Kendra Wilkinson Takes Kate Gosselin's Parenting Advice After Celebrity Wife Swap






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02/26/2013 at 05:00 PM EST







Kendra Wilkinson (left) and Kate Gosselin


Giulio Marcocchi/Startraks; Taylor Hill/Getty


When it comes to parenting, Kendra Wilkinson considers Kate Gosselin her mentor.

"If there's any person in this world I'm going to take motherly advice from, it's going to be Kate Gosselin," Wilkinson, 27, told PEOPLE on Friday. "She has eight kids and she knows what she's doing with them. When she told me advice, I listened. With most people, I'm just like, 'Whatever ... whatever, I'm not going to listen to you.' But she's the type I would take advice from."

The two moms connected while filming an episode of Celebrity Wife Swap, which airs Tuesday on ABC (8 p.m. ET). While Wilkinson stayed in Gosselin's Pennsylvania home with her eight kids, Gosselin, 37, ventured to L.A. to live with Wilkinson's hubby Hank Baskett and their 3-year-old son, Hank Baskett IV.

"It was very nerve-racking and I had a lot of anxiety on my end," Wilkinson said of the swap. But, she adds, "Hank's side of things was more the drama. Kate shines the light on things people don't really understand."

Gosselin, it seems, didn't appreciate the couple's more relaxed lifestyle.

"Hank stood up for me and had my back, because I don't think Kate really understands why a man like him is so domestic," the former Girls Next Door star explains. "Hank was like, 'Just chill, relax. These are our rules.' A woman gets to relax and be free. Kate freaked out because she's so used to working and structure and every minute is by the book. But that's not us, though. We're very laid back. We go with the flow."

Still, the reality stars bonded after being out of their respective comfort zones.

"We both got a taste of each other's lives," Wilkinson says of the former Kate Plus 8 star. "We got really close and really in-depth."

She even recommends the Wife Swap experience.

"People should do these swaps more often," she says. "Not just for show, but you really just find this appreciation for your neighbors through this."

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C. Everett Koop, 'rock star' surgeon general, dies


NEW YORK (AP) — Dr. C. Everett Koop has long been regarded as the nation's doctor— even though it has been nearly a quarter-century since he was surgeon general.


Koop, who died Monday at his home in Hanover, N.H., at age 96, was by far the best known and most influential person to carry that title. Koop, a 6-foot-1 evangelical Presbyterian with a biblical prophet's beard, donned a public health uniform in the early 1980s and became an enduring, science-based national spokesman on health issues.


He served for eight years during the Reagan administration and was a breed apart from his political bosses. He thundered about the evils of tobacco companies during a multiyear campaign to drive down smoking rates, and he became the government's spokesman on AIDS when it was still considered a "gay disease" by much of the public.


"He really changed the national conversation, and he showed real courage in pursuing the duties of his job," said Chris Collins, a vice president of amfAR, the Foundation for AIDS Research.


Even before that, he had been a leading figure in medicine. He was one of the first U.S. doctors to specialize in pediatric surgery at a time when children with complicated conditions were often simply written off as untreatable. In the 1950s, he drew national headlines for innovative surgeries such as separating conjoined twins.


His medical heroics are well noted, but he may be better remembered for transforming from a pariah in the eyes of the public health community into a remarkable servant who elevated the influence of the surgeon general — if only temporarily.


"He set the bar high for all who followed in his footsteps," said Dr. Richard Carmona, who served as surgeon general a decade later under President George W. Bush.


Koop's religious beliefs grew after the 1968 death of his son David in a mountain-climbing accident, and he became an outspoken opponent of abortion. His activism is what brought him to the attention of the administration of President Ronald Reagan, who decided to nominate him for surgeon general in 1981. Though once a position with real power, surgeon generals had been stripped of most of their responsibilities in the 1960s.


By the time Koop got the job, the position was kind of a glorified health educator.


But Koop ran with it. One of his early steps involved the admiral's uniform that is bestowed to the surgeon general but that Koop's predecessors had worn only on ceremonial occasions. In his first year in the post, Koop stopped wearing his trademark bowties and suit jackets and instead began wearing the uniform, seeing it as a way to raise the visual prestige of the office.


In those military suits, he surprised the officials who had appointed him by setting aside his religious beliefs and feelings about abortion and instead waging a series of science-based public health crusades.


He was arguably most effective on smoking. He issued a series of reports that detailed the dangers of tobacco smoke, and in speeches began calling for a smoke-free society by the year 2000. He didn't get his wish, but smoking rates did drop from 38 percent to 27 percent while he was in office — a huge decline.


Koop led other groundbreaking initiatives, but perhaps none is better remembered than his work on AIDS.


The disease was first identified in 1981, before Koop was officially in office, and it changed U.S. society. It destroyed the body's immune system and led to ghastly death, but initially was identified in gay men, and many people thought of it as something most heterosexuals didn't have to worry about.


U.S. scientists worked hard to identify the virus and work on ways to fight it, but the government's health education and policy efforts moved far more slowly. Reagan for years was silent on the issue. Following mounting criticism, Reagan in 1986 asked Koop to prepare a report on AIDS for the American public.


His report, released later that year, stressed that AIDS was a threat to all Americans and called for wider use of condoms and more comprehensive sex education, as early as the third grade. He went on to speak frankly about AIDS in an HBO special and engineered the mailing of an educational pamphlet on AIDS to more than 100 million U.S. households in 1988.


Koop personally opposed homosexuality and believed sex should be saved for marriage. But he insisted that Americans, especially young people, must not die because they were deprived of explicit information about how HIV was transmitted.


Koop's speeches and empathetic approach made him a hero to a wide swath of America, including public health workers, gay activists and journalists. Some called him a "scientific Bruce Springsteen." AIDS activists chanted "Koop, Koop" at his appearances and booed other officials.


"I was walking down the street with him one time" about five years ago, recalled Dr. George Wohlreich, director of the College of Physicians of Philadelphia, a medical society with which Koop had longstanding ties. "People were yelling out, 'There goes Dr. Koop!' You'd have thought he was a rock star."


Koop angered conservatives by refusing to issue a report requested by the Reagan White House, saying he could not find enough scientific evidence to determine whether abortion has harmful psychological effects on women.


He got static from some staff at the White House for his actions, but Reagan himself never tried to silence Koop. At a congressional hearing in 2007, Koop spoke about political pressure on the surgeon general post. He said Reagan was pressed to fire him every day.


After his death was reported Monday, the tributes poured forth, including a statement from New York Mayor Michael Bloomberg, who has made smoking restrictions a hallmark of his tenure.


"The nation has lost a visionary public health leader today with the passing of former Surgeon General C. Everett Koop, who was born and raised in Brooklyn," Bloomberg said. "Outspoken on the dangers of smoking, his leadership led to stronger warning labels on cigarettes and increased awareness about second-hand smoke, creating an environment that helped millions of Americans to stop smoking — and setting the stage for the dramatic changes in smoking laws that have occurred over the past decade."


Dr. Anthony Fauci of the National Institutes of Health taught Koop what was known about AIDS during quiet after-hours talks in the early 1980s and became a close friend.


"A less strong person would have bent under the pressure," Fauci said. "He was driven by what's the right thing to do."


Carmona, a surgeon general years later, said Koop was a mentor who preached the importance of staying true to the science in speeches and reports — even when it made certain politicians uncomfortable.


"We remember him for the example he set for all of us," Carmona said.


Koop's nomination originally was met with staunch opposition. Women's groups and liberal politicians complained Reagan had selected him only because of his conservative views, especially his staunch opposition to abortion.


Foes noted that Koop traveled the country in 1979 and 1980 giving speeches that predicted a progression "from liberalized abortion to infanticide to passive euthanasia to active euthanasia, indeed to the very beginnings of the political climate that led to Auschwitz, Dachau and Belsen."


But Koop, a devout Presbyterian, was confirmed as surgeon general after he told a Senate panel he would not use the post to promote his religious ideology. He kept his word and eventually won wide respect with his blend of old-fashioned values, pragmatism and empathy.


Koop was modest about his accomplishments, saying before leaving office in 1989, "My only influence was through moral suasion."


The office declined after that. Few of his successors had his speaking ability or stage presence. Fewer still were able to secure the support of key political bosses and overcome the meddling of everyone else. The office gradually lost prestige and visibility, and now has come to a point where most people can't name the current surgeon general. (It's Dr. Regina Benjamin.)


Even after leaving office, Koop continued to promote public health causes, from preventing childhood accidents to better training for doctors.


"I will use the written word, the spoken word and whatever I can in the electronic media to deliver health messages to this country as long as people will listen," he promised.


In 1996, he rapped Republican presidential hopeful Bob Dole for suggesting that tobacco was not invariably addictive, saying Dole's comments "either exposed his abysmal lack of knowledge of nicotine addiction or his blind support of the tobacco industry."


He maintained his personal opposition to abortion. After he left office, he told medical students it violated their Hippocratic oath. In 2009, he wrote to Senate Majority Leader Harry Reid, urging that health care legislation include a provision to ensure doctors and medical students would not be forced to perform abortions. The letter briefly set off a security scare because it was hand delivered.


Koop served as chairman of the National Safe Kids Campaign and as an adviser to President Bill Clinton's health care reform plan.


Worried that medicine had lost old-fashioned caring and personal relationships between doctors and patients, Koop opened an institute at Dartmouth College in New Hampshire to teach medical students basic values and ethics. He also was a part-owner of a short-lived venture, drkoop.com, to provide consumer health care information via the Internet.


Koop was the only son of a Manhattan banker and the nephew of a doctor. He said by age 5 he knew he wanted to be a surgeon and at age 13 he practiced his skills on neighborhood cats. He attended Dartmouth, where he received the nickname Chick, short for "chicken Koop." It stuck for life.


He received his medical degree at Cornell Medical College, choosing pediatric surgery because so few surgeons practiced it. In 1938, he married Elizabeth Flanagan, the daughter of a Connecticut doctor. They had four children. Koop's wife died in 2007, and he married Cora Hogue in 2010.


He was appointed surgeon-in-chief at Children's Hospital in Philadelphia and served as a professor at the University of Pennsylvania School of Medicine. He pioneered surgery on newborns and successfully separated three sets of conjoined twins. He won national acclaim by reconstructing the chest of a baby born with the heart outside the body.


Although raised as a Baptist, he was drawn to a Presbyterian church near the hospital, where he developed an abiding faith. He began praying at the bedside of his young patients — ignoring the snickers of some of his colleagues.


___


Contributing to this report were Associated Press writers Wilson Ring in Montpelier, Vt.; Jeff McMillan in Philadelphia; and AP Medical Writer Lauran Neergaard in Washington.


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Does Eric Garcetti keep his word? Accounts vary









Santiago Perez and his neighbors went straight to Councilman Eric Garcetti when they heard that a developer planned to build a 62-unit housing and retail development on their quiet street in Echo Park.


Worried that the four-story complex would tower over homes and bring excess traffic, the group emerged from their meeting at Los Angeles City Hall feeling relieved. "He told us that, yes, he's with us and he will do everything possible to reject the plan," Perez said.


But months later in front of the citywide Planning Commission, a Garcetti representative offered the lawmaker's tacit support for the project, saying it was "designed well" and would bring needed jobs and housing to the area.





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Perez and his neighbors felt blindsided. "He said one thing and then he did another," Perez said. One of his neighbors fired off an angry message via Twitter: "Eric Garcetti went back on his word."


If Garcetti succeeds in his bid to become L.A.'s next mayor, he will face new pressure to take decisive action on hotly contested issues. A number of colleagues and constituents say he has not always been a steadfast ally and decision maker.


Another mayoral front runner, Wendy Greuel, alluded to that allegation in a recent appearance before city workers, saying they need someone who will "be true to their word."


FULL COVERAGE: L.A.'s race for mayor


Garcetti insists he never wavers from a promise. In nearly 12 years in office, he has made decisions that have upset some people, he acknowledged. But the vast majority of people he has worked with have had positive experiences, he said.


He said that he never committed to fighting the Echo Park development and that he "reserves the right" to take his time forming a position on an issue. "I listen to a lot of people to make sure I'm as well-informed as possible up until the last hour," he said.


Councilman Bernard C. Parks, who has served alongside Garcetti for more than a decade, said Garcetti too often tests the political winds before taking a stand. Parks, who is backing Councilwoman Jan Perry's bid for mayor, alleges that Garcetti misled him last year by voting for a controversial redistricting plan after indicating he opposed it. Garcetti also undermined the city's efforts to hold down costs of employee union contracts, Parks said.


INTERACTIVE MAP: How Los Angeles voted


"I think he doesn't want to make an enemy of anyone," Parks said.


Garcetti said that he never told Parks he would oppose the redistricting plan and that the tough stance he took with the unions is "the reason I don't have [them] lining up behind me."


Questions of Garcetti's reliability arose for Marc Galucci, who went to the councilman for support in turning his Echo Park cafe into a restaurant serving beer and wine.


Galucci assembled neighbors to back his application for a liquor license for Fix Coffee, but parents of some children at a nearby school opposed it.


Galucci said Garcetti told him that he would remain neutral but offered suggestions on how to gain community support. Then, at 10 p.m. the night before the liquor license hearing, a Garcetti representative phoned. "Tomorrow at the hearing we're going to oppose this," she said.


"I was just flabbergasted," said Galucci. He later learned that Monica Garcia, president of the Board of the Los Angeles Unified School District, had asked Garcetti to oppose the request.


In the end, Galucci got the license, but he said the situation left him with a bad taste.


Garcetti acknowledged that the issue had been "a contentious one," but he said he had not pledged to remain neutral. He said that he initially liked the idea of a liquor permit for Fix but that community opposition "continued to grow and grow."





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Lens Blog: The Largely Unknown Photography of Lola Álvarez Bravo

The year 2007 was a pretty good one for rediscovering long-forgotten images in Mexico. Most people already know about Robert Capa’s Mexican suitcase, a trove of his work from the Spanish Civil War. But that same year an unknown archive of vintage prints by Mexico’s greatest photographers was also discovered, left behind in the longtime home of Lola Álvarez Bravo.

The find, known as the Gonzalez-Rendon archive, had prints and original photomontages by Lola, as well as some beautifully printed images by Manuel Álvarez Bravo, to whom she had been married for several years. The find also included work by some of Lola’s students who had gone on to become noted photographers, Mariana Yampolsky and Raul Conde, among them.

Though overshadowed by her more famous partner, who had resisted her foray into photography, Lola ranks among Mexico’s most celebrated photographers, having done portraits of fellow artists and intellectuals as well as work among the indigenous and poor, whom she portrayed with a sense of compassion and social criticism. Her images provide a window in what she — a working photographer and teacher most of her life — valued as an artistic statement.

“It’s what an art historian dreams about, finding the missing pieces,” said James Oles, a lecturer at Wellesley College who was among the first to inspect the images in Mexico. “The material fleshes out some aspects of her work, giving us original titles and dates that radically change the meaning and interpretation of a work of art. And the original photomontages give an idea how she created them.”

Born Dolores Concepcion Martinez in 1903, she grew up in a wealthy family, although she had to move in with relatives when her father died. She first met Manuel in her youth, marrying him in 1925. As an accountant, he was sent to work in Oaxaca, where the couple began to take pictures, Mr. Oles wrote in his recently published book, “Lola Álvarez Bravo and the Photography of an Era.”

The area’s poverty struck her, and it elicited a compassion in her work that was different from her husband’s more complex images.

“Lola was maybe a little more natural,” Mr. Oles said. “She was interested in more candid and less intrusive images. She was certainly more interested in people than things.”

The couple separated in 1934, divorcing in 1949. Throughout, she kept his name and did not remarry. She supported herself as a photographer working for government agencies, as well as teaching, where she influenced many.

“I think Lola was a remarkable photographer, especially given all the challenges she faced,” said Elizabeth Ferrer, who published “Lola Álvarez Bravo” with Aperture. “There were women artists, though women were not supposed to be working in the street but in the studio. But the kind of photography done at the time involved a greater public interface, and the fact that she did that showed her incredible strength and desire to photograph the world around her.”

Although she found her own path apart from her more famous husband — she was more gregarious, enjoying the company of artists, writers and intellectuals — work and circumstance worked against her. It was not until the 1980s, Mr. Oles said, that her work as an artist came to the fore.

Mr. Oles visited her in the early 1990s, around the time when the Center for Creative Photography at the University of Arizona acquired an archive of her work. Lola was moved by her son to another apartment, and she died in 1993.

Fourteen years later, Mr. Oles got a call from a museum in Mexico City. Relatives of one of Lola’s friends, who had purchased her old apartment, had been safeguarding several boxes that had been left behind. One of them had taken the time to preserve and order the prints.

“She didn’t sell anything or have it framed in her apartment, but just organized it,” Mr. Oles said. “When I went there, it was amazing. It showed what had been separated at some time by Lola, and God knows when or why, there were a lot of her own photos. Many were by students of hers as well as a group of extraordinary vintage photos by Manuel Álvarez Bravo.”

Her photos — including some vintage prints that were exhibited in Philadelphia in 1943 — shed new light on her work. In some cases, original titles gave new meaning to old images. One shot of an indigenous woman seated against a wrought-iron fence that had long been titled “By the Fault of Others” turned out to have “Death Penalty” (Slide 6) as its original title.

“That changes how we interpret this photo of this woman who looks trapped by this grille,” Mr. Oles said. “You can go into the archive of any major photographer and find images they never printed and exhibit them after their death without knowing what they mean. Finding this material tells us these are the photos she chose which she thought were the key images that she was interested in during that era.”

While her photomontages are well known, the archive has the originals, which she made by gluing together cut-out images she would later photograph for the final montage.

“In Mexico, photomontage was mainly a strategy of media and advertising, not an artistic project,” Mr. Oles said. “What Lola was trying to do was elevate it to the realm of high art and view it as equivalent to muralism. The multiple perspectives of photomontage and the fragmented images resolved into a whole are what a muralist like Diego Rivera does when he shows multiple perspectives of a factory and resolving them together. Lola understood that.”

Among the greatest finds in the archive are works by her students. Even in death, though, Lola’s own images prove to affect a current generation. Mr. Oles said her photos of prostitutes, titled “Triptych of the Martyrs,” has a powerful element of feminist criticism.

“Their faces are obscured with wound-like shadows,” he said. “There is this undercurrent of social critique. Whenever my students see those pictures, they are moved sometimes to the point of tears. I don’t think any of Manuel Álvarez Bravos’s photos move them to tears.”


The exhibit “Lola Álvarez Bravo and the Photography of an Era” will be on view at the Center for Creative Photography in Tucson from March 30 through June 23.

Follow @dgbxny and @nytimesphoto on Twitter. Lens is also on Facebook.

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Camila McConaughey Debuts Fab Body 8 Weeks After Baby

Camila Alves McConaughey Body After Baby
Emiley Schweich/PR Photos; Jon Kopaloff/FilmMagic


Camila McConaughey is the epitome of hot mama.


Over the weekend, the model, 31, made a triumphant return to the red carpet in not one, but two amazing outfits.


The new mom-of-three — son Livingston was born on Dec. 28 — debuted her gorgeous post-baby curves in a body-hugging black pantsuit at the QVC Red Carpet Style event Friday in Beverly Hills.


And on Saturday, she showed off a little leg in a coral embellished Escada gown paired with a white snakeskin clutch, blush platform pumps and H.Stern jewels while attending the Independent Spirit Awards with husband Matthew.


So is the busy mom willing to share her secrets with other expectant women?


“I’m writing things down because there’s so many things to know and products; [the] kind of stuff that you don’t find out until later,” she told PEOPLE.


Hmm, sounds like there’s an advice book in the works. But McConaughey remained mum on the topic. “I’m not saying that yet.”


One thing she was willing to divulge: there’s lots of laughter in her house due to the funny antics of older kids Levi, 4, and Vida, 3.


“They [make me laugh] every day.”


Shanelle Rein-Olowokere with reporting from Gabrielle Olya


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Mahony answers questions under oath about clergy sex abuse cases









A "relatively unflappable" Cardinal Roger Mahony answered questions under oath for more than 3 1/2 hours Saturday about his handling of clergy sex abuse cases, according to the lawyer who questioned the former archbishop.


"He remained calm and seemingly collected at all times," said attorney Anthony De Marco, who represents a man suing the Los Angeles Archdiocese over abuse he alleges he suffered at the hands of a priest who visited his parish in 1987.


Mahony has been deposed many times in the past, but Saturday's session was the first time he had been asked about recently released internal church records that show he shielded abusers from law enforcement.





De Marco declined to detail the questions he asked or the answers the cardinal provided, citing a judge's protective order.


The deposition occurred just before Mahony was to board a plane for Italy to vote in the conclave that will elect the next pope. In a Twitter post Friday, Mahony wrote that it was "just a few short hours before my departure for Rome."


Church officials did not return requests for comment.


The case, set for trial in April, concerns a Mexican priest, Nicholas Aguilar Rivera. Authorities believe he molested at least 26 children during a nine-month stay in Los Angeles.


Recently released church files show Aguilar Rivera fled to Mexico after a top Mahony aide, Thomas Curry, warned him that parents were likely to go the police and that he was in "a good deal of danger." Aguilar Rivera remains a fugitive in Mexico.


The archdiocese had agreed that Mahony could be questioned for four hours about the Aguilar Rivera case and 25 other priests accused in the same period. De Marco said he did not get to ask everything he wanted and would seek additional time after the cardinal returned from the Vatican.


Past depositions of Mahony have eventually become public, and De Marco said he would follow court procedures to seek the release of a transcript of Saturday's deposition.


Meanwhile, a Catholic organization Saturday delivered a petition with thousands of signatures asking that Mahony recuse himself from the conclave in Rome.


The group, Catholics United, collected nearly 10,000 signatures making "a simple request" that the former archbishop of Los Angeles not participate in the process because of the priest abuse scandals that happened under his watch, said Chris Pumpelly, communications director for Catholics United.


The petition was delivered Saturday to St. Charles Borromeo in North Hollywood, where the cardinal resides. It was accepted by a church staff member.


After delivering the petition, organizers attended Mass at the parish to pray for healing and for the future of the church.


harriet.ryan@latimes.com


Times staff writer Rick Rojas contributed to this report.





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IHT Rendezvous: Opera for an Era When Money Is Tight

VIENNA—Not long ago it looked as if cuts in arts funding would sound the death knell of the Vienna Chamber Opera, known in German as the Kammeroper, an ensemble esteemed for its chamber-scale productions in an intimate, inviting setting. The Austrian federal government’s decision to eliminate entirely its support, which constituted half of the company’s governmental subsidies (the other half coming from the city) effectively put the Kammeroper out of business.

Yet the 2012-13 season has seen the Kammeroper come roaring back with five new productions—including a “Bohème” finishing up performances this weekend— put on by a resident company with an established orchestra in the pit.

How to explain this turnaround? In fact, the old company, which was founded over 50 years ago by Hans Gabor and was subsequently run by Isabella, his widow, is history. The new Kammeroper, formally known as Theater an der Wien in der Kammeroper, is a case of one opera company rushing to fill the void left by the collapse of another.

Few opera companies today are in a financial position to go into expansionary mode. But, with the city willing to continue its support, the Theater an der Wien saw an opportunity, as its director of artistic administration, Sebastian Schwarz, who oversees the Kammeroper, explained by phone. Surprisingly, as he pointed out, the Vienna Staatsoper lacks a young artists program, so the new venture helps meet a need in the city. It also adds a degree of continuity to the Theater an der Wien’s own operations, which include world-class productions of interesting repertory that are assembled individually, with visiting performers and orchestras.

What has happened at the Kammeroper would be akin the Metropolitan Opera taking over the name and venue of a smaller New York company in financial trouble, giving the city the “Mini-Met” audiences have fancied for decades. The Kammeroper’s venue is especially choice: the gilded former ballroom, dating from the turn of the last century, of the venerable Hotel Post in the old Fleischmarkt district of the city. Outfitted with an orchestra pit, it comfortably seats 300. The performance I attended was packed, and with ticket prices ranging from 16 to 48 euros ($21-64), it is a bargain.

At the core of the new Kammeroper is an ensemble of seven young singers, which Mr. Schwarz described as constituting a “cast for ‘Così Fan Tutte’ ”—two sopranos, a mezzo soprano, a tenor, a baritone and a bass, plus a counter-tenor. In addition to their Kammeroper duties, the singers take smaller roles at the Theater an der Wien.

“La Bohème” can make a special impact when cast with young singers, and so it does here, as performed in Jonathan Dove’s 1986 chamber version with newly composed modernistic music at the start and between acts by Sinem Altan. Basically, the opera is performed straight, but with choral and other big moments from Acts 2 and 3 excised. The interludes, which included prerecorded music, are atmospheric and intermittently engaging, but essentially peripheral. For one not knowing what to expect, it was a relief when—with Rodolfo and Marcello already onstage—the familiar music of Act 1 began to unfold and continued on uninterrupted.

The lively, updated staging is by Lotte de Beer, the young director of Robin de Raaff’s recent “Waiting for Ms. Monroe” at the Netherlands Opera. The set by Clement & Sanôu, who also did the lighting, focuses on the modern kitchen of the bohemians’ apartment, which also, somewhat confusingly seems to be part high-end boutique (at least until the merchandise is removed after Act 2). In any case, it is handsome and full of stylish details. The playwright Rodolfo writes at a laptop and throws pages of his opus into the oven for warmth.

There is an inevitable loss of grandeur in Act 2, but Ms. de Beer nicely handles Rodolfo and Mimi’s growing attraction to each other and the conflicts of Act 3. The setting of Mimi’s hospital room for Act 4 is rather contrived, however, especially since the others, not at first being allowed in, communicate with her from pay phones in the lobby, which detracts from the emotional impact. Mimi has lost her hair, presumably as a result of treating a fatal illness different from that specified by Puccini. Still, this is an engaging show

The vocal ensemble, which is capably augmented by two guests, Oleg Loza as Schaunard and Martin Thoma as Benoit and Alcindoro, is uniformly strong. From the opera’s opening line by Marcello, one admired Ben Connor’s rich, fluent baritone, and it didn’t take long for the tenor Andrew Owens to catch his stride as Rodolfo and spin his own handsomely lyrical phrases and a fine high C.

All the singers displayed ample voices that could be overpowering in a hall this size, but they didn’t allow that to happen. Cigdem Soyarslan’s Mimi was a little uneven at first, but one came to appreciate her warm spinto sound, especially in her Act 3 aria, and Anna Maris Sarra sings Musetta with a glinting soprano that is heard to fine effect in her animated account of the waltz aria.

Igor Bakan brings a full, resonant bass voice and a strong emotional charge to Colline’s farewell to his overcoat. The fine Vienna Chamber Orchestra is in the pit, led with assurance by Claire Levacher.

The newly constituted Kammeroper has thus emerged as a bright spot on the Viennese opera scene.

Two more productions remain this season, a double bill of Britten’s “Curlew River” and “Prodigal Son” and Handel’s “Orlando.”

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Daniel Radcliffe Dances to Nelly in West Hollywood















02/24/2013 at 04:00 PM EST



We're not in Hogwarts anymore.

Daniel Radcliffe made an unexpected appearance at Bootsy Bellows in West Hollywood on Friday night. Arriving with a male pal around 1:40 a.m., the Harry Potter star was "in party mode but really friendly," an onlooker tells PEOPLE.

Wearing a long-sleeved black shirt and jeans, the actor hung out at a table in the club's back VIP room, where he made himself vodka cocktails.

As DJ BeeFowl spun hit after hit, Radcliffe "started singing and dancing at the table to Nelly's 'Country Grammar' and 'Ride Wit Me'," the source adds. "He introduced himself to people at his table casually as 'Dan.' "

As the evening progressed, Girl Meets World star Ben Savage chatted up Radcliffe and the two shared a laugh.

The next song to make Radcliffe dance was Nirvana's "Smells Like Teen Spirit."

The source adds, "He was very happy-go-lucky," and Radcliffe "posed for a few photos and stayed at the club until closing time."

– Jennifer Garcia


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FDA approves new targeted breast cancer drug


WASHINGTON (AP) — The Food and Drug Administration has approved a first-of-a-kind breast cancer medication that targets tumor cells while sparing healthy ones.


The drug Kadcyla from Roche combines the established drug Herceptin with a powerful chemotherapy drug and a third chemical linking the medicines together. The chemical keeps the cocktail intact until it binds to a cancer cell, delivering a potent dose of anti-tumor poison.


Cancer researchers say the drug is an important step forward because it delivers more medication while reducing the unpleasant side effects of chemotherapy.


"This antibody goes seeking out the tumor cells, gets internalized and then explodes them from within. So it's very kind and gentle on the patients — there's no hair loss, no nausea, no vomiting," said Dr. Melody Cobleigh of Rush University Medical Center. "It's a revolutionary way of treating cancer."


Cobleigh helped conduct the key studies of the drug at the Chicago facility.


The FDA approved the new treatment for about 20 percent of breast cancer patients with a form of the disease that is typically more aggressive and less responsive to hormone therapy. These patients have tumors that overproduce a protein known as HER-2. Breast cancer is the second most deadly form of cancer in U.S. women, and is expected to kill more than 39,000 Americans this year, according to the National Cancer Institute.


The approval will help Roche's Genentech unit build on the blockbuster success of Herceptin, which has long dominated the breast cancer marketplace. The drug had sales of roughly $6 billion last year.


Genentech said Friday that Kadcyla will cost $9,800 per month, compared to $4,500 per month for regular Herceptin. The company estimates a full course of Kadcyla, about nine months of medicine, will cost $94,000.


FDA scientists said they approved the drug based on company studies showing Kadcyla delayed the progression of breast cancer by several months. Researchers reported last year that patients treated with the drug lived 9.6 months before death or the spread of their disease, compared with a little more than six months for patients treated with two other standard drugs, Tykerb and Xeloda.


Overall, patients taking Kadcyla lived about 2.6 years, compared with 2 years for patients taking the other drugs.


FDA specifically approved the drug for patients with advanced breast cancer who have already been treated with Herceptin and taxane, a widely used chemotherapy drug. Doctors are not required to follow FDA prescribing guidelines, and cancer researchers say the drug could have great potential in patients with earlier forms of breast cancer


Kadcyla will carry a boxed warning, the most severe type, alerting doctors and patients that the drug can cause liver toxicity, heart problems and potentially death. The drug can also cause severe birth defects and should not be used by pregnant women.


Kadcyla was developed by South San Francisco-based Genentech using drug-binding technology licensed from Waltham, Mass.-based ImmunoGen. The company developed the chemical that keeps the drug cocktail together and is scheduled to receive a $10.5 million payment from Genentech on the FDA decision. The company will also receive additional royalties on the drug's sales.


Shares of ImmunoGen Inc. rose 2 cents to $14.32 in afternoon trading. The stock has ttraded in a 52-wek range of $10.85 to $18.10.


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LAPD snipers with 50-caliber rifles, undercover cops in tuxedos at Oscars



Oscar statues are moved into place for the 85th annual Academy Awards.


The Los Angeles Police Department will be on high alert during the Academy Awards, and numerous streets around the show's Hollywood venue will be closed Sunday.


The LAPD has not released any details of its security plans. A law enforcement source told The Times Sunday that security will be heavy but that there are no extra precautions being taken this year. The source spoke on the condition of anonymity because the security measures were ongoing.


The Oscars are being held Sunday evening at the Dolby Theatre in the Hollywood & Highland Center. 


FULL COVERAGE: Oscars 2013 | Top nominees


Typically, the LAPD has snipers with 50-caliber
rifle on roofs and a robotic
forklift known as "Batcat" capable of lifting a bomb-filled
truck. Even
the way the limousines enter the area has been designed to slow their passage by
forcing them to weave around concrete barriers.


Several
hundred officers in uniform will staff checkpoints and road blocks while a
couple hundred are working as private security, donning tuxedos to provide
personal and red-carpet protection.


Hollywood Boulevard was to be closed between
Highland Avenue and Orange Drive starting at 10 a.m. Sunday. Public buses were to be rerouted, according to the Oscars' website.


Additionally, the Highland Avenue offramps from the 101 Freeway will close.


Here are some of the other planned closures, according to the website:



-- Orchid Street from 60 feet south of Franklin Boulevard to Orchid
Alley until 6 a.m. Monday, except for residents, emergency vehicles and
hotel loading.


-- Orange Drive from Orchid Alley to Hollywood Boulevard until 6 a.m.
Monday, except for residents, local business access and emergency
vehicles.


-- North and south sidewalk of Hawthorn Avenue from Highland Avenue to Orange Drive to 6 a.m. Monday.


-- North sidewalk of Hollywood Boulevard from Highland Avenue to
Orange Drive from 10 p.m. Saturday to 6 a.m. Monday. MTA station to be
bypassed by the last regularly scheduled
train on Saturday until the first scheduled train after 6 a.m. Monday.
Pedestrian traffic rerouted to south sidewalk.






-- West sidewalk of Highland from Johnny Grant Way south to Hollywood Boulevard from
10 p.m. Saturday to 6 a.m. Monday.


-- Johnny Grant Way from Highland to Orchid Street from 10 p.m. Saturday to 6 a.m. Monday.



-- Remainder of Hawthorn Alley from Orange Drive to Highland Avenue from 12:01 a.m. Sunday to 6 a.m. Monday.



-- Orange Drive from Hawthorn Avenue to Hollywood Boulevard from 12:01 a.m. Sunday to 6 a.m. Monday.



-- North sidewalk of Hollywood Boulevard from Highland to 300 feet east
in front of closed businesses from 12:01 a.m. Sunday to 6 a.m. Monday. 



-- South sidewalk of Hollywood Boulevard from Highland to 300 feet east
from 12:01 a.m. Sunday to 6 a.m. Monday, except for 8-foot pedestrian
access. 



-- South sidewalk of Hollywood Boulevard directly in front of the
north-south-running Hawthorn Alley from 12:01 a.m. Sunday to 6 a.m.
Monday. No pedestrian access to
cross alley.



-- East sidewalk of Highland from Hollywood Boulevard to Hawthorn from
12:01 a.m. Sunday to 6 a.m. Monday, except for 8-foot pedestrian access. 



-- West sidewalk of Highland from Hollywood Boulevard south to Hawthorn
from 12:01 a.m. Sunday to 6 a.m. Monday, except for 8-foot pedestrian
access.



-- East sidewalk of Highland from Yucca Street south to the alley from
12:01 a.m. Sunday to 6 a.m. Monday, except for 8-foot pedestrian access.



-- North and south crosswalks on Hollywood Boulevard at the Highland intersection from 4 a.m. Sunday to 6 a.m. Monday.


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Dorner's alleged victim Monica Quan remembered at private funeral


— Richard Winton


Photo: Oscar statues are moved into place for the Academy Awards. Credit: Al Seib/ Los Angeles Times


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