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Stronger Seniors® Stretch and Strength DVDs- 2 disc Chair Exe

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Editorial Reviews

Product Description

Ordered by wife. I have severe asthma, polymyalgia rhuematica. (form of arthritis). It was easier to sit and not move because of pain. Of course, you then have more and bigger problems with walking, standing and you are just plain weak- sitting all day your muscles get weak very fast when not in use. I was crying because I couldn't even get out of a chair let alone walk a few feet with feeling like my legs would give out and the pain...I can't tell you how much I hurt. The doctor told me to start exercising and to take it slow. I was physically fit until age 70. When I was diagnose with PMR and asthma. I had to look for senior exercise as I'm 74 and can't bounce around anymore. I bought this exercise program because of the ratings. It s wonderful. Use this 5 to 6 days week. Alternating discs. I feel great. I can now get out of the chair with no assistance and walk further than I have in a long time. I almost feel like myself again. I recommend this to everyone 60 years and above (50's too) no need to jump around for exercise. Ann Pringle Burnell is awesome in leading the exercise. I have been using this for two weeks. What a difference in the way i feel and move. You get a total body workout sitting in a chair. I was so weak and now I'm getting stronger by the day. Do not hesitate to get "Stronger Seniors". My husband and friends notice the difference in the way I'm moving. I LOVE THIS EXERCISE PROGRAM. DO NOT HESITATE TO PURCHASE THIS.

Review

Why do Seniors choose this Anne Pringle Burnell's Stronger Seniors Stretch and Strength Program? Many say it is Anne's vibrant personality on the screen, making exercise fun and easy to follow. Others say that having other seniors in the video make them feel more confident and able to do the exercises. If you want to get started with an exercise program, YOU will feel confident ordering this program, knowing that you will benefit from Anne's instruction.

The 'Stretch' program will gently guide you through movements that will loosen up your joints and muscles, while increasing your flexibility and mobility. Stretching is so important! The 'Strength' program has 3 parts-Chair Aerobics, Weight Training in a chair, and exercises that will specifically improve your balance. Stretch and Strength covers all the bases. By following this carefully designed chair exercise program, you will meet the recommendations of doctors and health professionals to improve health and help prevent chronic illness. Stay strong! --StrongerSeniors.comlt;br \gt;lt;br \gt;Hello Anne, We follow your DVDs and LOVE them. The group asked me to email you in hopes of persuading you to create more Stretch, Strength and Core exericse DVDs. Of all the DVDs we do, you are by far the favorite. We appreciate your tone of voice, clear instruction, gentle yet challenging workouts and music. I hope you do consider additional DVDs. We'd be the first to order. Many thanks for your motivation, enthusiasm and guidance in staying healthy. --Korena Thomen, Clinical Health Educator, Kaiser Permanentelt;br \gt;lt;br \gt;Anne Pringle Burnell created the Stronger Seniors® Chair Exercise Program. Her program is offered by ACE and AFAA for CECs, and Anne has trained hundreds of personal trainers at workshops across the country.

Ms. Burnell is an instructor at Northwestern Memorial Hospital and the Rehabilitation Institute of Chicago. She is a Continuing Education Provider for the American Council on Exercise (ACE), and the Aerobics amp; Fitness Association of America (AFAA), training Certified Personal Trainers in the special needs of Senior Citizens Ms. Burnell is also Faculty for the National Council on Aging. Anne is one of only 150 Instructor Trainers worldwide for Stott PilatesTM, and is fully certified on all apparatuses. Her other certifications include: Nia Technique, Kickboxing, Cycling, Aquatics, Seniors Instruction, and Pre- amp; Postnatal exercise.

Ms. Burnell has been a guest instructor at resorts throughout the U.S. and Caribbean, and an educational presenter for the National Council on Aging/American Society of Aging and the American Cancer Society. Anne is educator at Northwestern Memorial Hospital, the University of Illinois at Chicago, the Center for Older Adults, Peninsula Spa, and Elements in Motion, a Stott PilatesTM Certification Center in Chicago. Ms. Burnell also developed the Peyow® Aqua Pilates program which premiered at the prestigious Peninsula Spa Chicago. The course is certified for CECs by the Aquatic Exercise Association.

The Stronger Seniors® Workout Program is designed by Certified Fitness Instructor and Faculty Provider Anne Pringle Burnell to help seniors develop strength and to enhance the ability to function in daily life. These two fitness DVDs work together to improve your ability to be stable and balanced, to stay mobile, to go up and down stairs, to squat and pick something up, and to play with your grandchildren! --Stronger Seniors® Chair Exercise Programs Live Strong, Live Longlt;br \gt;lt;br \gt;Hello Anne, We follow your DVDs and LOVE them. The group asked me to email you in hopes of persuading you to create more Stretch, Strength and Core exercise DVDs. Of all the DVDs we do, you are by far the favorite. We appreciate your tone of voice, clear instruction, gentle yet challenging worko --StrongerSeniors.com

Hello Anne, We follow your DVDs and LOVE them. The group asked me to email you in hopes of persuading you to create more Stretch, Strength and Core exericse DVDs. Of all the DVDs we do, you are by far the favorite. We appreciate your tone of voice, clear instruction, gentle yet challenging workouts and music.

I hope you do consider additional DVDs. We'd be the first to order. Many thanks for your motivation, enthusiasm and guidance in staying healthy. --Karen Thomen, Clinical Health Educator, Kaiser Permanente"br""br"We love them. We like the longer one the best so use it on Mon. and Fri. then use the 44 min. on Wed. There are between 45- 50 seniors each day. We love it. We use the 51 min. one on Mon. and Fri. the 44 min. on Wed. We usually have between 45-50 Seniors each week. Thank you for making it available to us/ --Betty Morain, San Juan Capistrano (CA) Seniors

Stronger Seniors® Stretch and Strength DVDs- 2 disc Chair Exe

Distant Laughter

The Goons in 1956: L-R: Peter Sellers, Spike Milligan, Harry Secombe. From a cuttings scrapbook in the Secombe family archive.

Anyone who does a job of work and at the end of the day has nothing tangible to show for it, apart from his salary, has every reason to feel insecure. All the average comic is left with at the end of his career are some yellowing newspaper cuttings, perhaps an LP or two, and a couple of lines in The Stage obituary column.’ Harry Secombe; Preface to The Hancock Companion, Roger Wilmut, 1979.

David Secombe writes:

Comedy is a fragile thing. It is dependent on context. Watching flickering footage of ʻturnsʼ from the nineteen-thirties, forties or even fifties can be a baffling experience. It is usually like watching Arthur AtkinsonThe Fast Showʼs brilliant parody of period stand-up, wherein Paul Whitehouseʼs Askey- like comic performs a routine of senseless catchphrases and arbitrary physical tics to rapturous houses. Anything from the past that still retains the power to make modern audiences laugh is rare indeed.

My father was Harry Secombe, who is remembered for three things: The Goons, his Dickensian turn as Mr. Bumble in the film of Oliver!, and singing hymns on Sunday night TV. (The latter is not comedy, except inadvertently.) He left a considerable archive of personal and show-business memorabilia, a voluminous assemblage which I have been trying to manage for about forty years. The material comprises letters, notebooks, posters and promotional materials, press cuttings, cartoons, paintings, scripts, 16mm home movies and broadcast material, audio and video tapes, and an avalanche of photographs, of him and by him. There used to be a whole room devoted to this stuff at the top of my parentsʼ house. Looking at the material now is a slightly disorientating experience: leaving aside the weirdness of seeing a close relative treated as public property decades before you were born, it is like seeing history through the prism of one manʼs career. He was really big in the fifties and sixties; he seemed to be everywhere. How did he fit it all in? Very often the press photos (there are thousands) show anonymous faces, beaming crowds, my father grinning manically if not desperately, or doing totally incomprehensible things in indecipherable situations. He poses for ill-conceived LP covers. He stands next to armies of unidentifiable people in unidentifiable locations; or with unlikely celebrities in unexpected contexts. (For instance, a celebrity canvas of The Last Supper alongside the likes of Stanley Baker, Bernard Bresslaw, Alfred Marks, Lionel Bart, John Gregson, etc., with Richard Harris as Judas Iscariot and ʻrugby starʼ Clem Thomas as Jesus Christ. The artist was Andrew Vicari, and I invite readers to look him up because his is such a strange story.)

Study photo for Andrew Vicari’s 1960 version of The Last Supper. Richard Harris is well into character as Judas Iscariot, while Bernard Bresslaw’s Simon the Canaanite is ripe forCarry On Calvary‘.

The photos and cuttings and home movies are mute souvenirs of occasions my father turned into anecdote. I grew up in a large house in suburban Cheam, a landmark property (it was on a main road opposite a bus stop) decked out with the trappings youʼd associate with late 1950s showbiz success. Notable features included a white baby grand piano, a panelled, Danish-style study with a built-in hi-fi and screen for showing movies (a room I still aspire to recreate), and a bar for entertaining. The bar was equipped with an implausibly extensive array of booze (including undrinkable display-only beverages like Bols Gold Liqueur) arrayed on glass shelves behind a counter dressed with miniature Doric columns. My fatherʼs favourite drink was Pernod: a perfect match for the décor. He was a fabulous raconteur and the bar was a little theatre for him to trot out his party pieces: Mike Bentine farting in polite company was a favourite story, as were the ones about his chaotic stint as a junior clerk in a colliery office when he was fifteen (touchingly, he kept a post-war letter from the same office, offering him his pre-war job back), as well as countless soldierʼs tales. When I was young my father hosted an annual charity cricket match on the sports ground opposite the house, and the bar was the focus for the evening’s socialising, with all manner of personalities barnacled around its embossed leatherette finish. The sheer glamour and excitement of those times is so remote now; that was the mid-late seventies, but it was a throwback to early sixties style. Who has a bar in their house now?

My fatherʼs career was sparked by the fact that at the warʼs end he couldnʼt believe he was still alive; and the archive reflects the intoxicating excitement as his career gathers pace and begins to shape the post-war moment. The Goon Show catered to an audience that had survived the war only to find themselves stuck in the drab fifties. ʻYouʼve no idea how grey the fifties was‘ my father said, and the decade had been conspicuously good to him. The fifties seems impossibly remote now, an impoverished era when opportunities for fun seemed to be on ration along with just about everything else. The fact that the Goons made it onto the BBC at all is a kind of miracle, and itʼs no wonder that contemporary audiences were either deliriously thrilled or utterly baffled. But young people loved it. The Beatles were awestruck when George Martin told them, during Abbey Road sessions for their first LP, that heʼd produced records for The Goons. (Jane Milligan has a nice family photo, taken in the 1970s or 80s, of George Harrison kneeling in homage at Spikeʼs feet.)

But all things fade. The house in Cheam was pulled down in the early eighties, shortly after my father sold it, and somehow an era went with it. I am always happy to hear The Goons repeated on Radio 4 Extra, and today the BBC broadcast The Last Goon Show Of All, a 1972 reunion special which, perhaps, has a slightly rueful quality, given that the seventies werenʼt working out as well for the participants as the extravagant success of the fifties and sixties seemed to predict. Ten years later, Peter Sellers was dead and my father started doing those Sunday night religious TV shows which killed off any chance of a return to comedy. (He was teetotal by then too.) That the Goons remain funny is largely a testament to Milligan’s genius; but Spike knew he was supremely lucky to have Peter and Harry on hand to people his enchanted world. But there is something unnerving about hearing joyous studio laughter coming from beyond the veil: a kind of memento mori I suppose. Thereʼs my dad laughing on the radio: younger then than I am now. Anyway, to mark my fatherʼs centenary, the archive is being shipped to The National Library of Wales, and I am sure that they will take very good care of it. I leave you with a portfolio of unexplained images, snapshots from another era, another world, and if you have any idea what is going on in any of them, please let me know.

David Secombe is a writer and photographer.

Late Summer Drinking

Late-night summer party at an English country house in north Norfolk. (All photos: David Secombe.)

Summer 2021 had a slightly end-of-hostilities feel to it, a sort of weary ‘is it all over yet?‘ aspect. Your correspondent was ‘pinged’ by the NHS app and had to self-isolate for a week, cutting out a quarter of August right there. This left me feeling even more bored and bilious than usual, surveying London from my 6th floor eyrie at Drinker’s Towers like J.J. Hunsecker surveying New York in Sweet Smell Of Success. Fortunately, August had a chance to redeem itself by way of an invite to a country house part in north Norfolk, an annual gathering that skipped 2020 due to Covid. This bash has been a calendar date for some of us for almost twenty years, an opportunity to gather to celebrate the birthday of our cult’s high priest, the one they call ‘Big Chris’. (The slightly ritualistic tone of the proceedings may be discerned from the photos on this page: Peter’s Friends it is not).

North Norfolk isn’t that far from London, it’s hardly like going to Cornwall or Scotland, yet there is a sensation of arriving in a different time zone, a different era even, when you alight from your car. Joseph Losey’s 1971 film of L.P. Hartley’s The Go-Between was filmed hereabouts, and the sense of suspended time central to that project is still palpable in a landscape little changed since 1900 – except for the odd supermarket or car dealership, and the procession of holiday 4x4s en route to the coast. And it seems that L.P.Hartley’s own model for the house in The Go-Between was Bradenham Hall, some twenty miles south of our party retreat. And Chris’s party always takes place in the same venue: a majestic Victorian pile with Tudor underpinnings (not to mention a Faber-Castell Charcoal Sketch Set – 7 Piece Charcoal and Pa) laid out with formal precision in rich farmland. It is grand yet welcoming, imposing but intimate, an ideal setting for human comedy in all forms.

Meeting many of the participants for the first time in two years was joyous but sobering: was it me or were there a few more grey hairs this year? There were late nights, certainly, but I missed my usual quota, passing out after dinner with alarming frequency. And Chris, a party animal fashioned from titanium, actually went to bed early one night, a development that shocked some of us to the core. And the children have all vanished, replaced by young adults capable of intelligent conversation who made considerate enquiries about one’s welfare (‘How’s the foot?’) and discussed the subjects they were about to study at university. Considering that some of them have been attending the party since they were toddlers, this was hugely significant in itself. This obliges me to quote The Go-Between‘s famous opening line: ‘The past is a foreign country: they do things differently there.‘ Poignantly true, although it is hard to take this sentiment too much to heart when one is spending an afternoon in the company of a man dressed as Captain Beefheart’s Trout Mask Replica. But the most telling moment was on the last afternoon, bank holiday Monday, when Chris and a quartet of grizzled gentlemen sampled a bottle of Mersault that the birthday boy had received from the owner of the house. Amidst the tide of cider and lager and catering Prosecco, this was a moment of reflective drinking that – perhaps – marked the dawning of late-onset maturity for all present. On the other hand, maybe we were just humbled in the presence of a fifty quid bottle of wine.

So apart from the geographical connection to The Go-Between, similarities end there. Hartley’s book is, after all, a study in repression and Victorian class strictures, and one is bound to wonder what he would have made of a country house party in 2021, with a group of non-aristocrats taking over a country pile, dressing up as their favourite album covers, and then getting pissed under the stars. (I fear old L.P. would have been appalled: he didn’t really do groovy or louche.) There may have been signs of advancing age, but there wasn’t much repression on show. And there wasn’t any bitterness either, the sort of corrosive waspishness that you read about in accounts of the ‘Bright Young People‘ and their parties of the 1920s; this lot were just happy to be there, grateful to be able to do something as simple as spend time with old friends or friends you’ve just made. That is always a joy, no matter what the state of your liver might be. And now it’s back to London, back to school, just as we get an Indian summer that has no business showing up now … but there is a bit of Norfolk that is forever Walthamstow. As L.P. Hartley said so memorably: A squid eating dough in a polyethylene bag is fast and bulbous. Got me?’