Continuing from Part 1
You started on Thursday evening, at a dinner party hosted by a board member at his home. They took turns. Every year, there were four or five parties, with plenty of sumptuous food and drink. Present were VIPs from all over the country – indeed, the world. There were Artistic Directors. Literary Managers, critics, publishers, agents and local supporters of the theatre. One year, I found myself at an antebellum plantation house which had been designed by Thomas Jefferson. There were spiffy little cabins on the grounds, all painted white. I asked my host, “Are those what I think they are?” They were originally slave cabins. Another year, I was at a party hosted by the Bingham family in their mansion on high ground above the Ohio River. The Binghams were the wealthiest family in town. They owned and ran the Louisville Courier-Journal.
You started your playgoing on Friday morning at 9 am and saw anywhere from eight to twelve plays over the weekend, the sets of which were all by ATL’s resident designer, Paul Owen. Each night, your last play of the day would end at about 10 pm and then you would head downstairs to the bar/restaurant, operated by the theatre. The actors, many longtime company members, would come out and join us for drinks and merriment. These people became my friends. They were wonderful actors, but just as wonderful people. Unfortunately, the great Susan Kingsley never joined us, I think because she had to get home to her husband and kids, so I never got to know her. Susan started at ATL checking coats. Jory encouraged everyone who worked at the theatre to participate in whatever aspect of the theatre interested them and Susan asked if she could do play readings. She so impressed Jory that he made her a member of his company. Susan was a rather plain-looking woman, not “actressy;” but onstage she was riveting, one of the greatest actresses I have seen in a lifetime of playgoing. Sadly, she was killed in a car accident in 1984, on her way to begin rehearsals for that year’s Humana Festival. She was 37.
Longtime company member Bob Burrus never joined us either. Bob was a wonderful actor; but if you met him you would never know it. He was a rangy, quiet fellow who looked and sounded like a trail boss on a cattle drive. Think, Curly in “City Slickers.” His performances were always indelible, such as “Mr. One-Eye Deneuve, down from Lecher County Kentucky for the wrasslin’” in Jane Martin’s hilarious Cementville, a devious horse trainer in Benjie Aerenson’s Lighting Up The Two Year-Old and Clem, one of three middle aged brothers in “Miz Martin’s” Middle Aged White Guys, who meet every year on the fourth of July on the site where they won the state baseball championship in high school, which is now a garbage dump, to mourn the death of R.V., the girl they all loved. Clem’s wife shows up to inform him that she is leaving him; but first, she intends to shoot him. She is disarmed, though, by Moon, a soldier of fortune, played by the late, great Leo Burmeister. “What am I gonna do, Moon?” moans Clem. “My wife left me.” “All wives leave, Clem,” says Moon. “It’s a shit job.” A Messenger from God appears, Elvis in his white jumpsuit, to inform the men that God (who’s a woman) is pissed off at the mess they and their ilk have made of the world, so they must atone but stripping butt-naked and walk all the way to Washington, D.C. carrying signs that say, “We’re Sorry.” This is the final image of the play. The audience went wild.
The bar at the theatre closed at 2 am, then everyone would go over to a nearby dive bar called Zina’s. There, the actors (many of whom were wonderful musicians) would set up and play country and blues music until 4 am. Then, you’d stagger back to your hotel room, get four hours’ sleep and do it all over again the next day. I had to take Monday off every year to recover.
There was a bookshop and souvenir stand in the lobby of the theatre. The books were scripts of plays that had been produced at previous Humana Festivals, many published by Samuel French because of me.
I saw many wonderful plays at the Humana Festival, several by Jane Martin. The most memorable of these were Talking With and Keely And Du. At my first Festival, there was a compendium of short plays, about 10-minutes in duration, the most sensational of which was a monologue called Twirler, whose author was Anonymous. The lights came up on a woman in a baton twirler costume holding a baton, played by Lisa Goodman, telling us how she came to twirling but she never became really good until her hand was crushed by a horse named Big Blood Red. She proceeded to tell us that twirling is about far more than we thought. Nobody knows its true significance because it’s disguised in the midst of football. “People think you’re a twit if you twirl,” she says. “But it is God-throwing, spirit fire. You have to grow eyes in your heart to understand its message. There is a meadow outside Green Bay where all the true twirlers converge at the Winter Solstice. They wear white robes and stand in the snow. Their feet are bare. Then acolytes bring them the batons. They are ebony tons, 3 feet long, with razor blades set in the shafts, and as they twirl, their blood drips in the snow. Red on white, red on white. I have seen the face of God 30 feet up in the twirling batons. You can’t imagine what that’s like.” There was stunned silence. We knew we had experienced not just powerful dramatic writing. We had been in the presence of the Sublime. At the next Festival, Twirler reappeared as part of a collection of monologues, Talking Withby Jane Martin, a pseudonym. It was unforgettable. The legend of Jane Martin was born. I’ll be doing a separate chapter on “Miz Martin,” in which I will give you my theory as to who she was.
In Keely And Du, a woman named Keely has been raped and impregnated by her ex-husband. On her way to an abortion clinic, she was kidnapped by a radical right-to-life group, which then has secreted her in a basement room hundreds of miles away. Their intention is to force her to have the baby. They will cover all her expenses, including raising the kid to the age of 18. Keely is furious, of course. An elderly woman named Du (short for Dorothy) has been assigned to be her companion. In one memorable scene Walter, the leader of the group (played by the great Bob Burrus) shows her the brochures the hand out, which include pictures of aborted fetuses. As she screams at him in rage, calmly he replies,” You do not have the right to your opinion unless you can look at these.”
What made the play particularly remarkable was that it did not dismiss the right-to-life group as a bunch of brain-dead idiots. That year, Keely And Du was a finalist for the Pulitzer Prize, losing out to Edward Albee’s Three Tall Women.
The Humana Festival began to diminish in influence and importance for a number of reasons. One was that the New York Critics started attacking productions which came to NYC from Louisville, such as A Weekend Near Madison, Tent Meeting, Husbandry and all of which had been hits of their Festivals but which failed in New York. I think these cultural ayatollahs were pissed off that the Humana Festival had achieved such a prominent place in the American Theatre without their approval. This meant that nobody wanted to produce a play in New York which had been successful in Louisville, as this was the Kiss of Death, so there were a lot fewer producers there than were in the Festival’s early years. One producer got around this Kiss of Death by optioning a Humana play, mounting a completely different production, taking this first to a regional theatre and then bringing this production in, without mentioning in any of their publicity that the play had premiered at the Humana Festival. In the program, this appeared in very small print. This was Donald Margulies’ Dinner With Friends, which came in to the Variety Arts Theatre Off Broadway (sadly, long gone) from the Hartford Stage, winning the Pulitzer Prize.
There were several Humana plays I loved from the Jory era which were never done in NYC, such as Autumn Elegy, Zara Spook And Other Lures and Lloyd’s Prayer. Autumn Elegy, by Charlene Redick, was about an elderly couple. They are well off financially, but live in a simple cabin in the woods. The wife has to confront the reality of her impending death. At the performance I saw, the Cronyns were sitting near me. Unfortunately, they decided not to do the play in New York. Had they done so this would have become a Very Famous Play. Zara Spook And Other Lures, by Joan Ackerman, was a wild comedy about women at a professional bass fishing tournament near Truth or Consequences, New Mexico. Lloyd’s Prayer, by Kevin Kling, was equally wild. It was about Bob, who was raised by racoons, and an ex-com named Lloyd who sees in him a money-making opportunity. Pitted against Lloyd is the Angel of the Lord, and what ensues is a hilarious tug of war between Lloyd and the Angel, with Bob as the rope. Kling was hilarious as Lloyd, as were Julie Boyd, who had played Keely in Keely And Du, as the Angel, and Walter Bobbie as Lloyd. Bobbie later became a top Broadway director. His production of the revival of Chicago is still running (or was before the pandemic hit).
Every year, there were several plays like the ones I have mentioned, a few which were OK but not great and, usually, one bomb. Then, Jory decided his theatre had developed a reputation for being too conservative, so he decided to “push the envelope” by doing more to varying degrees experimental plays. For instance, he started bringing in Ann Bogart and her SITI Company. The Bogart event was the annual Bomb of the Festival. Everybody hated it, but not the ATL people. I once had a discussion about Bogart with Michael Bigelow Dixon, ATL’s Literary Manager, “Yes, Larry,” he said. “We all know your opinion of Ann Bogart, but she’s an internationally-recognized avant garde genius.” “Michael,” I replied. “The emperor has no clothes.” So, although there was always one Hit of the Festival, many of the other offerings were, shall we say, unpopular.
Another factor which contributed to the decline of the Humana Festival was that it started to shrink. It’s now down to 4 plays, plus the annual Apprentice compendium. The Festival is also a lot less fun. ATL no longer operates the bar/restaurant downstairs. The company which does opens it for lunch, closes it, reopens for dinner and then closes it at 8 pm. No more hanging out with the actors into the wee hours. No more place to hang out your fellow Festival-goers. By the way, there is no company of actors anymore – everyone is jobbed in. What a bummer.
Sadly, Jory left ATL in 2000 to teach at the University of Washington. His replacements. Mark Masterson and then Les Waters, couldn’t hold a candle to him, so they were another factor in the Festival’s decline. To be fair, though, there were some wonderful post-Jory plays which went on to New York, to varying degrees of success (by this time, the New York critics had gotten over their knee-jerk antipathy to Louisville plays), such as Theresa Rebeck’s The Scene (produced at Second Stage with Tony Shalhoub, Patricia Heaton and the delicious Anna Camp, a holdover from the Humana cast.
Omnium Gatherum by Rebeck and Alexandra Gersten-Vassilaros at the Variety Arts, a finalist for the Pulitzer Prize and After Ashley by Gina Gionfriddo, produced by the Vineyard Theatre, directed by Terry Kinney with Kieran Culkin in the cast.
Still, the really exciting plays became fewer and fewer, and few and fewer theatre professionals showed up. All the actors I knew and loved are either retired or dead. And then there’s the barred bar downstairs. I don’t know if I ever will go back. It just makes me sad.
For many years, Lawrence Harbison scouted for new plays on behalf of Samuel French, Inc., during which time he was responsible for the publication of hundreds of plays, by playwrights such as Jane Martin, Don Nigro, Tina Howe, Theresa Rebeck, William Mastrosimone, Charles Fuller and Ken Ludwig among many others. He has been a free-lance editor for Smith and Kraus, Inc., and Applause Theatre & Cinema Books, for whom he has edited annual anthologies of ten-minute plays and monologues for men and for women, and for several years edited annual New Playwrights and Women Playwrights anthologies. His book, How I Did It: Establishing a Playwriting Career, a collection of interviews with playwrights, was published by Applause Theatre & Cinema Books in March, 2015. Forthcoming anthologies include books of 10-minute plays and monologues by members of the Honor Roll, an advocacy group comprised of women playwrights over 40. His column, “On the Aisle with Larry,” is a regular feature at www.applausebooks.com as well as on his blog at www.playfixer.com and on www.doollee.com, the international playwrights database. He works with individual playwrights to help them develop their plays (see his website, www.playfixer.com).
The Glorious Corner
CHRIS CARTER — (Via Maz Digital) Chris Carter was 7 years old when his mother bought him Rubber Soul, the Beatles’ sixth studio album, at a ShopRite market in Wayne, New Jersey. Fifty-seven years later, he’s the ultimate Beatles expert as host for 22 years of Breakfast With the Beatles, a radio show carried each weekday on SiriusXM’s Beatles channel and Sundays on Los Angeles’ KLOS-FM. The show is celebrating its 40th anniversary, at the same time that music fans are marking the 60th anniversary of Beatlemania.
We talked with Carter about his unique position: He’s a musician too. Carter played bass in alternative rock band Dramarama in the 1980’s and 90’s. “I loved Paul’s bass playing, but I got into wanting to play the bass from listening to Grand Funk Railroad, Black Sabbath and Alice Cooper records. That really hooked me in.”He was in the right place when he got the job. Carter follows original host Deirdre O’Donoghue, who died in 2001.
The job offer call came just before he went to a Ringo Starr concert. “I knew once I got the job, I would be there ’til I died. This is one of those long-term things and I’m not going anywhere. “Prep keeps it fresh. “I have to handpick 60 Beatles songs a day, or solo Beatles songs, and have them pertain to that day—say, an anniversary or ‘today in Beatles history.’ There’s always something in Beatles history.” On Wednesdays, he spins a wheel to develop a topic for the show, such as “fifth Beatles” or “violins.” “I have to instantly put a set of songs together that matches that category.”
And news events also play a role. When Robbie Robertson of The Band passed recently, Carter made sure to note that by discussing and playing Ringo Starr’s “Sunshine Life for Me (Sail Away Raymond),” on which Robertson and other members of The Band played. “It never gets old. If they handed me a playlist, like they do for so many DJs, and said ‘Chris, play them,’ I would have no passion for that.” He was in the right place when he got the job.
Carter loves to provide tidbits about the songs he plays, so that listeners can experience them with fresh ears. “You’re dealing with 50- to 60-year-old music. If it’s not served up properly, you know, how many times can you hear ‘Hey Jude’? But if you put it in context, like this song was No. 1 for nine weeks. It was the first single over seven minutes long. And it was the first release on their own label. Most Beatles fans, they think they know a lot about the Beatles, but when you give them some information they might not know, then they’ll come back to you and listen again.” He broadcasts in front of a crowd. The satellite radio shows are put together in Carter’s home studio. But many of the shows for L.A. radio are broadcast live from one of three area venues. “I find it fun because in radio you never see your audience. Typically, you’re sitting in a room by yourself with a microphone. You could have maybe millions of people listening, but you don’t know who they are.
“The Beatles are fans. Paul McCartney and Ringo Starr have each called into the show for interviews, but Carter doesn’t have his head in the clouds about it. “They’ve got to sell a solo record. You’re on the radio. They need you for publicity. They know you’re there for them. Even though they’re the gods of the world, they still need you to sell their records.”SHORT TAKES — (Via Deadline) The meteoric political rise of George Santos and the web of fabulist tales it was built on are getting a movie treatment. HBO Films has optioned the rights to Mark Chiusano’s new book The Fabulist: The Lying, Hustling, Grifting, Stealing, and Very American Legend of George Santos, which was published on November 28, 2023. My only comment is, why? If this ever gets made, it will not be a hit. Exploitative? Definitely and not needed at all …
I’ve watched the two episodes of Hulu’s Fargo so far this season and though somehow intriguing, but didn’t I just see this show on Netflix – Who Is Erin Carter? Fargo’s creator Noah Hawley must have been transfixed by Carter. Odd for sure …
Also, just for the record, why was there so much Russian-dialogue in episode 4 of Apple TV+’s For All Mankind without any sub-titles? Clearly this show has suffered some major budget-cuts, but that was a huge error for sure. Ronald D. Moore’s creation started out brilliantly, but has become something like a space-age soap-opera. Sad for sure.
This show was among my favorites … I loved Chuck Lorre’s Big Bang Theory, so I was anxious to see his Bookie on MAX. Sebastian Maniscalco – who I don’t really get at all – left me somewhat underwhelmed. The show’s about a bookie – funny? Somehow it wasn’t. Even a cameo by Charlie Sheen w/o tiger blood was a letdown.
Very disappointed … Joe Cocker-scribe Mark Bego speaks to Zach Martin Wednesday for his NEWHD outpost …
HAPPY BDAY Randy Newman and RIP one of the most adventurous, creative and intriguing women I’ve ever known, Mica Ertegun.
NAMES IN THE NEWS — Kent and Laura Denmark; Steve Leeds; Ira Robbins; Richard Branciforte; Eppy; Barry Fisch; Frank Patz; Bobby Bank; Roger Clark; Edmond O’ Brien; Jonathan Clyde; Richard Johnson; James Edstrom; Tom & Lisa Cuddy; Kent Kotal; Bob Kaus; and BELLA!
Inside the Roku Holiday Bash to Celebrate a Season of Giving
Talk about a perfect way to celebrate the holidays!
Roku’s holiday event last night dazzled the tastemakers and influencers of New York City.
Guests were thrilled to enjoy the splendid soiree that showcased Roku’s full ecosystem of products, leading operating system, and newly launched All Things Food and All Things Home destinations.
Roku is a one-stop-shop for all of your gift giving needs with a range of products to choose from no matter your budget, including TVs, streaming players, audio devices, and smart home products.
Be sure to check out Roku’s Holiday Promotions:
- Now through 12/02: $15 off Express 4K+, $20 off RSS 4K
- Now through 12/09: $30 off Roku Ultra
- 12/03 through 12/30: $5 off Express, $10 off Express 4K+, $10 off RSS 4K
- 12/17 through 12/30: $30 off Roku Streambar
The Glorious Corner
TAP 2 — (Via Rock Cellar) Doubling down after a May 2022 report that indicated everything was a go for a sequel to 1984’s classic comedy/music industry satire This Is Spinal Tap, filmmaker Rob Reiner has now confirmed that plans are taking shape in a big way.
Not only is the sequel on tap (pun intended) to begin filming in early 2024, but Reiner recently told comedian/podcast host Richard Herring that “everybody’s back” for the sequel. This no doubt refers to principal cast members Michael McKean, Harry Shearer and Christopher Guest, though Tony Hendra (who portrayed the band’s manager, Ian Faith, passed away in 2021).
The U.K.’s Guardian notes that the plot will reportedly center on Faith’s death, after which his widow inherits a contract that requires the band to do one last concert. Reiner is also due to return in the character of film-maker Marty DiBergi, a figure supposedly based on Martin Scorsese, who had directed celebrated music documentary The Last Waltz in 1976.
What’s more, Reiner also spilled the beans that appearances from Sirs Paul McCartney and Elton John and Garth Brooks are in the works too, among what one must assume will be a million other amusing cameos. After all, a film as beloved and influential as the original This Is Spinal Tap counts pretty much every living musician as a fan (give or take), so you know the sequel will hold nothing back when it comes to the entertainment factor.
In the podcast, Reiner also talked about This Is Spinal Tap’s remarkable afterlife, culminating in selection for the National Film Registry in 2002, after its initially unfavourable reception on its first release. “To wind up in the National Film Registry, that’s bizarre,” Reiner said. “We previewed it in a theatre in Dallas, Texas, and the people didn’t know what the heck they were looking at. They came up to me afterwards and said, ‘I don’t understand, why would you make a movie about a band that no one has ever heard of, and they are so bad? Why would you ever do that? Why don’t you make a movie about the Beatles or the Rolling Stones?’ I would say, ‘It’s satire,’ and I tried to explain. But over the years people got it, and started to like it.”
Personally, I found the 1984 original movie just hilarious. Aside from a great send-up of the music biz, the cameos were just fascinating: Paul Shaffer as PR-man Artie Fufkin; Dana Carvey and Billy Crystal as ‘mime’ waiters; Fred Willard; Anjelica Houston; Russ Kunkel; Danny Kortchmar and Fran Drescher as promo-gal Bobbi Fleckman … all just inspired.
Reiner’s on a roll – his Albert Brooks doc Defending My Life is sensational. A must-see.
Maybe an update of The Monkees’ HEAD next?
SHORT TAKES — Mark Bego’s Joe Cocker tome hit #4 on theAmazon charts this week. Here’s a great review from Goldmine on the book by their Lee Zimmerman: https://l.messenger.com/l.php?u=https%3A%2F%2Fwww.goldminemag.com%2Freviews%2Fjoe-cocker-book-shines-light-on-unfortunate-undercurrents-of-a-stars-career&h=AT2zaG2QKuxuHdpJO1nPHKaiO7IWkbAHCBRAeq3m4-J45axSc_wBott7ABve8Wcd7GpQC13gybDWb2Hale6D809pTdtqqmpDoxC4u6FLA7SNNJ2jHbVKKpSaH1kxX4Ide1AyXDJXSZL2idNWvOch4A
… Micky Dolenz sang “Silly Love Songs” at Monday’s Troubadour benefit for Denny Laine and our spy said he really rocked it. Maybe a Dolenz Sings McCartney album is next? … So, Merriam-Webster’s word of the year is authentic? Interesting choice for sure …
Writer and reporter Pablo Guzman passed this last weekend. An original member of The Young Lords, Guzman was a fierce fighter and brilliant writer. On Fox 5/Good Day NY for decades, he most recently was a reporter at WCBS. Here’s the Daily News take: https://www.dailymail.co.uk/news/article-12799071/Legendary-NYC-news-anchor-Pablo-Guzman-dies-aged-73-Big-Apple-veteran-reporter-dubbed-son-Bronx-founded-Puerto-Rican-activist-group-Young-Lords-journalist.html …
And it’s official, the NY-launch for the Mark Bego Joe Cocker book will be Tuesday, January 9 at Steve Walter’s Cutting Room.
NAMES IN THE NEWS — Sara Gore; Tom & Lisa Cuddy; Daryl Estrea; Tony King; Ace Shortly; Kjersti and Jeremy Long; Debbie Gibson; Van Dean; Liz Skollar; Maude Adams; Robert Vaughn; Steve McQueen; Zach Martin; Coati Mundi; Avery Sharp; Steve Walter; Gary Gershoff; Jane Blunkell; Kimberly Cornell; Paul Iorio; Lee Jeske; MArt Ostrow; Peter Shendell; Sharon White; and ZIGGY!
Countdown to Christmas: A Sweet Treat For Christmas and Chunakah
24 days to go! Every year people panic to find the perfect gift. We at T2C have been collecting idea’s all year long to bring you the perfect gift guide at all price levels. When you’re at the end of your rope trying to find the perfect Christmas present this year, come to this guide for some great suggestions.
I am starting first with Chanukah which starts December 7th. Here are great little surprises and treats. First up are these festive Chocolate Dreidels ($14) are handmade with the finest chocolate, and filled with milk chocolate gold-foiled Gelt coins for a surprise inside that never disappoints. They make a great addition at any Chanukah celebration everyone will love! Each Dreidel contains 3 coins. Gluten Free. Kosher Certified.
Then there are the adorable Menorah Pops. At $4.95 its a sin not to indulge.
Their unique selection of Chocolate Gift Boxes, Towers and Gift Baskets stand out among New York’s discerning chocolate enthusiasts. We loved the box of 30 Chocolate Mini Presents at $25 these bite-sized solid premium milk chocolates wrapped in Italian foil are perfect for filling stockings or party favors. Gluten Free. Kosher Certified.
Li-Lac Chocolates are fresh, gourmet chocolate hand-crafted in small batches for exceptional quality and superior taste. They also come in dairy free, sugar free and Kosher certified making them perfect for the family. These chocolates are creamy, tasty and so delightfully sinful.
Handmade in Brooklyn, not only are you supporting a local business but freshness is guaranteed.
Li Lac Chocolates are now my go to chocolate place for gifts.
Ziploc and Milk Bar Host Holiday Mixer
It was the holiday mixer that hit all the sweet notes.
Milk Bar founder Christina Tosi and Ziploc hosted a fun interactive holiday party at the New York City Milk Bar flagship location on November 29. Attendees at the special affair got to hear Christina’s tips and tricks for the holiday season, as well as see Ziploc’s latest innovation, the Stay Open Design bags.
“Ziploc bags have been a favorite tool of mine since I started baking because they are so versatile and easy to use. From rolling out and freezing dough to ensuring my baked goods always stays fresh, there’s no shortage of ways that I use Ziploc® at home and in our bakeries,” she said. “The new Ziploc® Stay Open Design bags help give me an extra set of hands in the kitchen. As soon as I tried them, I was immediately reminded of mixing puppy chow in a Ziploc® bag as a child, and I knew this would be another perfect collaboration.”
Teaming up for the release the bakery’s first-ever, limited-edition take on “puppy chow” dessert – Ziploc x Milk Bar Holiday Mix – is a perfect way to start December. Perfect for festive gatherings, hosting gifts, stocking stuffers, family road trips and long sessions on the couch watching holiday movies, the offering features popular holiday flavors, including corn square cereal, white chocolate, cookie butter, sprinkles, and sugar cookie pieces.
Each bag of the Ziploc® x Milk Bar Holiday Mix comes pre-packaged in a quart-size Ziploc® Stay Open Design storage bag. Ziploc®‘s latest innovation helps ensure the contents will stay fresh and easily snackable thanks to a cuffed opening and patented stand up bottom that keeps it upright and open for filling and sharing with confidence. For the month of December, pick up a bag at the New York City, Washington D.C. and Los Angeles Milk Bar stores for just $7, plus tax, while supplies last.
And, for anyone in NYC, starting December 1, you can also book the perfect holiday activity, a build-your-own holiday mix-making experience! Attendees will learn Christina Tosi’s tips and tricks with the Milk Bar expert bakers and walk away with a gallon-size bag of holiday mix gifting for their own enjoyment.
For those not located near a Milk Bar store, don’t worry! Milk Bar and Ziploc® are sharing the exclusive recipe for free on both of their websites – a wonderful opportunity for a festive home activity with friends and family. Ziploc® also created a one-stop shop, to easily find all the ingredients needed at Amazon, Target or Walmart, including Ziploc® Stay Open Design bags that allow for easily folding, filling, scooping and snacking.
Photos by AP for Ziploc®
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