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Posted by Naomi Pfefferman
"I don't think I'm in any way a sociopath," said Ariel Vromen, the Israeli-born filmmaker behind "The Iceman," inspired by the true story of one of America's most notorious mob hitmen, Richard Kuklinski, who died in prison in 2006.
Yet Vromen remembers watching an HBO documentary about Kuklinski in 2007 and feeling a kind of empathy, even a connection, to the 6-foot-5, 300-pound killer who claimed to have whacked at least 100 men between the 1960s and the 1980s, all while maintaining his double life as a devoted family man in suburban New Jersey.
"The weirdest emotion I had was that I actually liked the guy," the gregarious director said recently, shaking his head while smoking a Marlboro Light on a terrace at the Four Seasons hotel. "On the one hand, he spoke of his murders as if he were talking about eating a burger, and on the other, he had tears in his eyes when he talked about losing his family. I related in a very strange, if remote, way to the duality of his experience, even though it was so extreme."
Vromen, 40, traces his empathy to his service in an Israeli air force rescue unit in the 1990s. He served as a paramedic also trained in anti-terror combat, as well as parachuting and scuba diving, in order to evacuate both Israeli and enemy soldiers on battlefields from Lebanon to Gaza.
"We'd be playing backgammon or watching a comedy in the unit's lounge, and in seven minutes I would be on a chopper, and 45 minutes later I had to deal with chopped-up bodies and wounded people while under constant enemy fire," he said. "I was so young in that situation; it's as if I were building a kind of a split personality."
Vromen succumbed to the pressure of one 1993 mission in Lebanon, where a bomb eviscerated Golani Brigade soldiers and gunfire was rampant. "Two of my friends were killed right in front of me," he said. "It took me months to go back into the service, because I had a kind of [stress-related] reaction where I would be throwing up or else laughing all the time. So all this is one reason I had that odd response to the dichotomy that is Richard Kuklinski."
To make the film, Vromen immersed himself in research on the hitman, studying biographies, police reports and court documents as well as watching interviews with Kuklinski's wife and daughters — who insisted they knew nothing about his true profession until his arrest in 1986.
"The Iceman" begins as Kuklinski (Michael Shannon of "Boardwalk Empire" and the upcoming "The Man of Steel") shyly romances his wife-to-be, Deborah (Winona Ryder). She's a naïve Catholic teenager who believes his lie that he works as an editor of Disney films when he's actually dubbing pornography.
Director Ariel Vroman
As the couple starts their family, Kuklinski gets promoted to hitman by mobster Roy DeMeo (Ray Liotta), and later teams up with the freelance killer "Mr. Freezy" (Chris Evans of "The Avengers"), so nicknamed because he uses his ice cream truck as a cover for his crimes. Mr. Freezy promptly teaches Kuklinski to use cyanide as an almost undetectable murder weapon and to store the corpses in his truck before dismembering them and scattering the body parts around the East Coast.
David Schwimmer is cast against his "Friends" type as a wannabe Jewish gangster who worries that his surname of Rosenthal is too Jewish for his Italian-American colleagues, and James Franco has a cameo as one of Kuklinski's victims who fervently prays to God while begging for his life.
Vromen said Kuklinski grew up with a violent, alcoholic father, but the filmmaker played down that aspect of his subject's life so as not to suggest that abuse necessarily leads to murder. He also eschewed glorifying the killing sequences in the film, preferring nondescript locations and long lenses that often capture the action "through elements in the foreground, so the audience feels more like a spectator than a participant," he said. "I tried not to make the murders exciting, but more matter-of-fact, because Kuklinski just regarded them as a job."
Vromen grew up as a cinephile in Tel Aviv, avidly watching movies by directors like Fellini, Bergman and Scorsese while making his own short films with his 8 mm camera. His parents' view of his hobby was "to get rid of it," he recalled; they preferred he become a lawyer. And so, Vromen skipped what he calls "the usual Israeli post-army crazy backpacking trip" to study law at the University of Kent in England. But he became disillusioned with the law after earning his degree at age 29 and returned to his first love, attending film classes at New York University and the Los Angeles Film School. In the 2000s, he directed his first two features, the psychological thrillers "Rx" and "Danika," starring Marisa Tomei.
Vromen's Israeli connections proved crucial in making "The Iceman." For financing, he turned to producer Ehud Bleiberg ("The Band's Visit"), who had considered hiring Vromen to direct his 2008 Holocaust-themed film, "Adam Resurrected," until they both agreed that he was too inexperienced at the time to tackle a drama revolving around the Shoah. Israelis on "The Iceman's" team include the editor Danny Rafic and composer Haim Mazar.
Vromen said his Israeli chutzpah came in handy when casting woes and rival projects threatened "The Iceman," one of them from Paramount and a more recent attempt financed by Libyan dictator Muammar Gadhafi, of all people. "We felt we had lost the game until the Arab Spring started in Libya and they killed Gadhafi and President Obama froze his assets," said Vromen, who spent the downtime making a documentary about emerging Israeli mentalist Lior Suchard for Israeli television.
"Then we were clear to go."
Shannon — whose performance Time magazine noted as Oscar-worthy —praised Vromen's tenacity in sticking with the film. "He just didn't give up," Shannon said. "Even when time and resources were tight, he never buckled."
"The Iceman" hits theaters on May 3.
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April 30, 2013 | 4:57 pm
Posted by Naomi Pfefferman
Bar Paly is the new hot export from Israel.
Previously we've heard all about Bar Refaeli, the flaxen-haired Sports Illustrated cover girl who romanced Leonardo DiCaprio.
Now Israel has raised yet another Bar – supermodel, that is -- with Paly, whose sultry figure recently graced a Maxim magazine shoot, and who plays Mark Wahlberg's belle in "Pain & Gain," the new testosterone-fest from Michael Bay. In the action flick, the tall, tanned Paly portrays Sorina, a Romanian immigrant and wannabe actress turned stripper who gets mixed up in a kidnapping and extortion scheme with a bunch of steroid-amped bodybuilders (Dwayne Johnson, a.k.a. "The Rock" co-stars).
Like her character, Paly has had dreams of stardom in America. On Twitter, the hottie describes herself this way: "I go by Bar. I'm Israeli. A model. An actress. A crafter. A small town girl with big dreams. Israel-Los Angeles."
[Related: Bar Refaeli kissed a girl]
Actually Paly originally hails from Russia, having moved to Israel when she was 7. Raised in Tel Aviv, she started modeling at 17 to support her acting habit ("I'm an actress first," she told Aritzia). Eventually she moved to L.A., where gigs followed on "How I Met Your Mother," "The Starter Wife," the 2008 horror film "The Ruins and Roman Coppola's "A Glimpse Inside the Mind of Charles Swan III – until her big break with "Pain & Gain."
Paly endured a bit of her own pain (and gain!) to take on the role of Sorina; the waif-like actress had to put on 20 pounds to convincingly play the stripper – complicated by the fact that she was burning myriad extra calories with all that pole-dancing practice. Her solution: Paly dutifully chowed down on plenty of burgers and fries, as well as 5,000 calorie shakes that tasted, well, like "chocolate flavored concrete," she told the Daily Mail.
Next up, you can catch Paly in "NonStop," an action pic set aboard a besieged airplane, starring Liam Neeson and Julianne Moore, which will hit theaters in 2014.
In the meantime, Paly's been making the media rounds, with an especially hilarious introduction recently on KTLA: When the spotlight turned on the gorgeous Paly, the anchors greeted her with a cheerful "Shalom, Your Hotness!"
April 26, 2013 | 11:25 am
Posted by Naomi Pfefferman
Michael Shannon was shy and soft-spoken during a recent interview at the Four Seasons hotel, keeping his intense blue eyes studiously focused on the floor. It was hard to juxtapose this retiring fellow with the disturbed souls and tough guys he has played on HBO's "Boardwalk Empire" and in films like "Take Shelter" and 2008's "Revolutionary Road," for which he earned an Oscar nomination.
Shannon will portray Superman's nemesis, the villainous General Zod, in Zack Snyder's highly-anticipated "The Man of Steel," opening June 14. And in Ariel Vromen's "The Iceman," opening May 3, he's the stone-cold mob hitman Richard Kuklinski – based on the real-life notorious contract killer who had a soft spot for his family. (Kuklinski's preferred murder technique: pretending to cough or sneeze on victims while actually spraying them with cyanide.)
Vromen, who grew up in Tel Aviv and did his IDF service in a dangerous rescue unit of the air force, said Shannon oozes menace on-camera. "Michael portrays the dark side of human nature so convincingly," the filmmaker said in a separate interview at the Four Seasons. "He's perfection in the dark and he's also very funny. But I had never seen him actually portray warmth, so I just kept reminding him of his daughter, and he went into that space very easily.
Here's what Shannon had to say about Vromen and "The Iceman:"
Q: When Ariel first approached you about the film several years ago, you said, "Good luck making the movie with me in the lead." At the time, you thought you weren't a big enough name to play the main character.
A: It's very tricky to get even the smallest amount of money for films nowadays, so I didn't know if he'd be able to secure the funds he needed to make the picture with me in the lead. I suggested maybe I could play a supporting role.
Q: What drew you to the project?
A: I think that Ariel and I had a very similar attachment to the material, which was the double life that Kuklinski led; the contrast of the rage he expressed by what he did for a living but also this tenderness that he managed to have that inspired him to have a wife and a family and a home. I think we were both fascinated by how that contradiction could exist in a person.
Q: Do you think your character is evil?
A: I think he did horrid things, but I see my job as being to try to understand what would lead someone to do the things that he did, so that's what I attempted to do. I think his abusive childhood played a huge part in it, and I think he had a very low opinion of himself, ultimately. In interviews, he would say of his murders, "I didn't know how to do anything else. I wasn't good at school, I didn't have a lot of prospects. Basically the one thing that I had was this rage, and I found a way to turn it into a job."
Q: One scene that stands out is the one where James Franco plays a victim who is praying to God to save his life, while Kuklinski taunts him that God apparently isn't listening.
A: That scene was very significant for me because I think it was a very significant event in Kuklinski's life. It's a story he tells in an interview he did for HBO, where the interviewer asked him if he regretted any of his killings. He described the time that he told this guy to pray to God, and he afterwards always felt that that was not cool, that he actually doubted himself in retrospect for killing the guy. Which was rare for him; he didn't do that very often. So I knew it was a very important scene in that regard.
Q: In the scene, Kuklinski seems very sure of himself.
A: I think for people like Kuklinski, a lot of the conflict is very internal; it's inside of them, and not for public consumption.
Q: How would you describe working with Ariel Vromen?
A: Ariel is very tenacious; he doesn't give up, and he's a great leader. This was a very difficult shoot; we didn't have a lot of time or money, but he never buckled. He's able to make great decisions on his feet and to inspire the crew and keep things moving. The fact that he was able to make the movie in the amount of time we had and with such limited resources is really a testament to how strong his will was to complete the film.
Q: What would you like audiences to come away with?
A: I think the film is valuable, if not necessarily a primer on Kuklinskis' life, at least as a parable about the notion of having a double life – and how that ultimately isn't a very good idea.
April 18, 2013 | 12:34 pm
Posted by Naomi Pfefferman
In the most searing sequence in Tadeusz Słobodzianek's "Our Class" — a controversial play about Polish-Jewish relations now at the Atwater Village Theatre through at least May 5 — actors playing Polish nationalists lift chairs symbolizing their Jewish neighbors and mime the bludgeoning of bodies in a rural barn during the Holocaust. A Jewish character named Dora, carrying her infant son, then steps atop the chairs as she recounts how she and the rest of the town's Jews were subsequently forced into the barn as the doors were locked, the structure set ablaze and all the victims burned alive.
The sequence is underplayed, but horrific.
"The most severe and extreme moments of the play had to be written and indeed performed with as light a touch as possible, because you can't match the hideous events that are happening," said Ryan Craig, the British dramatist who adapted the Polish-language play into English for its world premiere at the National Theatre in London in 2009.
The first Polish drama to be given the country's prestigious Nike Literary Award, "Our Class" was inspired by a real pogrom that took place in Jedwabne, Poland, on July 10, 1941 — as well as similar massacres in neighboring villages — when the Catholic half of the town murdered the entire population of 1,600 Jewish residents.
The play was largely inspired by Jan T. Gross' controversial 2002 book "Neighbors: The Destruction of the Jewish Community in Jedwabne, Poland," which asserts that the atrocities were committed not by the German occupiers as previously believed, but by the Polish villagers with little or no encouragement from the Nazis. The book prompted an official apology by then-Polish President Alexander Kwasniewski as well as angry retorts that the book — and later the play — exaggerates the degree of Polish complicity and suggests that all Poles are anti-Semitic, requiring a collective mea culpa.
Craig begs to differ: "The play is based on thorough historical research, so if you think there's demonization going on, you need to speak to the historians rather than the playwright," he said in an interview from London. "But the playwright is not attempting to demonize the Poles, and I certainly worked very hard not to demonize anyone. I wanted to make sure that all the characters were fully rounded, and while some of them are victims, all of them are flawed in one way or another."
"Our Class" revolves around 10 diverse members of a kindergarten class who appear first as innocents and playmates. Through successive Soviet and Nazi occupations, however, they are prompted to become victims or perpetrators — and sometimes both — in events that span from 1925 to the present.
For example, Zygmunt, a fierce Polish nationalist, commits some of the worst atrocities in the play, but during the Soviet regime is viciously tortured by Menachem, a Jewish survivor-turned-Russian secret service officer. The Catholic Zocha refuses to assist victims of the pogrom, except for Menachem, whom she hides in her hayloft because she is in love with him; Wladek, an alcoholic peasant, spews anti-Semitic slurs even as he shelters Rachelka, who is pressured to convert to Catholicism in order to marry him and who resents their union; and Menachem, the victim-turned-perpetrator, abandons his wife and baby to their fate in the barn while romancing Zocha in her hayloft.
"Our Class's" director locally, Matthew McCray, who is also the artistic director of Son of Semele, the ensemble performing the Los Angeles production, said he doesn't perceive "Our Class" as a traditional Holocaust play.
"This is where we get into touchy subjects, because as a non-Jew and non-Pole, I have to tread carefully," he said. "But in some ways the play is about humanity as a whole; it's about how people interrelate from different communities."
Craig, 41, approached the material with his own painful Jewish history. Although one of his grandparents is Irish-Catholic, his paternal great-grandfather came to Britain to escape pogroms near Bialystok, while his mother's family consists of Sephardic Jews who fled Nazi-occupied Holland for London.
As a boy, Craig recalls, non-Jewish children threw bacon and spouted slurs at him as he walked to Hebrew school in North London. And he was furious with Britain's own history of pogroms, in particular a massacre in medieval times when the Jews of York were burned alive in a local building.
"For a long time, I was very angry," he said of British-Jewish history, adding that he even refused to visit a girlfriend in York because of what had happened there.
But Craig worked out those demons by writing plays that explored anti-Semitism, such as "The Glass Room," which spotlights a Holocaust denier: "By getting inside the minds of [anti-Semites], I was able to learn how these attitudes develop," he said.
Even though he was initially reluctant to take on another Jewish-themed play when the National approached him about "Our Class," he soon was drawn to the moral complexity of the material. "I'm not excusing anything that happened in Jedwabne, but I think there's a sort of cultural victimhood that the Poles went through that led them to become persecutors," he said.
Craig worked closely with Słobodzianek as he adapted the play several years ago: "He's the largest human being I've ever met; physically, he's a planet," Craig recalled. "He looks like [former Soviet leader Nikita] Khrushchev, and when I first met him he was quite grumpy — he doesn't speak much English — and he initially was quite dismissive of me and was anxious because the play had never been produced anywhere in the world at that time. It was too controversial still in Poland, where Tadeusz was regarded as a traitor. But he didn't care about that in the least; he intended the play as a lesson to his own people, as a means of reflecting back to them the darker parts of the Polish experience."
When McCray took on the West Coast premiere of "Our Class," he meticulously researched the historical events surrounding the play but also attended a three-hour meeting with the Polish consul general and cultural attaché in Los Angeles.
"They were cautious that I had an agenda to stir the pot, to make people angry by depicting a one-sided opinion of what had happened," he said. "I think their message was that this happened and it was horrible, but it's also important to discuss the historical context surrounding it and how we can improve Polish-Jewish relations from here."
For tickets and information, visit www.sonofsemele.org.
April 18, 2013 | 11:05 am
Posted by Naomi Pfefferman
David S. Goyer, the scribe behind Christopher Nolan's "The Dark Knight" trilogy and the highly anticipated Superman reboot "The Man of Steel," opening June 14, was sipping English breakfast tea while nursing a cold recent at the Four Seasons Hotel.
The 47-year-old writer was balding, slight in stature and bore a striking resemblance to the actor Stanley Tucci, as The New York Times has noted. But his case of the sniffles didn't prevent him from speaking, in erudite fashion, about his upcoming Superman flick, which began when he hit a case of writer's block while working on "The Dark Knight Rises" several years ago.
"I was procrastinating," said Goyer, who promptly "wasted time" by perusing some Superman comics in his home office – where, by the way, hangs some original art from the "Golem" comic books of the 1970s (Goyer likens the Golem to "the Jewish hulk"). On a lark, Goyer began jotting down some ideas for a new Superman film, which he dished to Nolan the next time they got together. The director was so impressed that he picked up the telephone and called Warner Brothers' Jeff Robinov, who in turn was so enamored with Goyer's take on the DC Comics character that he approved the project the very next day.
Superman has been a cultural icon since his Jewish creators, Jerry Siegel and Joe Shuster, first published his story in Action Comics #1 in 1938, just as the Jews of Europe could have used a superhero of their own. Since then the guy in the cape has been ensconced in the popular culture with myriad tellings and retellings of his story -- from the Christopher Reeves films of the 1970s and '80s to Bryan Singer's 2006 "Superman Returns."
So what's Goyer's new spin on the Man of Steel? His emotional vulnerability, the writer said. Here are some further excerpts from our interview, where Goyer discussed his childhood obsession with comics, his work on the blockbuster "Dark Knight" trilogy and of course, "The Man of Steel."
Q: When did you first get into comic books?
A: We used to take the Amtrak train from our home in Ann Arbor [Michigan] to visit my grandmother in Chicago, and when I was 5 or 6 my mother would buy us comic books in the train station and I'd read them on the way. The first one that really captivated me was "The Incredible Hulk #161." I related to Bruce Banner who was small and picked on but then he could turn into the hulk!
Q: Were you aware that many of the superhero creators were Jewish?
A: Oh, yeah – I mean Stan Lee was Jewish and Jack Kirby, Joe Simon and Bob Kane and Siegel and Shuster, they were all Jewish, and between the six of them they created easily the top 10 comic book characters out there. As Jews, they were disenfranchised, put upon and oppressed, so the superheroes were a kind of wish fulfillment; also comics were a kind of gutter medium so it was a way to get work in perhaps a medium that was less established and even frowned upon, and wasn't paid much attention to, but at the same time it offered them a lot of creative latitude.
Q: When you tackled Christopher Nolan's Batman series, what did you aspire to do that was new and different from previous films?
A: The first thing was that we tried to write about the gadgetry as if it were real; we were rigorous about the storytelling and we would never introduce something and not at least explain how a gadget could exist in the real world -- how the Batmobile or Batman's cape could work, for example. So everything had to be based on technology that either existed or was on the drawing board, to give it verisimilitude. The other thing is that we didn't want Batman to appear in the suit for at least 45 minutes into the film, because we wanted to get people so invested in Bruce Wayne that they didn't care whether or not he was in the suit. So one of the first things I said to Chris is that I was adamant that there be a massive action sequence, almost Indiana Jones-style, involving Bruce Wayne at the beginning of the film, and that is where he escapes from the League of Shadows.
Q: Your take was also more nihilistic than the Tim Burton "Batman" films of the late 1980s.
A: That was our personal take. One of the things that's interesting for the audience to decide is whether or not Batman actually makes Gotham better – whether it's a better place after he leaves or not.
Q: You've described the relationship between Batman and The Joker in "The Dark Night" as "The Killing Joke."
A: "The Killing Joke" is a seminal graphic novel by Alan Moore and it was one of our reference points. But also it was the fact that the Joker isn't in a strange way evil; he's the Trickster [in mythology of various cultures]; he's based on Loki, or the Coyote. He exists to shine a mirror back on society, and I'm not saying he doesn't do horrible things, but the Joker does sometimes do things that are not beneficial to himself, and I'm not even sure that he would kill Batman if he actually got the opportunity.
Q: One of the things that is so creepy about your Joker, as played by Heath Ledger, is that he keeps changing his back-story.
A: That was intentional. I think a lazy convention of modern superhero films is that you start with the origin story of a character and we thought that we would go the opposite direction. We didn't want people to identify with him; we didn't want to humanize him, so we thought if he just keeps telling different stories, then you never know who the real guy is, and it just makes him that much more enigmatic.
Q: You've said that writing about Superman for "The Man of Steel" was trickier than creating The Dark Knight.
A: He is trickier. The problem is that he's not human and he has very few physical vulnerabilities, so he's inherently harder to relate to. So we worked hard to make him relatable, because if audiences can identify with Clark Kent as a person, even though he's an alien, they'll be emotionally invested in him. Hopefully they'll invest in his sense of isolation, because he's different, even though he's seemingly invulnerable.
[According to Entertainment Weekly, "The Man of Steel's" Superman is "more soulful and troubled;" a "hunted, fearful Superman – one who didn't even identify himself with that grandiose moniker but just wanted to blend in on his new home planet." Until the Kryptonian tyrant General Zod comes on the scene…]
Q: "The Man of Steel" is less idealistic, you've said, than the previous Richard Donner Superman films.
A: There's nothing wrong with idealism, and our film is a hopeful film, but we live in a different world now. I think if you attempted to recreate the [Donner] films now they would seem anachronistic; the world has moved on, it's 37 years later, and it's a much more complicated place.
Q: Are you talking about the current war on terror?
A: Yes, and what was interesting for us in this exercise was, can we tell a story about Superman that will get you to care about him in today's world?
Q: "The Man of Steel" is also very much a story about a man with two fathers.
A: He's got his earth father and his Kryptonian father, who are both responsible for instructing his moral compass, and for me the key to the movie was that Superman is half from earth and half from Krypton, and he really needs to decide who he is and which father's advice to heed, which was my emotional way into the character.
Q: Do you think that superhero stories are still lumped into a genre that doesn't get much respect?
A: It definitely doesn't. I do think it's getting progressively better; in film terms it's a relatively new genre, and I think eventually you will see a superhero film win best picture [at the Oscars]. But it just goes back to people feeling like you can't take comic books seriously, that they're just for kids. There was also a bias against Western movies when they started, and against musicals as well.
But what the superhero genre allows you to do is, they're sort of like our modern Greek myths; they're aspirational, like the "Just So" stories. And speaking for my own kids, it's the easiest way to, in a very primitive way, start to instill morals. At my house we talk about, "Well, Superman wouldn't do that; he wouldn't push his little brother." And it's very instructional and certainly one of the ways that I got some of my earliest moral teachings. I remember talking about Spiderman and his [perspective] that with great power comes great responsibility, and that made a big impression on me.
April 10, 2013 | 2:38 pm
Posted by Naomi Pfefferman
The drama opens in a smoky saloon somewhere in a remote corner of Israel. A young stranger, Avram (Dudu Tassa), enters the bar, where he is regarded suspiciously by the tough-looking musicians slinging back shots of arak, a Middle Eastern liquor. Avram has arrived with a message for a certain Josef Tawila (Uri Gavriel), a legendary tar (Persian lute) player who has abandoned music and lived like a recluse since a devastating car accident that killed two of his comrades 20 years earlier.
Turns out Avram's father, Tawila's best friend, is terminally ill and wants his former band mate to keep an old promise: to perform a musical piece they wrote together, "The Ballad of the Weeping Spring," in the cave where they composed it decades ago.
The brooding Tawila eventually agrees to the endeavor, which launches him on a journey to gather the best classical musicians he can find for the concert. The odyssey of this reluctant hero is reminiscent of the protagonists of Akira Kurosawa's iconic "The Seven Samurai," which in turn inspired the John Sturges Western "The Magnificent Seven," according to the film's director, Benny Toraty, who spoke through a translator in an interview by phone from his home in Tel Aviv.
Toraty's "The Ballad of the Weeping Spring" — the opening-night film of the 27th annual Israel Film Festival (IFF) — is as much homage to American and spaghetti Westerns as to Persian classical music, a testament to Israel's burgeoning, sometimes quirky and often-provocative film industry.
The film won four 2012 Ophir (Israeli Oscar) awards and will be the centerpiece of the IFF's opening-night gala, to be held at the Writers Guild Theater on April 18.
The largest film festival of its kind in the United States, the IFF will showcase more than 30 of the nation's best new films, including features, documentaries, animation and shorts, all to be screened at Laemmle Theatres in Beverly Hills and Encino. Highlights include "Zaytoun," the highly anticipated new film by esteemed director Eran Riklis ("Lemon Tree"), and Rama Burshtein's "Fill the Void," winner of the 2012 Ophir for best feature as well as the best actress award for its star, Hadas Yaron, at the last Venice Film Festival (see story, p. 25).
Since its founding 27 years ago by festival executive director Meir Fenigstein, the IFF has grown into a mega-event that has, over the years, screened 800 films for more than 900,000 patrons in several U.S. cities; just how far the festival has come is evidenced by its opening-night lifetime achievement honoree, former Paramount Pictures head Sherry Lansing, who in her decades in the industry has overseen such award-winning movies as "Forrest Gump," "Braveheart" and "Titanic." Also feted will be actors Martin Landau (see story, p. 28) and Gavriel, the latter perhaps best known outside Israel for playing the blind doctor who befriends Bruce Wayne in prison in Christopher Nolan's "The Dark Knight Rises."
Toraty, 57, is emerging as an Israeli director to watch. In an hour-long interview, he said he made "The Ballad of the Weeping Spring" in large part to honor his parents, Iranian Jews forced to leave all their belongings behind when they fled their country for Israel in the massive aliyah of the early 1950s. What they brought with them was their love for Persian classical music — melodies played on the kamancheh (Persian fiddle) and oud that frequently wafted through their home in a slum near Tel Aviv. "It was like the Harlem of Israel," Toraty recalled of his childhood neighborhood.
But as a youth he didn't warm to his parents' music: "It was exactly the opposite," he said. "I was born and raised in Israel, and like many of my classmates, I was almost ashamed to listen to or be involved with the music of my [elders]."
Instead, he found his passion at his neighborhood cinema, where he fell in love, in particular, with Westerns by filmmakers like John Ford, Howard Hawks and Sergio Leone. After studying in the film department at Tel Aviv University, Toraty made his debut feature, "Desperado Square" (2001), to honor his old neighborhood theater, in the vein of Peter Bogdanovich's "The Last Picture Show."
Much like "The Ballad of the Weeping Spring," "Desperado Square" is a saga about fathers and sons and old promises kept: The story spotlights a young man and his brother who struggle to reopen the cinema their father had closed down a quarter century earlier in their impoverished neighborhood.
"The Ballad of the Weeping Spring" is Toraty's ode to the power of music and, specifically, to his parents' music, which he rediscovered and fell in love with in recent years while listening to Persian classical singers such as Hassan Sattar. "This music is not so well known in Israel," he said. "It's not from North Africa or Iraq, but more from the silk road from Persia crossing into Uzbekistan, Afghanistan and India. I also wanted to explore the lives of musicians who are playing the other Sephardic music that people don't know and have never heard."
Actor-musician Dudu Tassa plays Avram, who, we learn, has rejected his father's Persian classical music, but over the course of the film grows to love the genre; for the film's score, Toraty said he turned to composer Mark Eliyahu, whose father was an esteemed tar player and musicologist from Dagestan, and who spent two years in Azerbaijan mastering the kamancheh.
Since Toraty also drew inspiration for the film from Western movies and their outlaw protagonists, he conceived the central role for Gavriel, whom he describes as "the No. 1 actor [portraying] gangsters in Israeli cinema."
"It was very natural for me to take on this character," Gaviel, who was nominated for an Ophir for his performance, said in an interview from his home near B'nai Brak. And not only because he has been playing outlaws since his breakout performance in the seminal 1982 Mizrahi crime caper "Big Shots."
"My parents are from Baghdad, and I grew up with their music," Gavriel said. "My father was a singer who wrote songs and was a specialist in the music of the Egyptian musician Mohammed Abdel Wahab, whom I still listen to this day."
For Gavriel, playing Tawila was also a means to escape the typecasting that he has encountered throughout his career; he's still playing gangsters, most recently on the popular Israeli series "HaBorer," where his character is nicknamed "The Nazi."
"I was drawn to the longing within this character," Gavriel said of Tawila. "He had hung up his instrument since the accident, but now the music is calling him, and the [yearning] wells up inside of him."
For tickets and more information, call (877) 966-5566 or visit IsraelFilmFestival.com.
April 10, 2013 | 2:19 pm
Posted by Naomi Pfefferman
In "Numbered," the new documentary by Dana Doron and Uriel Sinai, a journalist and Holocaust survivor named Ruth Bondy describes how in the early days of the Jewish state, sabras condescendingly stared at the serialized number the Nazis had tattooed on her forearm at Auschwitz.
"The popular opinion at that time was … that only the cruel survived, those willing to tread over bodies. So I decided to remove [the number]," she says.
When a doctor sliced off her tattoo at a Haifa hospital, Bondy recalls, "He mumbled something about the number as a mark of honor. But to me it was no mark of honor."
Daniel Chanoch, meanwhile, insists that he doesn't see his tattoo as a shameful scar, but rather as a "medal" of his survival of Auschwitz, Dachau and Mauthausen. He loves the summertime, when he can wear short sleeves and everyone can see the tattoo.
"I'm a celebrity," he says.
Chanoch and Bondy are among more than a dozen elderly Israelis who tell their stories in "Numbered," which premiered in July at the Jerusalem Film Festival and explores the experiences of survivors who were tattooed in
Auschwitz and Birkenau, the only camps to employ the practice.
The film opens as each survivor holds up his or her arm and recites the number, often in German, the language the SS officers used in the camps. Some, like Leo Luster, only reluctantly display their tattoo: "It was like I was no longer human," he says of receiving the number. Another survivor attempts to erase the pain of her number and the loss of her family by compulsively shopping for clothes; still others recount the searing physical pain of the tattooing process.
The documentary also reveals a startling trend that has developed over the past few years: the phenomenon of survivors' children and grandchildren tattooing themselves with a loved one's number to honor their legacy and to remind younger generations about the Holocaust.
In the film, we meet Hanna Rabinovitz, a middle-aged woman who says she made the decision to tattoo herself as her beloved father lay dying in the hospital not long ago — even though she suspects he would have disapproved. She says she visited a tattoo parlor as soon as his -shivah had ended: "I just wanted his number etched on me," she explains.
Then there is Abramo Nacson — a former dockworker whose job in Auschwitz was to pull gold teeth from corpses — who was appalled to learn that his grandson, Ayal Gelles, a computer programmer in his 20s, tattooed himself several years ago. For three years, Nacson refused to look at Gelles' tattoo, but he finally did so during the documentary shoot, when he embraced his grandson and asked, "Did you do it so that people will never forget the Holocaust?" "It's so that I won't forget," Gelles replied.
The idea for "Numbered" began when Doron, a physician in her early 30s, encountered an 83-year-old survivor complaining of chest pain at an emergency room in Safed several years ago.
Doron's own grandmother had been interned in Auschwitz but did not have a tattoo; nor did she speak of her experiences in the camp. Doron herself had been turned off by the horrific images of the Holocaust she had been shown at school from the age of 5.
"The focus was on commemorating the sense of being victimized because we were Jewish," she said during a phone call from a friend's house near her home in Tel Aviv. "And for a long time I wanted nothing to do with these stories."
The change came, in earnest, on that morning in the emergency room in Safed, when Doron's elderly patient displayed her tattoo and asked, "Do you know what this is?" The woman went on to talk about her experiences for an hour.
"I listened with empathy," Doron recalled, "but I was also shocked because I had never been that close to a tattoo in my life. I knew the symbol, but as a physician I had to take her pulse and draw blood from that arm. I was mesmerized, because it was like the ashes from Auschwitz were still engraved not only in her flesh but also in her soul. And I wondered, what was her relationship to the number and what do people make of it? Did she eat ice cream with that arm? Had anyone ever kissed the number? And when she looked at it, did she feel that it was the mark of Cain or it was like a superhero insignia?"
Doron promptly contacted her friend, Sinai, an award-winning photojournalist who works in Israel and the West Bank for Getty Images, to ask if he would like to track down and take pictures of some of the tattooed survivors still alive in Israel.
"At first we thought we might do a book," Sinai, 34, said in a phone interview from his Tel Aviv home. But Sinai had just received a new Canon EOS 5D camera that was able to shoot both still photographs and moving pictures, so he suggested that he and Doron film the survivors as well.
Both Doron and Sinai, who was born in Tehran and has no survivors in his family, said they were "shocked" to discover that a couple of dozen descendants of survivors in Israel had inscribed themselves with a relative's number; after screenings, Doron said, "The mainstream reaction was that people were horrified and said this trivializes the memory of the Holocaust." The New York Times ran a front-page story on the tattooing phenomenon last year, spotlighting "Numbered" as part of the piece.
In an e-mail, the esteemed Holocaust scholar Michael Berenbaum, who is director of the Sigi Ziering Institute at American Jewish University in Los Angeles, weighed in on tattooing as a form of commemoration. "This would not be my first, second or third choice," he said. "It is a brazen form of remembrance and a deep and indelible form of identification."
Doron disagrees with the criticism she has received from some viewers about the tattooing trend.
"The way we truly diminish Holocaust remembrance is by not providing elderly survivors with enough funding to live well," she said. "Another way is when we only discuss how Jews have been victimized. But the private gesture of tattooing a number on your arm to keep the story alive is touching in a very personal way."
"Numbered" will screen at the Israel Film Festival on April 27, 5 p.m., at the Laemmle Town Center 5 in Encino. On April 28, noon, it will screen at an event for Holocaust survivors and their descendants at the Saban Theatre in Beverly Hills, as a fundraising event for survivors in need.
April 3, 2013 | 8:44 am
Posted by Naomi Pfefferman
"I grew up very conscious of the fact that I was Jewish," said David S. Goyer, the screenwriter behind Christopher Nolan's blockbuster "The Dark Knight" trilogy and the author of the highly anticipated Superman reboot "The Man of Steel" as well as the creator of the new historical fantasy "Da Vinci's Demons," premiering on STARZ on April 12. "There weren't many Jews in our neighborhood in Ann Arbor, Mich., and I heard slurs like, 'You killed Christ.' "
And so, he said, one of his favorite superheroes was the Incredible Hulk, whose alter ego, Bruce Banner, was like the young Goyer, "small and picked on," but then could burst out of his clothes as he transforms into a ferocious green giant. "And while there weren't many monsters or ghosts in the Jewish religion, I latched on to the few that existed, like the dybbuk and the golem, who for me was like the Jewish Hulk," Goyer said during a recent interview at the Four Seasons hotel in Los Angeles.
He was drawn to fictionalize Leonardo da Vinci, because the great painter, inventor and futurist was also, in his own way, an oppressed outsider: "He was a bastard, born out of wedlock, which meant he wasn't allowed to inherit wealth or land, and thus as a young man was excluded from many areas of society," Goyer said.
The show is a fantasy set during the time when the artist was in his mid- to late 20s, before he painted his iconic "Mona Lisa" and "The Last Supper" and became a seminal figure in the Italian Renaissance.
Like the real da Vinci, the character on the series — produced in collaboration with BBC Worldwide — is a genius with almost superhuman powers: He scribbles prototypes for the machine gun, the tank and diving suit in his prolific journals; he is tall, handsome, a swashbuckling swordsman (and ambidextrous to boot); and is said to be able to bend iron bars with his bare hands.
Da Vinci is also a vegetarian, a freethinker ensconced in secret societies and a wheeler-dealer who shamelessly promotes his military designs to the ruling Medici clan while romancing several Florentine beauties. "Some people said that da Vinci was homosexual, some that he was bisexual, and others that he fathered a number of illegitimate children," Goyer said, adding that the term "Renaissance man" was coined for the polymath.
Goyer enjoys the character, in part, because the historical da Vinci was an unabashed rogue: "I like antiheroes, like Bruce Wayne of 'Batman,' and da Vinci was a bit of a jerk," Goyer said. "He had a big mouth; he was very outspoken, and he was critical of anyone and everyone. He famously said that Botticelli's backgrounds and perspectives were inadequate. He mouthed off about the pope, and he constantly got in trouble and was thrown in jail a number of times. He overcharged his clients, and was famous for not finishing his projects. He could be a flake, a dilettante who didn't give a s--t. He drank a lot, and he may have smoked opium."
Goyer's da Vinci is also presented as a member of a reviled minority group: "A couple of years ago, researchers were doing fingerprint analysis on some of his paintings, and there are apparently whorls in his fingerprints that are found in 95 percent of people of Arabic or Turkish descent, and are rarely found in Caucasians," he said. "That led to a theory that his mother may have been a Turkish slave, and so we go with that on the show."
Executive producer David S. Goyer. Photo courtesy of Starz
On the series, da Vinci's ragtag gang includes fellow rapscallions who are Jewish as well as Abyssinian and Turkish: "We deal with minorities, both ethnic and religious, quite a bit," Goyer said. "There's even an episode where da Vinci and company hope to break into the secret archives of the Vatican, and they hide out in the Jewish quarter because they know no one will look for them there — and because the Jews are no friends of the Vatican."
Goyer, 47, is the son of a Jewish mother and a non-Jewish father who divorced when he was 8. He attended Hebrew school and was thrilled to discover that most of the top comic book authors of all time were Jewish (think Bob Kane of "Batman" and Jerry Siegel and Joe Shuster of "Superman"). "It was a kind of wish fulfillment for a hero to come and save the world from evil, especially for those who were creating characters in the 1940s before the Nazis were defeated," he said.
While still studying at USC at the age of 22, Goyer sold his first action movie script, which became the Jean-Claude Van Damme thriller "Death Warrant." In 1998, he wrote his breakout film, "Blade," based on the Marvel comic book about a legendary vampire hunter, which became one of Hollywood's most successful superhero franchises.
Goyer has reimagined da Vinci as a 15th century superhero of sorts, but he was initially reluctant to take on the project when the BBC approached him several years ago. "I didn't want to do some dry historical drama," he said.
He changed his mind when BBC executives assured him that they wanted "a "superhero-y, 'Batman Begins' kind of approach," Goyer recalled, adding that a highlight of his research, which included reading translations of the artist's 6,000 existing journal pages, was perusing some of da Vinci's drawings at the British Museum.
"When you look at his journal pages, they're filled with sketches and notes and even shopping lists; he spilled wine and food on them, and there are grease stains," Goyer said. "You can literally smell him. And for me, that made history come alive."
"Da Vinci's Demons" premieres April 12 at 10 p.m. on STARZ.
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welcome to {goshdarncute} a ginnyjosh blog
This is a Gosh shipping blog! We support the relationship between Josh Dallas and Ginnifer Goodwin as well as their respective careers. We post OUaT spoilers. Please do not message us for download links or streams, we will not be sharing. Please make sure your messages are about Josh and Ginny and not general Once questions. ( Gosh fans online ) |
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With gnashing of terrible teeth, 'Wild Things' invade
Date: 10/20/2009
by: Heidi Allwood | Contributing Photographer
Currently 1 Response
- 1.
- how precious!
- Dec
22 Gingerbread Houses
1:00 pm - Dec
23 Cooking Class: Nuts About Holiday Cookies
6:00 pm - Dec
24 Cooking Class: Crazy For Cookies
11:00 am - Dec
26 Kids 3-Day Cooking Camp
11:00 am - Dec
26 Teens 3-Day Cooking Camp
4:00 pm - Dec
30 Italian Wine and Dine
6:30 pm - Dec
31 Cooking Class: World New Year's Celebration
6:30 pm - Jan
26 Devereaux-Kaiser Collector Car Meet
8:00 am - 3:00 pm
Coats for kids
Knights of Columbus Councils are helping children in need by providing coats to children in their communities through the order's Coats for Kids program. -
Santa sighting
Santa and his elf made a surprise stop Dec. 13, at WineStyles, in San Marco Plaza, by Harley-Davidson motorcycle, during the store's weekly Friday night wine-tasting event. -
Icy affair
Members and guests of the Lakewood Ranch Women's Club ventured Dec. 4 to Orlando, to view holiday decorations at the Grand Floridian and to have lunch at Downtown Disney.


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Turn on a television show or open a magazine in the United States today and you're bound to see someone with a drink in hand -- something unthinkable nearly a century ago.
Advocates of marijuana hope that someday that drug will emerge from its current "prohibition" period, the same way alcohol did, and become not only legal but as socially acceptable as having a drink.
Could that happen? Depends who you ask. Advocates point to the November ballot in Colorado and Washington, where voters approved legal pot for everyone, not just for those who have a medical reason.
Detractors of marijuana legalization say there are serious health consequences, and argue the drug is often a gateway to more harmful, addictive substances.
However pot's future is going to play out in this country, its recent path to limited legalization has interesting parallels to alcohol, which was banned by the federal government in the 1920s and early 1930s. The Prohibition era gave rise to an underground market for booze, produced by unregulated bootleggers and moonshiners, and consumed in back-alley speakeasies.
A few years after Prohibition's repeal, the federal government banned marijuana, hardly as popular and socially acceptable as alcohol. It would be decades before supporters of pot would mobilize and successfully get the drug legalized in some states.
Advocates and detractors for both drugs seem to have read from the same playbook, stoking fears based on prejudices and questionable scientific studies.
Rather than discuss issues of substance, opponents of marijuana in the early 20th century preferred to exaggerate its effects and pin its use on foreigners and black entertainers.
It was a familiar tactic that had panned out well in pre-Prohibition days.
In a 1914 speech before the House, Rep. Richmond Hobson of Alabama warned that booze would make the "red man" savage and "promptly put a tribe on the war path." He added, "Liquor will actually make a brute of a Negro, causing him to commit unnatural crimes."
Twenty-three years later, while arguing for marijuana prohibition, Harry Anslinger also played on Americans' fear of crime and foreigners. The Bureau of Narcotics chief spun tales of people driven to insanity or murder after ingesting the drug and spoke of the 2 to 3 tons of grass being produced in Mexico.
"This, the Mexicans make into cigarettes, which they sell at two for 25 cents, mostly to white high school students," Anslinger told Congress.
The term marijuana itself was intended to stoke alarm, as many Americans in the 1930s were already familiar with other terms for the drug, according to Michael Aldrich.
"(The drug's opponents) preferred the word marijuana instead of cannabis or hemp because people thought it was some new devil drug from Mexico," said Aldrich, the curator of what is now Harvard University's Fitz Hugh Ludlow Memorial Library, a collection of psychoactive drug-related literature.
"All of a sudden, there's this new thing being introduced by outside people," Aldrich, who is credited with writing the first dissertation on marijuana myths and folklore. "It was all a bunch of crap."
'Reefer Madness' vs. 'Medicinal marijuana'
In the shaky, handwritten opening lines of the 1936 movie "Reefer Madness," marijuana is described as a "violent narcotic" that first renders "sudden, violent, uncontrollable laughter" on its users before "dangerous hallucinations" and then "acts of shocking violence ... ending often in incurable insanity."
Watching the movie today (available on YouTube) might provoke "uncontrollable laughter" -- even from those who oppose marijuana legalization. Yet the movie's message was based in part on scientific studies that were considered legitimate at the time.
There were similar claims about alcohol in the years leading up to Prohibition. While the Anti-Saloon League painted drinking as un-American and immoral to convince counties and states they'd be better off saloonless, they also leaned on hokey research, according to Garrett Peck, author of "The Prohibition Hangover."
The ASL used "quack medical experiments" to demonize beer, wine and liquor, Peck said. The Woman's Christian Temperance Union went into classrooms purporting to demonstrate the effects of alcohol by pouring it directly onto sheep and cow brains, quickly transforming the pink organ to a grayish hue, he said.
"It was scientifically without merit because when you drink, it goes through your stomach," Peck said. "Otherwise, most of us would be lobotomized."
That's not to say there aren't substantial health detriments to alcohol and marijuana use.
Both can have impacts on brain development in younger users. Smoking marijuana can cause respiratory issues. Long-term alcohol consumption is linked with a host of cardiovascular and nervous system problems, not to mention cirrhosis. And that's the short list.
But just like opponents have overplayed the drugs' detrimental effects, advocates have exaggerated their benefits.
Think "medicinal." In 2010, ahead of California's failed marijuana-legalization referendum, several medicinal marijuana users shared their symptoms and ailments.


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Ladies Golf Shoes
Featuring a huge stock of ladies golf shoes, GolfDiscount.com's wide selection is sure to offer an appealing option to any and all women golfers. Our extensive catalog has been filled with many varied colors, styles, and brand names, making it easier than ever to coordinate high performing shoes with your game and personal style. Go for a classic and timeless look, or opt for a more modern style with bold colorways. Most our ladies shoes come available in medium, narrow, and wide widths. No matter your preference, we're sure to have a high quality option made from premium materials that fits your needs.
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Nike Women's Lunar Summer Lite Golf Shoes Blue/White/Violet


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Hire Inflatable Movie Screen Rentals in Maryland
Select your location below to browse services near you.
Easy peasy!
Movie time in the park! Grab your coziest blanket, comfiest lawn chair, and good friends and set up shop on the lawn. Mother Nature, this is your cue to dim the lights so we can roll the film. Use inflatable movie screens for your summer movie in the park evenings, to show a home movie at your brother's 50th birthday bash, or to show highlights of the happy couple at their outdoor wedding reception. So get that big screen inflated, settle down, and enjoy a fantastic movie evening with good friends and family.


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Pony Shoes
PONY was established in Brooklyn, New York circa 1972. PONY became one of the most iconic sports brands in the 1970's and 1980's. PONY's forward vision takes inspiration from the brand's New York blue-collar roots and authentic sport heritage.
For casual lifestyle consumers, PONY is the Classic American Athletic Brand that provides a fresh alternative in a market saturated with ubiquitous brands. PONY products capture the spirit and strength of its iconic 40 year history.
Get your pair of Pony Shoes Today!


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Timeless beauty. Liberty of London fabric in soft tones of pink and yellow will warm up your evening in our Heartstrings PJ set. A true classic. Drawstring waist has a touch of elastic for an easy fit. 100% Fine Cotton Sateen Made in Glamorous Los Angeles For Plus Size Orders please allow up to 4-6 weeks delivery plus an additional $12
Fabric Care Instructions Stretch: 95% Cotton / 5% Spandex Reverse Garment Before Washing. Machine Wash Cold, Gentle Cycle. Do Not Bleach. Air Dry.
Cottons & Flannel: 100% Cotton Cold Water Wash. Do Not Bleach. Tumble Dry Low.
Luxe: 100% Cotton Recommend Dry Cleaning or Machine Wash Cold, Delicate. Do Not Bleach. Hang Dry. Fabric Details:
Voile: our lightest weight cotton, semi-sheer, perfect for summer wear Cotton Sateen: our standard BedHead fabrication, very soft to the touch with a slight sheen to the fabric, 250 thread count Cotton Poplin: our basic cotton line, no sheen to the fabric Luxe: jacquard woven cotton, feels like silk, but still 100% cotton and machine washable, 275 thread count Flannel: our warmest and coziest fabric, our flannels are double brushed and wet printed ensuring lasting color and softness
We are happy to have you and would like to share a welcome gift! Please enjoy 10% off on any regular priced pajama on your next order. Simply enter code: Inner10 during checkout. Have a lovely day! BedHead Pajamas


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Join us on campus for a fun pre-game reception prior to the Johnnies match-up against the University of South Florida. This will be a great opportunity to chat with fellow alumni and Red Storm fans as you get set for this fun game. During the game, St. John's will be celebrating Legends Night, with former players, coaches, trainers and managers joining Hall-of-Famer Lou Carnesecca '50C, '60GEd, '00HON on court for a special halftime celebration of the program's 105-year history. Additionally, the first 4,000 fans at the game will receive a collector's edition Coach "Lou" Carnesecca Bobblehead Giveaway presented by Coca-Cola. Join us after the game at the Sly Fox Inn on Union Turnpike for an additional opportunity to meet and speak with our St. John's Legends.
Date Wednesday, February 20, 2013Time 5:30 p.m. - Pre-game reception 7 p.m. - GameLocation4th Floor, D'Angelo Center - Pre-game reception Queens campus
Carnesecca Arena - Game Queens campusPrice $45 per person - Reception and game ticket $35 per person - Reception only (Reception includes beer, wine, soda and light fare) Tickets will be distributed at the reception.RSVP By Thursday, February 14, 2013 Reservations Online registrationMore Information Office of Alumni Relations Tel (718) firstname.lastname@example.com


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Planned Giving
Since 1853, the YMCA of Greater St. Louis has adapted to meet the needs of the people in the St. Louis community, always carrying out our mission of building healthy spirits, minds and bodies for all.
Our history is also one of planning ahead to make certain that future generations can benefit from YMCA programs. In fact, the YMCA in St. Louis received its first bequest of $5,000 from the estate of Sarah Collier in 1886. For all these years, people have seen the good the YMCA does and have made a commitment to keep the YMCA mission strong well into the future. Ms. Collier couldn't have envisioned the people and programs the YMCA would encompass today, but her gift in 1886 helped ensure that we'd get here. More than money, the commitment of those who give to the YMCA Endowment Fund is about making a difference.
Ways To Give To The Endowment Fund
Wills Bequests and Living Trusts
Gifts to the YMCA through wills or living trusts may include specific property, a dollar amount, a percentage of an estate or the amount that remains in an estate after bequests to loved ones have been honored.
Gifts of Securities
Gifts of appreciated securities allow a charitable income tax deduction and capital gains tax savings. To afford the donor tax benefits for both the capital loss and the charitable gift, depreciated securities may best be sold and the cash proceeds given to the YMCA.
Life Insurance
Making a gift of a life insurance policy may allow a sizeable gift to the YMCA with minimal cost.
Gift Annuity
A charitable gift annuity allows for a significant gift to the YMCA while providing fixed life income to the donor and/or loved ones.
If you would be interested in leaving a legacy for the YMCA, contact Doug Hechler @ 314.965.9622 x226


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WeatherBug Alert for Mac
Crockett, VA 24323
WeatherBug Alert for Mac helps you plan your day with confidence by putting severe weather alerts and your live temperature on your desktop.
- The most reliable weather information found anywhere.
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- Mac OS X version 10.4 or later
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- For support or to provide feedback on WeatherBug Alert for Mac, please visit the WeatherBug Alert Forum
- Click here for the OS X 10.3.9 Compatible Version
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Christie Provost Photography Roseville Photographer
Photographer serving primarily Roseville, Granite Bay and El Dorado Hills
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Questions about the process?
Find answers to frequently asked questions about what to expect before, during, and after your session.
Christie is an on-location photographer that serves Placer County, Sacramento County and El Dorado County in California. She works primarily in Roseville, Rocklin, Auburn, Granite Bay, El Dorado Hills and Sacramento. Using both natural light and portable studio lighting, she creates custom, contemporary portraits of babies, maternity, children, seniors, families, pets and occasional special events.
For five years, Christie has enjoyed creating portraits for local families, initially focusing on child and family portraits and later adding maternity and newborn portraits. Most recently, Christie has welcomed pets as clients.
You can contact Christie at 530-333-3782 to discuss your portrait needs.
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Comment Number: | 522418-05082 |
Received: | 6/29/2006 3:57:08 PM |
Organization: | Arbonne International / SalonO |
Commenter: | Francie Shuck |
State: | CA |
Subject: | Business Opportunity Rule |
Title: | Notice of Proposed Rulemaking |
CFR Citation: | 16 CFR Part 437 |
No Attachments |
Francie Shuck SalonO June 30, 2006 Federal Trade Commission/Office of the Secretary, Room H-135 (Annex W) Re: Business Opportunity Rule, R511993 600 Pennsylvania Avenue, NW Washington, DC 20580 RE: Business Opportunity Rule, R511993 Dear Sir or Madam: I am writing this letter because I am concerned about the proposed Business Opportunity Rule R511993. I believe that in its present form, it could prevent me from continuing as an Arbonne Independent Consultant. I understand that part of the FTC's responsibility is to protect the public from "unfair and deceptive acts or practices," but some areas of the proposed rule will make it very difficult, if not impossible, for me to sell Arbonne products and sponsor people into the business. One of the most confusing and restrictive sections of the proposed rule is the 7-day waiting period to sign up new Consultants. Not only do Arbonne Starter Kits cost a nominal amount of money, the proposed waiting period gives the impression that there might be something wrong the Arbonne opportunity. Under this waiting period requirement, I will need to keep very detailed records when I first speak to someone about Arbonne and keep track of when to follow up. One of the key elements to my success in this business has been capturing the enthusiasm and immediate results prospects experience with Arbonne products; the waiting period would potentially limit my ability to grow my business. The proposed rule also calls for the release of any information regarding lawsuits involving misrepresentation, or unfair or deceptive practices. It does not matter if the company was found innocent. A lawsuit may incorrectly imply wrongdoing and it seems unfair to disclose lawsuit information unless Arbonne has been found guilty of something. I fear being penalized by the impression a lawsuit would leave, even if I have done nothing wrong. Finally, the proposed rule requires the disclosure of a minimum of 10 prior Independent Consultants nearest to the prospective Consultant. I am glad to provide references, but identity theft is a reality we live with in today's world and I am very uncomfortable with giving out personal information about individuals, without their permission or knowledge, to strangers. Also, sharing this information could damage the business relationship of references with those involved in other companies or businesses, or provide an unfair advantage to competitors. In order to get the proposed list of 10 prior Independent Consultants, I would need to send the address of a prospect to the Arbonne corporate office in California and then wait for the list. The proposed rule also includes the language, "If you buy a business opportunity from the seller, your contact information can be disclosed in the future to other buyers" and prospects will be understandably concerned about their privacy. I would find it an invasion of privacy to disclose personal data, for my business purposes. I have been an Arbonne Independent Consultant for more than nine months. I became a Consultant because I love the products and our family was in need of a second source of potential income. Since starting my Arbonne business, I have developed a team of 500 Independent Consultants across the country and together we are helping our families enjoy better lives. I truly appreciate the work of the FTC in protecting consumers, but I believe this proposed new rule would have many detrimental (and unintentional) consequences and I hope there are alternative means to resolving the outstanding issues at hand, without harming the livelihood of millions of successful network marketers, like me. I fully understand and acknowledge the FTC's commitment to protect the public. My husband is a veteren peace officer and we are committed to public service in many areas of our lives. In fact, that is exactly what attracted us the most to Arbonne. Arbonne has the highest integrity of any organization we have ever been involved with. Thank you for your time and understanding. Sincerely, Francie Shuck, ID#


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A gallery of all the celebrities that attended Nelson Mandela's memorial service in Johannesburg.
It was just a normal Saturday morning when some magic suddenly happened...
- BangShowBiz
24.com publishes all comments posted on articles provided that they adhere to our Comments Policy. Should you wish to report a comment for editorial review, please do so by clicking the 'Report Comment' button to the right of each comment.
British supermodel Naomi Campbell has described Nelson Mandela as the only leader who could bring everyone together. Read More »
US President Barack Obama may have moved the masses attending Nelson Mandela's memorial service with his stirring eulogy, but it was his grinning "selfie" with the Danish and British premiers that set social networks abuzz. Read More »
Ender's Game is a very adult movie.
Courteney Cox dating Snow Patrol star.
Madiba memorial coverage on TV.
The new Godzilla movie coming soon.
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American Art "The Fox and the Grapes" High Chest of Drawers Made in Philadelphia, Pennsylvania, United States, North and Central America1765-75 Artist/maker unknown, American Mahogany, yellow poplar, white cedar, yellow pine; brass * Gallery 102, American Art, first floor (Flammer Gallery) 1957-129-1 Gift of Mrs. Henry V. Greenough, 1957 |
LabelFor fashionable eighteenth-century Philadelphians, high chests and dressing tables represented the pinnacle of design, cabinetmaking, and carving in bedchamber furniture. This massive high chest was conceived with a smaller dressing table (Philadelphia Museum of Art, 2012-59-1). On its central drawer a composition borrowed from a 1761 publication by English carver Thomas Johnson depicts the moment of truth from Aesop's well-known fable "The Fox and the Grapes": a proud and skillful fox who cannot reach a bunch of succulent grapes decries them as sour and not desirable after all. The tale warns against the ills of greed and vanity, an ironic scene on this bold emblem of opulence. It is believed that this high chest, made in Philadelphia between 1765 and 1775 went through the process of confiscation and sale that occurred after the British left Philadelphia in May 1778. During this time entire contents of households still refusing to pledge allegiance to the cause for American independence could be confiscated and sold for the benefit of the Continental Army. The name "James Milligan" across the backboards refers to the Philadelphia city official James Milligan, who served in several treasury-related roles in the patriot government during this period and likely had a hand in this process. His name is written first in pen with the date 1783 and then again in chalk with the date 1784.* Works in the collection are moved off view for many different reasons. Although gallery locations on the website are updated regularly, there is no guarantee that this object will be on display on the day of your visit. |


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Madonna of the Host with Prayer - Framed Christian Art
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Madonna of the Host with Prayer - Framed Christian Art
Decorate your walls with this beautifully matted image, framed with an ornate dark frame, with the following prayer below the image:
The Eucharist is the secret of my day. It gives strength and meaning to all my activities of service to the Church and to the whole world.
This classic piece of religious art measures 8x14" and features the following prayer:
The Eucharist is the secret of my day; it gives strength and meaning to all my activities of servie to the Church and to the whole world.
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Stories I'd like to see
The clown-show economics of storm-hit utilities, and in search of open primaries
By Steven Brill Nov 13, 2012 at 11:00 AM
In his weekly "Stories I'd like to see" column, journalist and entrepreneur Steven Brill spotlights topics that, in his opinion,... More
Disappointing Deadspin - It broke the Manti Te'o story, but then stopped reporting and resumed trashing
Fox News not outraged by retailers' War on Thanksgiving - As giant stores commercialize the last holdout, Bill O'Reilly & Co. shrug
A bogus NY Post piece sets off a frenzy - Serious problems with column alleging Census rigged unemployment for Obama
GoldieBlox picks an unfair fight with the Beastie Boys - A dismal press performance on a clear case of aggressive copyright infringement
BuzzFeed's all-positive books section - It doesn't make sense to pledge positivity if your aim is to provide readers with critics' takes on new books. It makes more sense if your aim is to cultivate a thriving community.
Email blasts from CJR writers and editors
Providence Journal owner explores sale of newspaper
The 184-year-old Rhode Island newspaper is the oldest major daily paper in the country
Pro-tip: "avoid critiquing writing with terms that could reasonably be used to describe a penis"
What we learned in the first year of Matter
And why we changed the way we work
How should I propose?
Morgan Freeman finger painting
Timelapse of a photo-realistic painting of the actor being done on an iPad
CJR's Guide to Online News Startups
ACEsTooHigh.com – Reporting on the science, education, and policy surrounding childhood trauma
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Taylor Swift and Tom Odell in London | Pictures
Taylor Swift Hits the Town in London With a New Guy!
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Is this a joke? Seriously, Taylor. You have a couple problems in that blonde head of yours. Last week you were mocking Harry and now you're suddenly SO over it and get a new one?


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After a long and successful career as a celebrity stylist, Ole Henriksen developed a full line of skin care products meant to address a variety of issues while maintaining a healthy complexion for all skin types. Years of first-hand experience in treating skin went to into an expertly crafted collection of products that rely on potent natural botanicals to beautify and enhance. Ole Henriksen continually strives to bring the best to his customer base with innovative products that effectively address common skin problems while also delivering an enjoyable experience. Skincare doesn't have to be boring and tedious to be effective and with Ole Henriksen, you can have the best of both worlds.
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The Gate's Jazz Brunch
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at Mistral
The hotel's all-day-dining venue offers an evening brunch, with a surf-and-turf theme and live music. Dhs190 (soft drinks), Dhs249 (bubbly) |
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Includes naan, prawns, chicken and lamb dishes. Dhs159 for non-alcoholic package and Dhs229 for the alcoholic option |
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Celebrate Friday brunch at Al Bahou underneath the splendour of great Hall's 88 Arabic lanterns. Sample stunning dishes from India, China, Italy and Arabia. This family friendly occasion has entertainment for all. Dhs295 (soft drinks); Dhs395 (house beverages) |
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Hrithik Roshan starrer superhero flick, 'Krrish 3' has finally entered the 200 crore club. It has collected 202.42 crore on the seventh day of its release. Noted film critic Taran Adarsh tweeted about the Box Office figures: @Krrish3 collects 13.44 Cr on day 7. Domestic Total 166.52 cr. Overseas
Vivek Oberoi News
Hrithik Roshan's superhero flick entered the 100 crore club in just four days of its release. The film is running houseful and all sections of the audience ranging from children to elder are enjoying the film. Trade analyst Taran Adarsh took to twitter to announce the impressive box offic
'Krrish 3' strikes gold at the box-office. The film not only made a grand opening day business but it continued to spell magic at the box-office. In just three days of its release, 'Krrish 3' made a whopping 72.7 crore at the domestic box-office including Tamil and Telugu dubbed versions.


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The Pink Wrap leather medical bracelets are the perfect choice for casual wear. We wrapped them nice and neat, but you can wrap them disorderly too! They can be wrapped once and the excess cut, or your style might be to wrap it multiple times. Choose from many colors in the ID or choose no ID and just wear the bracelet by itself or purchase one for a friend who might not have a medical condition. The Contempo ID offered with this bracelet is also interchangeable with all beaded bracelets, as well as the interchangeable medical bracelets. If three lines of engraving are not enough for your medical condition, you may order this medical bracelet without an ID on this page, and zip on over to this page and order the Max Contempo medical ID tag that allows for 4 lines of engraving!
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Customer Reviews
- Cute! Review by Jac
Rated: - Pink Wrap Leather Medical Bracelets Review by Jennifer Cross