, that - didn't you basically bring it to HBO with her, and said you should do something and get her an audience at HBO?
APATOW: Well, I saw "Tiny Furniture," and loved it.
GROSS: That's the independent film that she made on, like, for about $5...
APATOW: Yeah.
GROSS: ...on, basically, a cell phone, you know.
APATOW: It's a beautiful movie she made on a Canon camera for 45 grand in her parents' apartment in New York. And I just reached out to her and said: That's incredible. If there's anything I could ever do to help you, let me know. And it turned out that she was about to set up this project with HBO with a good friend of mine, Jenny Conner, who worked on "Undeclared." And they asked me to be a part of it.
So it didn't come from me, but I think my involvement might have made them take it more seriously. And I was very aggressive about I really want to make this pilot. I don't want Lena to have a script in development for two-and-a-half years. Let's make the pilot. We'll make it good. And they were very supportive to making it something that was real, and not just - you know, a lot of stuff goes into development and disappears.
GROSS: If you're just joining us, my guest is Judd Apatow. His new film, which he wrote and directed, is "This is 40." Let's take a short break here, and then we'll talk some more. This is FRESH AIR.
GROSS: Let's get back to my interview with screenwriter, director and producer Judd Apatow. His new movie is called "This is 40." He's also an executive producer of Lena Dunham's HBO series "Girls," which returns in January.
What have you learned working with her, since she's a woman, and most of the people who you've worked with as writers have been men?
And also, because she's in her 20s now, which is what you were when you got started, but now you're in your mid-40s. So she represents a different generation. So are there things that you feel like you've picked up? You know, insights into what it's like to either be that age now or to be, you know, a woman of that age, you know, in her 20s?
APATOW: You know, I've had this great experience over the last six years working with brilliant women, you know, working with Kristen Wiig and Annie Mumolo on "Bridesmaids..."
GROSS: True. Of course. Right. Of course.
APATOW: ...you know, since 2006.
GROSS: Right.
APATOW: And that was, you know, a long run. And a lot of people, you know, for a long time said, look, where are the projects where women are the center? And, you know, we were just trying to make a good one. It just wasn't done yet. And then I met Lena, and with both Lena and Kristen and Annie, you know, you do get a sense that they approach all of the work differently than men.
The things that they're writing about are different, but it's hard to say what it is. It's hard to go, well, this is, you know - because everyone's looking for love. Everyone's looking to be happy. Everyone wants to be grounded. There is specific neuroses to their projects that are - it's not exactly how men are. There's more of a vulnerability to how they go about their lives. I think the friendships are different.
And I love the friendship between Kristen and Maya in "Bridesmaids." It's just very special, and it's not the same as the Seth and Evan character in "Superbad." It has just as much love. It's expressed differently.
So I don't know if I'm answering your question about, you know, what I learn from them. I think they're all willing to not worry about being liked. They will expose themselves and show all of their pain and frustrations and desires.
And we never have a moment where they think, I'll look weird doing that, or that makes me look bad. They just want to expose the truth, which is what I always want. And being around them has made me want to do that more in my work. And I think working on "Girls" helped "This is 40," not just because Lena was reading the scripts and giving me notes - Jenny, as well - but just watching her balls. She's just so courageous, that I thought, oh, I guess I have to go all the way, because look at what Lena's doing.
GROSS: You seemed to have taken an almost parental responsibility for younger performers and writers, dating back to "Freaks and Geeks." And there's a history of "Freaks and Geeks" in the Vanity Fair comedy edition, where you and other people talk about doing the show. I mean, you and Paul Feig, who you worked on with it...
APATOW: Feig.
GROSS: Feig. Sorry. Basically, you took kids who were in high school and kind of took them out of high school to work on the show. And when the show was canceled, I think there was this great feeling of, like, guilt and responsibility. Now what happens to them? And you've really, like, worked with, you know, people over the years, including Seth Rogan and Jason Segel. And you helped them become writers. You helped them have careers in acting, and so on, and then taking on Lena Dunham and "Girls" and helping to shepherd that through. And I guess I'm interested in that feeling of not everybody does that, you know.
APATOW: Mm-hmm.
GROSS: Not everybody helps out younger people. And it makes me think of several things. It makes me think about how when you were younger and you were in high school and you were interviewing these older, established comics and wanting to learn from them and hoping that they would help you.
And it makes me think about your parents divorcing, and you feeling like you had to be independent and make decisions on your own, because they saw things from opposite points of view and you had to decide who was right and what was right and going out when you were young.
And I'm wondering if that is a connection, if you think that they're, you know, related at all?
APATOW: I think it completely is. I mean, on one level, it's definitely that thing that when you're a kid, you just want someone to help you out. Like, who's looking out for me? You know, who's going to tell me what to do? And when I interviewed people, certain people were very, very kind. Most everybody was very cool.
But certain people just, you know, made the extra effort when they were talking to me. You know, Jerry Seinfeld really, you know, looked me in the eye and told me how he writes jokes and how his mind works. And I interviewed him twice. He didn't have to do it again. I interviewed Jay Leno twice. And they, you know, it was a very, kind of, giving experience.
And then later in life, when I started working for Garry Shandling, I mean, he really took me under his wing. When I started working at the "Larry Sanders Show," he said to me, you're going to learn so much here. You know, he was going to teach me. It wasn't like he thought, oh, my God. Judd's going to be so helpful and make my life easier.
APATOW: It was, you know, this is going to be a great experience for you. And almost everything I learned about writing, I learned from being around Garry at the "Larry Sanders Show." And I always appreciated that kindness. So when we did "Freaks and Geeks" and there were all these kids around, and I thought they all deserved to be the stars of movies and to write movies and to do everything.
It felt natural to say, hey, can I give you some advice? If you want to be in a movie, you better write it yourself, because it's hard to get a job in this town, and especially if you're a unique personality. Those scripts aren't just sitting around. And I wanted them to succeed, because I felt like we'd changed their life trajectories by putting them on this TV show.
You know, Seth moved to America from Canada. And then the show got canceled. Well, what's he going to do? His parents moved here, as well. And Jason Segel didn't go to college. Maybe it wasn't because of "Freaks and Geeks," but he didn't go to college. And I felt like, oh, I'm not the kind of person that would just move on to my next project and never talk to these people ever again. I love all these people, and I believe in them. And we all became great friends.
GROSS: I really regret that we have to end the conversation, because it's your fault, because you have to be someplace.
APATOW: Oh, no.
GROSS: But...
APATOW: Screw those other people.
GROSS: It has been so wonderful to talk with you. Thank you so much. I really enjoyed the new movie.
APATOW: Thank you very much.
GROSS: And it's just been great to have you back on the show. I hope we get to do it again.
APATOW: It's great to be here, face to face.
GROSS: Yes.
Judd Apatow wrote, directed and produced the new movie "This is 40." It opens December 21st. And he edited Vanity Fair's new comedy edition, which is their January issue. You can download podcasts of our show on our website freshair.npr.org, and you can follow us on Twitter @nprfreshair, and on Tumblr at nprfreshair.tumblr.com.
Before we hear some music by Graham Parker from the soundtrack of "This is 40," I want to apologize for a mistake I made yesterday when I credited Dave Brubeck with writing Paul Desmond's composition "Take Five." So here's a song by Graham Parker that he wrote for "This is 40."
GRAHAM PARKER: (Singing) When you that weight on my shoulder, when you put that hook in my mouth, it pulls me down like a concrete kite. Oh, what do you like? Then you kick that chair from below me, leave me swinging in the drowning seat. We used to be friends. Now we just fight. Oh, what do you like? How did we get here? I don't know. How did we lose that original glow? We started in love, but now you're a shrike. Look it up in the dictionary. What do you like?
Transcripts are created on a rush deadline, and accuracy and availability may vary. This text may not be in its final form and may be updated or revised in the future. Please be aware that the authoritative record of Fresh Air interviews and reviews are the audio recordings of each segment.


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Megawall cabin 1m², height 2,5 m, with lockable door
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Megawall cabin 1m², height 2,5 m, with lockable door
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Messe Düsseldorf is one of the 5 most successful trade fair organisers worldwide. Some 30.000 exhibitors present their products to 1.5 million trade visitors at events in Düsseldorf each year. About 50 trade fairs are being held in Düsseldorf, including 23 global leaders in five areas of expertise: machinery, plants and equipment, retail, trade and services, medicine and healthcare, fashion and lifestyle, and also leisure. Messe Düsseldorf GmbH is the trade fair company wi... read more
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Madeline Stevens knows what it's like to be a military brat.
"The first week of school, it's really hard," said Stevens, a 17-year-old from Jacksonville, Fla., who has moved eight times with her naval aviator father and attended 10 different schools. "You sit by yourself at lunch, you try and make friends in classes. When you're younger it's easier because, you know, you just share crayons, and you're new best friends."
But in high school, Stevens said she's had to integrate herself into sports and clubs to make friends, many of whom already have known each other most of their lives. The shuffle also has been a strain academically.
Moving can be tough for any child, but it can be even harder for children of military families, who, like Stevens, might relocate more frequently. They must leave friends behind and get acclimated to new schools that might have a different curriculum than the one they left behind. And the emotional impact of having a deployed parent also can include worry and anxiety, said Mary Ann Rafoth, dean of Robert Morris University's School of Education and Social Sciences.
"Most of us go through each day not realizing that we're a nation at war. But those kids do," she said. "They often feel like they're carrying that burden alone."
However, educators often don't have the tools to help military children cope.
A new initiative being launched Oct. 3 by first lady Michelle Obama and the vice president's wife, Jill Biden, is designed to better prepare educators instructing military-connected children. "Operation: Educate the Educator" already has a commitment from more than 100 colleges offering teaching degrees.
The Obama administration has partnered with the American Association of Colleges for Teacher Education and the Military Child Education Coalition to help military children as they face social, emotional, and learning challenges in the classroom while having an active-duty parent.
The colleges that have signed on have agreed to incorporate information about military children in the training curricula for student teachers, push faculty and student teachers to do research on military children, and require student teachers to work with military children as part of their final clinical experience or internship.
The guidelines also encourage the colleges to work with admissions offices to identify military children, offer workshops and seminars to faculty and student teachers, and partner with K-12 schools for joint development programs.
There are nearly 2 million students whose parents are either on active duty, members of the National Guard or Reserves, or military veterans, according to the Military Child Education Coalition. Students often move six to nine times during their preschool through high school education. More than 80 percent of the 1.1 million-plus K-12 students attend public schools.
Biden said she was moved by a story of a little girl who burst into tears when "Ave Maria" played at her school's Christmas program because the song had also been played at the funeral of father, who died in Iraq.
"It was so shocking to me that that teacher really was unaware that this girl had a daddy who was in the military," she said. "We have to make sure that we can identify the military children and that we can do things to celebrate military families."
Biden said it was inevitable that the education of military children would become part of Joining Forces, the initiative she launched with Mrs. Obama in 2011 to support military families. The campaign also has helped formerly deployed soldiers seek employment stateside and has aided spouses.
"We say, when you have a family member who is in the military service, the families serve too," she said. "Think of the pressures on the families, and so they're all in this together."
Robert Morris University, located in Moon Township, Pa., near Pittsburgh, serves a large community of the military children with the nearby Air Force Reserve base. All education majors at Robert Morris attend weekly seminars to discuss the challenges of student teaching with their school faculty. Starting this semester, one of the sessions will be devoted to discussing the needs of children with parents in the military who are deployed, stateside, or veterans.
Rafoth, who will lead the session, said the constant moving can cause "holes in instruction," rather than cognitive issues for the student.
"This especially happens with math instruction because math curricula vary place to place, and it's possible you can go around and never get fractions because those are taught in a discrete place in the curriculum," she said. "Then, boy, are you up a creek when you meet algebra."
Almost 10 percent of the 24,000 students at Kansas State University are military-connected since there are three military bases in the state.
The university's College of Education will hold a special session on the needs of the military-connected families at its educational symposium, an annual career day for about 500 students. The school also will incorporate information about military children into a required teaching course, Core Teaching Skills, about effective teaching and learning.
Debbie Mercer, the college's dean, said military children deal with anxiety and fear of the unknown. Those issues can manifest in the classroom with a student becoming withdrawn or acting out, she said.
"Being able to reach that child where they are, help figure out exactly what is going on, and then come up with a plan for that child is important," she said.
- 'Buyer's remorse' dogging Common Core rollout - October 30, 2014
- Calif. law targets social media monitoring of students - October 2, 2014
- Elementary world language instruction - September 25, 2014


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After controlling the comings and goings of its citizens for 50 years, Cuba is relaxing its grip. The government announced it would eliminate the exit visa requirements. That announcement has been welcomed by many there, but as Nick Miroff reports from Havana, not all Cubans will be treated equally when the new immigration rules take effect in January.
NICK MIROFF, BYLINE: Cuban broadcasters read the announcement word-for-word on state television, just in case there were some who wouldn't have believed it otherwise.
UNIDENTIFIED WOMAN: (Spanish spoken)
MIROFF: Cuba updates its immigration policies, the announcers read, careful as always to avoid the term reform. Still, the move is part of President Raul Castro's broader effort to loosen up the more restrictive elements of the island's socialist system while its aging leaders are still in office.
MIROFF: Standing outside the sales offices of Cubana Airlines at a busy Havana intersection Tuesday, 28-year-old Yumaida Antunes said she shouted for joy at the news.
YUMAIDA ANTUNES: (Spanish spoken)
MIROFF: Cuban immigration has never denied her an exit permit, Antunes explained, but the long lines and steep costs were an enormous headache. She says getting a visa from a foreign consulate will still be the biggest obstacle to travel.
The measures will make it easier for Cubans with relatives abroad to visit their families and to keep their property and residency status in Cuba if they live abroad. Now the question is how many Cubans will try to leave. Juan Carlos Gonzalez said his compatriots were deluding themselves if they thought the measure meant they'd be heading off to Disney World.
JUAN CARLOS GONZALEZ: (Spanish spoken)
MIROFF: What are we supposed to do? Gonzalez said. We don't make enough to live on, let alone to travel. But the exit permit requirement was more than an expensive hassle. It was a symbol for many here of maddening bureaucracy and excessive government control. Sixty-one-year-old Hermes Bosch worked as a geography teacher for more than 30 years, but like many here, he's never left the island.
HERMES BOSCH: (Spanish spoken)
MIROFF: I know the world through movies and magazines and photographs, Bosch says, but never in real life. I wish.
Travelers like Bosch will be free to go if they can get a visa and buy a plane ticket. But not all Cubans will be treated the same. The exit permit was long justified by the Castro government as a way to prevent brain drain, particularly since the United States offers special enticements to Cuban doctors and gives asylum to any other Cuban who reaches American soil. Many of those professionals will still face restrictions. Elizardo Sanchez, one of the island's most prominent dissidents, says the government is making a tacit recognition of Cubans' individual travel rights, but it's not a full normalization.
ELIZARDO SANCHEZ: (Spanish spoken)
MIROFF: Thousands and thousands of Cubans will still be excluded and discriminated against because of ideological reasons, he says, or because the government alleges they have some national interest at stake because the person has a scientific or technical degree.
The Cuban government says its aim is to facilitate a more flexible relationship between Cuban migrants and their homeland. There's also an economic interest at stake, as greater mobility means more Cubans can earn money abroad and spend it back home. We know the world economy is in bad shape, as one Cuban would-be traveler put it, but almost anywhere must be better than this.
For NPR News, I'm Nick Miroff, in Havana. Transcript provided by NPR, Copyright NPR.


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Savini Forged SV67 Wheels
Available Finishes
Available Forging
Savini Forged SV67 Wheels are available in the following sizes
For more information on these wheels please contact one of our four Atlanta locations at 770-428-8473 or Request a Quote above.
The Savini Forged line is the most refined and meticulously designed product cut from only the best aluminums in a multi-piece construction with (6) different profile configurations and a wide variety of custom finishes.
Available Configurations
Savini Forged Signature configuration is their entry-level profile that was designed to the performance enthusiast at mind. With an original Flat-Face profile to restrict the mass of a center disk, it becomes the lightest in weight of all multi-piece wheel configurations, making it a true classic.
Available in sizes: 19" | 20" | 21" | 22" | 24" | 26" | 28" | 30" | 32"
Savini Forged Duoblock configuration is the most refined and remarkable design in aftermarket wheel engineering. It provides more depth than their Xtreme Concave configuration and combines it with their Mono configuration to provide a revolutionary 2-piece constructed wheel.
Available in sizes: 20" | 21" | 22"
Savini Forged XC - Xtreme Concave configuration was meticulously designed and crafted to challenge the limits of aesthetics and versatility with a staggering front and rear deep concave profile that also provides depth in the outer rim halve for an astonishing appearance. XC - Xtreme
Available in sizes: 20" | 21" | 22" | 24" | 26"
Savini Forged Performance configuration was introduced to be lighter and more powerful than their Xtreme Concave configuration. Although it shares the same deep concave aesthetics, it loses 4 inches of material off the center disk.
Available in sizes: 20" | 21" | 22"
Savini Forged Mono configuration offers simplistic beauty with a deep concave profile that is race inspired and engineered to be the lightest and most profound of the Savini Forged Wheels family. Defining the by its unified 1-piece construction.
Available in sizes: 19" | 20" | 21" | 22" | 24"
Savini Forged XLT - Xtreme Lip Technology configuration also known as "Step Forging" was created to aesthetically improve the depth of the outer rim half by adding a 2" drop to push the assembly register back and maintain brake clearance for the most performance.
Available in sizes: 19" | 20" | 22" | 24" | 26" | 28"


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Conserveware PETE Clear Flat Lid for Portion Cup – 2 oz – 2.5″ – 42PCL2 – 2,500/Case is a great to go option to traditional single-use, petroleum-based materials. Not only are these biodegradable Portion Cup Lids eco-friendly, they safely secure food, liquids, and maintain temperatures. Be sure to ask about our custom production and printing to help you stand out among your competition. US Supply House offers volume and distributor pricing, dedicated support, warehousing, and distribution services globally. Additional information, product specifications, and packaging details below.
Nowadays, it is extremely important that restaurants offering take-out and delivery options, safeguard consumers and employees and simultaneously protect the environment. This is why US Supply House wants to make it easy for you to access the largest on-line selection of custom biodegradable take out food containers.
Our products are certified by some of the leading sustainable product certification agencies: Biodegradable Products Institute, ASTM International, Cedar Grove, Forest Stewardship Council, and others. These agencies test and certify products to ensure there is little to no environmental footprint and that they are made from natural materials such as:
-wheat straw
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Besides being amazing alternatives to plastic, fibrous plants and post-consumer recycled materials can be transformed into alternatives to tree-dependent paper products as well. Additionally, limiting our use of petroleum-based products and other synthetic materials is the best way to save our natural resources and protect mother nature.
Please understand, we are not the only advocates, the government has a USDA BioPreferred Program that is designed to reduce the reliance on petroleum by mandating all federal agencies purchase biobased products.
At US Supply House, we focus on providing affordable high-quality products, fast delivery, and world-class customer service to help restaurants succeed. Many types of organizations rely on us for custom biodegradable take out food containers, disposables, and food service supplies, including:
-Food Trucks
-Event Planners
Shop US Supply House for the largest on-line selection of custom biodegradable take out food containers and help us make our planet a better place to live.


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**This is an unfinished slab**
If you are looking to add a finish to this slab we can finish it for you (at an additional cost), just leave a note at checkout and we will follow up with estimates. Upon being finished it will be sanded smooth and we coat it with oil, which will enhance the color and beauty in this piece.
Each slab we have is handpicked by us. We travel to Central and South America every couple months and have the wood shipped to Los Angeles shortly after.
Every slab is kiln-dried for several months.
DON'T FORGET: Being a custom shop, we can easily fulfill any project you have in mind just send us a message and we can talk about it!
We have the best wood, lowest prices, and greatest customer service in the industry. Let us earn your repeat business.
1(888) WOOD-120 or (1-888-966-3120).
(If this product is sold out please write us, we more than likely will have sister slabs or can help you find a slab in our shop that will fit your needs as well)
Dimensions (in inches):
Length: 104
Width: 48
Thickness: 2
Board Feet: 65


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With the increasing flexibility of the modern workplace, there are many more businesses offering their employees the opportunity to work from home. While this shift in the job market has created many new options for freelance workers, it can also be a good reason to turn a spare room into a spanking new office. If you're working from home, here are some tips for a stylish transition.
Prime It With Paint
Outside of lighting, the color and upkeep of the walls is going to have a huge impact on the way your spare office will look. Before even considering placing furniture or putting up pictures, decide on the perfect shade of paint that will keep you inspired and will go with the rest of your house. This will easily brighten the room, and prep it for its future purpose.
Start With Good Lighting
There are few things that will change the ambiance of a room like light, so make sure the room you are changing up has a great set of windows or the kind of fixture that will provide effective illumination. Since many people have a hard time focusing in the orange or bright light that can come in certain work settings, a well-lit place may make all of your work seem a little bit easier.
Decide On A Desk
Many people put any old clunker of a desk in their spare office since it will do the trick, but if you're making the decision to renovate your spare room for work, it will be worth it to choose a desk you'll want to work at. Before going desk shopping, measure out the length and width of your spare room so you can make a desk purchase that will work for your new office.
What's On The Wall?
Beyond the supply of pens, paper and a computer, it might seem like the extras of your office situation can be kept out of the equation, but a few pictures can add a lot. While you may want to add some photos of family and friends, it might also be helpful for your work-time diligence to put up a picture that adds a shot of color and will inspire your best work.
There are a lot of great options for a spare room, but if you work from home, an office can be the ideal renovation. If you happen to be sprucing up your spare room to sell your home, you may want to contact one of your local real estate agents for more information.


text: Employers are required to file annual reports for any year in which they have registered lobbyists, even if there is no reportable activity. The list below includes all reports for 2016 and later. Reports for periods prior to 2016 are available in our advanced search by searching for forms L1, L2, L3 and amendments.


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Turtles of Tarpon Scavenger Hunt
May 22, 2023
Can you find all eleven Turtles of Tarpon? This new scavenger hunt guides you across Fripp Island in search of our small shelled friends. Just grab a clue card from the Activity Center or download your clue card HERE! Happy Hunting!


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Shop and buy Coppertone Lenses online at Go-Optic.com and enjoy the time and money you save. It's hard to believe how there can be so many stylish looks at one place. Find your favorite glasses at the lowest prices available with our lowest price guarantee. If you have seen them for less elsewhere, please let us know using our price match form. Go-Optic.com is an authorized retailer of Coppertone Lenses and offers only brand new, unused and authentic new Coppertone Lenses. If you want high fashion, low prices, and the latest collections, then we have what you want. Shop through thousands of fashionable styles out of our vast selection of eyewear. Buy yourself the perfect Coppertone Lenses to complement your features and style. Choose from the Single Vision, Progressive, Polarized collections and much more - Practically something for everyone who wants the best Coppertone Lenses. Try-on your eyewear, and if you're not satisfied, we offer an easy and competitive returns policy. Shop confidently from a reputable and authoritative optical store online knowing that you will get a minimum of one year warranty for any manufacturing defects.
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