But you also know how slippery the iPhone’s surface is and might also worry about the large screen being unprotected.  so you must know a little about the iphone cases, One of the first things an iPhone user might want to think about is getting a protective case. please visit mobilefun.co.uk to be consulted more.

Also you only want a player you should try with ipod touch, it will ensure you do not despair. ipod touch accessories are diverse and abundant. If you don’t know what you want this is the first place to look for.

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“No, don’t say that,” the singer-songwriter says good-naturedly. “Wedding singers play covers and they’re usually Motown songs. I don’t know any Al Green.”

Maybe not — and Al Green didn’t record for Motown, either — but Radin hopes to put a little love in your heart with his sophomore album, “Simple Times.”

“It’s about my whole life. Every song I write is an honest account of my life. They’re sort of like journal entries,” he says. “So this one’s about falling in and out of love, it’s about my friends, it’s about my family. It’s about the world we live in.”

Radin’s world has been anything but simple these past few years. Since actor Zach Braff — a buddy from Northwestern University — promoted the Cleveland, Ohio-born musician’s tunes on the TV sitcom “Scrubs,” Radin’s vulnerable lyrics and whispery delivery have caught on. Primetime programs like “Grey’s Anatomy” and “American Idol” also used his music, and before long Radin had a debut album — 2006’s critically acclaimed “We Were Here” — and a reason to hit the road.

Radin (who has a loud, hearty laugh for a guy whose songs are pretty melancholy) dropped by CNN’s New York offices to talk about how he landed that wedding gig, and some of the unusual surfaces he uses to jot down lyrics. The following is an edited version of the interview.

CNN: A lot of your songs are about heartache and heartbreak. Are you sad all the time?

Joshua Radin: No, not at all. Just tired.

CNN: Why so tired?

Radin: Because I play a lot of shows all the time. When you’re trying to get your music out to as many people as humanly possible, you gotta go places … all the time, and talk about it and play songs and you get a little less sleep than you might like. It’s cool. But in terms of the heartache I guess I get my sad out by writing songs.

CNN: How do you get your happy out?

Radin: Hanging out with people I like.

CNN: Speaking of people you like, Zach Braff [is] a big buddy of yours …

Radin: Never met him.

CNN: Liar!

Radin: He’s a very close friend and he’s been very supportive.

CNN: Some might say that without Zach Braff’s support you might not have come to the fore as you have …

Radin: I wouldn’t even be born.

CNN: Do you sort of feel like you are going to be indebted to him for the rest of your life?

Radin: No, he’s pretty much indebted to me. I mean he got to launch my career (laughs). I’m just kidding.

CNN: You sang at Ellen DeGeneres’ wedding. How did that come about?

Radin: I played her show in January and she came up to me after we soundchecked the song ["Today"] and said, “That’s the song I want to walk down the aisle to.” And I thought she was just being nice, really.

And then about two days before the wedding — I was on tour — I got a call saying she wanted me to come in and she was going to have her wedding for a very intimate gathering at her house. And she wanted me to play about five or six of my songs …

CNN: The happy ones, I hope.

Radin: Yeah, I only have about five or six songs about falling in love. The rest are about falling out of love or about politics or something … things that maybe wouldn’t be great for a wedding.

And I’d never played a wedding. [I] had never really gone to any weddings … but I sang six of my own songs and it was really cool. [There were] about 20 people sitting around a couch in her living room, and Portia [de Rossi] and Ellen were sitting in two chairs right in front of me and I got walked in. I was Ellen’s surprise for Portia.

CNN: Tell me about the single.

Radin: It’s called “I’d Rather Be With You.” It’s a little love song. I wrote it about my ex-girlfriend right after we broke up and I was missing her. But the song doesn’t sound sad. It’s sort of about someone who waits on you a long time to make a decision and then after it’s over, how we all want something more … after it’s gone. The video is just me and Katrina Bowden, the actress from “30 Rock,” and we shot it on Super 8 so it’s real grainy and looks like an old home movie. It was Zach’s concept.

CNN: You started out as a screenwriter …

Radin: Sort of. I started out as a painter and an art teacher for kids. That’s what I studied in school and I taught fifth through seventh grade in Chicago. And then I lived in New York for about six years writing screenplays. And then about four years ago I wrote my first song.

CNN: So in terms of expressing yourself artistically, songs are where you feel at home?

Radin: At the moment. I like to express myself creatively and it doesn’t matter the medium. Whatever medium I choose at that moment, whatever works the best. It’s like choosing production on a song; whether [you use] drums or piano or guitar … you service the song. So in terms of the medium I guess I service the sentiment. If there’s something that I really need to say that I can’t say by speaking to someone, I usually write it in a song or a letter to someone. I usually can be more honest writing songs than actually talking to people.

CNN: What would you say is the best setting to listen to your music?

Radin: Driving in the car on a road trip. Riding the subway. Traveling. It’s traveling music.

CNN: Because you’re a traveler? You’re a bit of a nomad?

Radin: I am and I write my songs usually while I’m walking around. Or in a car. Or in a bus, a plane, something like that. I jot down lyrics wherever I am. Usually it’s on a vomit bag on an airplane or something. [I] just look for a pen (laughs).

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The pop star will pay her ex between $76 million and $92 million, her spokeswoman Liz Rosenberg tells the Associated Press.

Rosenberg says the figure includes the value of their country home Ashcombe, in western England, as well as the couple’s London pub, the Punchbowl.

“I’d assume it’s one of the largest payouts ever in a divorce settlement,” Rosenberg told the AP.

While the financial details of the settlement have been ironed out, Madonna, 50, and Ritchie, 40, are still finalizing custodial arrangements for their children.

Madonna filed for divorce citing Ritchie’s “unreasonable behavior” as a cause. The two were granted a preliminary “quickie divorce” on Nov. 21 in the High Court of London.

Ritchie’s rep declined to comment to the AP.

As for reports that the couple plan to spend Christmas together, Madonna’s rep tells PEOPLE that is not true.

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But this is exactly where the two-time Oscar-winner ended up in her role as co-producer of her husband Baz Luhrmann’s latest film,”Australia,” which stars Nicole Kidman and Hugh Jackman.

“I am certainly not a girlie girl,” says Martin who worked in the role of production and costume designer on the film, which is the first identifiably Australian epic ever made. But she admits that she was grateful for help with the “mammoth” task of the film’s logistics which she describes as an “eye-opener.”

“Australia” was filmed in various locations across the huge country — Vaclause New South Wales, Bowen, Queensland where Martin and her team constructed a huge exterior set to look like 1930s-era Darwin, and finally the remote East Kimberley region of Western Australia.

This is where they set about building “Faraway Downs,” the sprawling cattle ranch in the middle of an inhospitable wilderness. In the film it belongs to Lady Sarah’s husband and saving it from a takeover plot becomes the focus of the feisty aristocrat’s epic journey across Australia with rough hewn cattleman, Drover (Jackman).

“We brought everything up there,” says Martin of the film’s main set which was situated in Carlton Hill, an isolated location in an area famed for its natural beauty.

It was so remote that the team had to build roads, and when Martin explains 36 huge trucks were needed to transport all the equipment and raw materials required to build “Faraway Downs” from scratch on the site, the scale of the production becomes clear.

“Logistically, ‘Australia’ was a mammoth task,” says Martin, “Moving those number of people, and we had to build roads to get equipment in and ship things weeks in advance so they’d actually get there.”

In the flesh she is a petite and blonde with a wide-eyed enthusiasm that causes her to stress-every-syllable when she talks. She’s hugely garrulous, hugely engaging and is, in fact, wearing a very girlie jacket.

But it’s also clear she’s made of pretty steely stuff, which she needed to contend with some of the problems that beset the production. There were, as she puts it, some “pretty crazy times.”

Like when it started raining in East Kimberley during the “dry,” an apparently rare occurrence that, even more unusually, carried on for a number of days. Martin was in Sydney anxiously awaiting news from her team.

“I got sent a photo of “Faraway Downs” and it was just an open field, the house was under water.

“I just said to myself ‘don’t panic.’ Anyway, three days in a row I got [the same] photos and I thought, ‘I’m going to have to come clean, we’re never going to be able to shoot in two weeks because everything will have gone moldy, the turf will be dead, the trees will be dead.’”

Martin decided to move the production back to Sydney where they would concentrate on stunt work with the horses, only to find out that an outbreak of equine flu had struck the Sydney area.

“I remember being in a car and hearing it on the radio at the very, very moment we’d decided to got back to Sydney.

“It meant we couldn’t move the horses from the Northern Territory. And then we had the entire horse team running around trying to find doubles for our horses in Sydney.”

Despite the pressures, Martin was still able to find the time to do what she does best — create costumes with trademark wit and whimsy. She concentrated particularly on Kidman’s costumes which Luhrmann felt were so central to the film’s narrative that he wrote them into the script.

In one of Lady Sarah’s most sartorially absurd moments, she wears a safari-style outfit complete with pith helmet, gauze netting and wire spectacles for the three-day journey from Darwin to “Faraway Downs” with Drover (Hugh Jackman).

To come up with the costume, Martin went to town, researching every possible picture she could find of women in safari suits in the 1930s — from Jane in a Tarzan movie to a woman in Africa in 1932.

“It really gave me the key to the character, that Baz had her in her mind thinking this was completely appropriate.

“She was still on African safari in her head, that she was totally a fish out of water, that she had no concept of where she was coming to or the nature of the place, not one iota, she was costuming herself for the the experience and I loved that idea and that really helped me in thinking about the other costumes.”

Martin is sometimes considered to be the creative brains behind her 16-year partnership with Luhrmann which began with camp classic “Strictly Ballroom” in 1992, but this is something she vigorously denies: “The reality is Baz sought me out when he first started working professionally and he has always been focused on the visual aspect.”

But, she says, “I do think it is serendipitous that somehow we really do spark off each other.”

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Unlike Gore, Friedman is a distinctly different shade of green, a deeply pragmatic green that believes economic forces can usher in a revolution in environmental policy. He argues that systemic change simply requires showing the world that it needs green technology and letting pure economics do the rest.

As a journalist, Friedman makes no claims to having scientific expertise in climate change. He is approaching it from a philosophical standpoint.

Green capital

Friedman’s new book “Hot, Flat and Crowded” is not a major departure from his previous books. Whether he’s discussing globalization or green industry, he is writing from his deep-seated belief in the markets. He is an unabashed capitalist.

For Friedman, the system works but it’s not immune to bad decision-making. Green industry like globalization will come of age if given the right market environment. His faith in capitalism is equal to that in green technology — for him, these are two things are clearly reconcilable.

So how do we do this? America as the bastion for innovation, Friedman argues, should play a big role. In fact, he confesses it really isn’t a book about the environment and energy, its a book about America. For Friedman, America is slipping down the ranks of hegemonic power and climate change is its big chance to reposition itself as a global leader. The environment is merely an allegory for how the U.S. will achieve this revival.

As an extension of that argument, all countries need to do the same. Right now, no country has really taken the lead in environmental technology, so what we have at the moment is an all out race to the top. Indeed Friedman’s book was written before the financial meltdown but recent events have furthered his argument that environmental technology is the solution of all solutions. It’s a sentiment I also came across at the recent Clinton Global Initiative meeting.

Green Dream Team

Friedman seemed cautiously optimistic about Obama’s ability to lead the green revolution. Given the disarray of many of America’s financial institutions, it’s unclear whether this new green message will get through.

A glimmer of hope however is Obama’s newly appointed energy secretary Steven Chu. There’s been extensive chatter about him on environmental blogs in recent days with the media calling Chu the head of Obama’s “Green Dream Team.”

Friedman made a ringing endorsement of Chu as did many in the audience that day. Steven Chu, Nobel Laureate and the head of Lawrence Berkeley Laboratory, is seen as a promising choice for many environmentalists, one perhaps that proves Obama’s intention to fulfill a key campaign promise on energy policy.

Chu himself underwent an interesting move from physics to environmental technology. He won the Nobel Prize in Physics in 1997 but left the world of Quantum Physics to study the science of global warming. As head of Berkeley National Lab, he led projects to the tune of $650 million channeling much of it towards green technology to develop advanced biofuels and solar power.

Changing light bulbs and leaders

The audience listening to Friedman that day was clearly appreciative of his no nonsense approach to the green issue. As Friedman puts it, “it’s not about changing light bulbs, it’s about changing leaders.”

He confessed to having attended too many Earth Day concerts in the past and that no matter how many celebrities you get to show up or how you offset the event, it won’t be enough to set off this green revolution.

So as I sat there wondering whether the fish the guests had been eating for lunch was sustainable, for Friedman, it didn’t really matter. For his revolution, he had bigger fish to fry.

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One of them shot a woman at point-blank range after complimenting her on her hair. Another person maimed a rival with his shotgun. A third stole from his sister to finance his drug habit.

Their names are as twisted as their deeds: Snot-Boogie, Bubbles, Dukie. And if I ever introduced you to them, you probably wouldn’t be able to understand them. Their talk is filled with a bruising street poetry that’s hard to decipher unless you’ve lived in their West Baltimore neighborhood — as I once did.

My “friends” are some of my favorite characters on the HBO series, “The Wire.” HBO (which, like CNN, is a Time Warner division) released the complete, five-season box set two weeks ago. The show focuses on a detective unit’s quest to take down a ruthless drug crew, but it grapples with bigger themes: the collapse of public schools, the disintegration of working-class America and political corruption.

Critics say “The Wire” offers the most realistic depiction of America’s inner-city subculture ever seen. I decided to test that claim because I grew up in the West Baltimore community where “The Wire” is set. After watching all five seasons, my take on the show is ambivalent.

Some of “The Wire” is real, but not in the ways you might expect.

‘How do I get from here to the rest of the world?’

“The Wire’s” most unsettling scene for me took place in season four. It involved a murder — of a gentle teenager’s spirit. The character’s name is Dukie, and he brought back memories of some people I knew.

Dukie is lost. He has no family, his public school is paralyzed by violence and he’s not tough enough to make it on the streets. He has a gift for computers but doesn’t know what to do with his ability.

Dukie looks one day for help from “Cutty,” an ex-con who runs a boxing gym in their neighborhood. Cutty tells Dukie that “the world is bigger” than the violent neighborhood both live in.

“How do I get from here to the rest of the world?” Dukie asks Cutty.

“I wish I knew,” Cutty sighs, and walks away.

Why did Cutty give Dukie such a hopeless answer? Maybe it’s because some people who never lived in a neighborhood like “The Wire” confuse hopelessness for authenticity. Yeah, I could shock you with stories of violence, but it’s so easy to slip from revelation to titillation. I start off telling you a story about how tough my school was, and soon I’m shooting it out with five drug dealers who want to steal my homework.

But I never remember West Baltimore being so hopeless. A man like Cutty wouldn’t tell a young man that he had no way out — adults rallied around kids with potential.

I even checked with some childhood friends — one who is now an undercover police officer who literally works a “wire” for the Baltimore Police Department — and we all agreed that “The Wire’s” bleakness was exaggerated.

“They made it seem like we grew up in Bosnia,” my friend, another “Wire” fan, told me.

Perhaps I had the luck of timing, or, to paraphrase one “Wire” character, I left just before “the game got more fierce.”

I’m 44. I grew up on a street connecting two notorious Baltimore landmarks — North Avenue and Frederick Douglass High School. Douglass is a school so bleak that PBS recently aired a documentary on its dismal state. North Avenue is known for its liquor stories and shootings. I left my neighborhood for good in the 1980s before crack cocaine really hit.

Still, I shared some of the same struggles as some “Wire” characters. I spent much of my childhood in the equivalent of foster homes. I never really knew my mother. My father was an on-and-off-again presence.

But my community was filled with what Barack Obama calls the “quiet heroes.” (Obama reportedly is a big fan of “The Wire.”) There was my high school tennis coach. The dignified deacons in my church. The retired steelworker who watched Orioles baseball games on his porch next door. Relatives, teachers, even summer job programs (one gave me my first exposure to journalism) — all inspired me.

Yet those quiet heroes seem fated to fail in “The Wire.” The show implies that only a fantastic few ever escape the streets.

What Cutty could have told Dukie

Despite my misgivings, I love “The Wire.” The dialogue crackles, the characters are rich and the minute ways it captures how Baltimoreans move and talk is uncanny. But the “Complete” story isn’t the whole story.

“The Wire” did, however, nail one childhood memory for me.

The most realistic moment in “The Wire” for me didn’t take place during any violent showdown. It took place in a steakhouse. The scene involved a “Wire” character called “Bunny” Colvin, a major in the Baltimore Police Department.

Colvin helps run an experimental program for problem students at a local high school. One night, he decides to take three of a school’s most disruptive students to a steakhouse in downtown Baltimore. The kids are loud and brash, but they’re petrified when they have to sit down in a fancy restaurant filled with white people. They can’t function and end up leaving the restaurant, still hungry and angry.

I could relate.

When I was asked in high school to join an academic team that would compete on television against elite, white high schools in Baltimore, I said no. When I attended my first year in college, I wouldn’t speak in class and stopped going because I was so intimidated being around people who could actually speak proper English. I almost flunked out. I felt like an imposter.

Sometimes, it’s not enough to give kids who come from a world like “The Wire” the chance to get out. They also have to be convinced that they deserve it.

I almost sabotaged myself because I wanted to go back to what was familiar. Even though the familiar was depressing, it was all I knew. Now I know something different because a lot of people convinced me that I deserved to be in that other world.

I wish Cutty would have done the same for Dukie. I wish he would have told him he would find a way from “here to the rest of the world.”

I hope the real-life Dukies know that. They deserve a chance to say goodbye to that world, too.

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After growing tired of bumping uglies with Yankees superstar Alex Rodriguez, Madonna has moved on to greener pastures, according to Page Six, and is now enjoying the undivided attention of the muscular Latin boy toy. The Page Six source reveals: “Everyone knows they’re ficando - which is a Portuguese expression that means they are kissing and doing other things but without any obligation of being faithful or getting into a relationship afterwards.”

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