The Maddening, Rewarding World of Design People

Catherine Keener in Please Give, directed by Nicole Holofcener, production design by Mark White, 2010.

When I first saw the house that is now my home, it was hardly in an appealing state. Every window was obscured layers of screens, shutters and (amateur) stained glass. The bathroom was encrusted in pink-orange Mexican tiles, with trim to match. The living room walls looked like they were covered in moldy cork, actually wallpaper. I saw a man walk in, blanch, and walk out the front door of the open house. Maybe it is only natural that, from the moment I entered, I wanted the furniture more than I wanted the house. 

Right there in the center of the room, a yellow Naugahyde pedestal chair, pulled up to a rosewood trestle desk. In the corner, what looked like a well-worn Eames lounge. And ottoman. Upstairs, somewhat paint splattered, a pair of rosewood dressers with mod porcelain knobs. And a low chair, dark wood, scary brown tweed upholstery, that had distinctly Juhl lines. While my husband chatted with the realtor (who, there in the gloom, basically said, “Make me an offer”), I tried to figure out how to casually open the dresser drawers, and then not to look so excited when the tags inside read, “George Nelson Design, Herman Miller, Zeeland, Michigan.” Left alone, I knelt down to look at the bottom of the low chair, but saw nothing. I knew the yellow one couldn’t be Saarinen, but it was at least a vintage knock-off. “Are they going to be taking the furniture?” I asked the realtor, as neutrally as I could. The answer was no, everything must go. Make the estate an offer.

With this as background, you can imagine my glee at the second scene in Please Give, Nicole Holofcener’s new film, starring Catherine Keener and Oliver Platt as the owners of a vintage modern furniture shop. The son of the deceased is showing Kate (Keener) around a cluttered apartment, apologizing for the smell. We get a minute to see the room through her eyes: the clean lines of the beige sofa, the ladderback chairs around a dark oval table, the funky ceramic lamps. She asks a polite question about how old he thinks the furniture is. “You know, old,” he says. “That’s wood,” he adds, pointing pointlessly at the table. Kate begins to glide around, making small talk and small gestures. Raps on the coffee table. Lifts a cushion on the couch. Slides a hand along the dining table and, I thought, tries to peek underneath without obvious stooping. The man, who says he is not keeping his mother’s apartment, he prefers the suburbs, holds up a pretty/ugly vase covered in bright flowers, and mutters nervously: “I don’t want to throw away something priceless.” 

In the following scene, Kate’s daughter calls her parents “vultures.” But they aren’t vultures. They are design people. And this is the first film I can remember that shows how maddening and how rewarding they are to live with.

The details are right because a design person oversaw the production. Mark White, a mid-century collector himself, rented, EBayed and bought the inventory of Kate and Alex’s (Platt) 10th Avenue store, going back and forth with Holofcener on dialogue as they found more perfect pieces. A rya tapestry, about which Kate and a customer bicker, is from White’s apartment. The oval table is Knoll, and pretty precious. It had to be treated like a star as it traveled from set to set. The pretty/ugly vase: EBay. “That’s a little bit of tongue in cheek,” White says. “It is not the most attractive looking piece, but we didn’t want something super recognizable that Kate would know immediately.”

Most design people I know — and if you are reading this blog, you are probably one too — don’t feel guilt over knowing what is priceless and what is junk. We feel pride in being able to spot Wegner at a country auction, or (to use another example from my past) a Finel mushroom bowl and platter among the silver plate candy dishes at the Thetford Hill Fair. We care about these things, maybe even a little too much. We have spent years training our eyes, our fingers, and our brains to recall know these things on sight. When I’ve been looking at design for too long, on an architecture-focused trip, or at ICFF, I have often had a mental image of myself as a sort of etiolated Keane Kid, head swallowed by big staring eyes, hands disappeared into long bony fingers that keep reaching out to stroke the veneer, catch on the bush-hammered concrete, lift the Dansk buffet server(another Thetford Hill find, my aunt scored that one). Another design person told me there was a mid-century modern store in Marin called the Modern i, a riff on the Hungry i club. So I am not alone in that vision of ocular takeover.

The plot of Please Give hinges on the guilt of Kate about her hungry eye. I never thought to feel guilt about the furniture in my house, or the house itself. The estate asked us to make an offer, and we did. That the descendents didn’t know what it was worth is not really our problem. Is it? “I have had moments at yard sales when I debate, Should I give them a little bit more than what they are asking?” says White. “There’s also the excitement of having this find.” That said, transacting frequently with the relatives of people who have just died could definitely take a toll.

When I finally found the tag on the low wood chair (it was under the seat cushion), it turned out to be Jens Risom. Better than Juhl, for an Americanist. If it had been sold as an old wood chair at the stoop sale, they might have gotten $50; the reissue at DWR is $1000. As Please Give neatly shows, there is no set price for anything vintage, and a couple of avenues can make a $2000 difference.

More interesting than Kate’s guilt (and really, why doesn’t she just give a largish sum to charity, rather than ostentatiously stuffing $20s into every homeless hand, and oppressing the needy with her needs) is the fact that everyone in Please Givealso thinks they know what it is worth. None of the reviews I read of the film made mention of this, but rather than being about women, their insecurities, and death, I thought Please Give was about taste. Almost every character in the movie has good taste. They just have good taste in different areas, which means their conversations never connect. The one dinner party scene is a jousting match of snobberies, beauty versus real estate, stuff versus bodies. Just as Kate and the suburban son speak at cross purposes, so do the members of the film families. If he thinks it is trash, and he thinks it is treasure, how can they ever reach an understanding? They can only communicate in financial terms. I thought there might be a scene in which Kate talked about loving some thing. But eventually every thing had a price.

Mary, the very tan facialist played by Amanda Peet, is a connoisseur of the body. She is obsessed with her ex-boyfriend’s new girlfriend, and keeps trying to figure out what she has that Mary doesn’t. But only from appearances.

 
Andra (Ann Guilbert), the mean old lady in the apartment next door to Kate, and Mary’s grandmother, can’t leave the house but only wants her proxies to shop at certain stores. “Windsor is no good,” she says, when her neighbors offer to fill a prescription. Her apartment really is filled with actual junk, it is only the space that Kate and her husband covet. And yet, she has to assert her choices. When a much nicer old lady asks, not without guile, “Do you have many friends left?” she replies, “I had friends. Not a lot. I was very selective.” (A laugh line.)

Abby, Kate’s daughter (wonderfully played by Sarah Steele) is entirely focused on jeans. Her face is an adolescent disaster, but she thinks $200 jeans will make all that disappear.
The most painful scenes for me were those between mother and daughter over the jeans. At 15 I could not explain to my mother, also a design person, why I thought costly pants would solve my problems either. Back then I wasn’t looking to furnish a house, and she wasn’t interested in that kind of label. So it is fitting that the film’s final scene achieves a coming together of aesthetic value systems. Holofcener goes soft on judgment, and lets Kate out of her manufactured guilt. The movie ultimately carries the message that charity, and taste, begin at home. Kate agrees to buy Abby the jeans. Abby emerges from the dressing room. Both smile. She looks good. The mother is pleased that the daughter has shown discernment. The daughter is happy that she has solved her design problem. They agree that the price is right.

From: http://www.designobserver.com/

SoCal Cool: Move over, New York. Thanks to a recent run of museum and gallery openings, Los Angeles is going from art-world upstart to established star.

The Lynda and Stewart Resnick Exhibition Pavilion at the Los Angeles County Museum of Art.

The hottest new gallery in Los Angeles doesn’t even exist yet. The words l&m arts are affixed to the facade of a historic brick power plant in Venice, but inside the building, which is being refitted and expanded by Tadao Ando protégé Kulapat Yantrasast, the exhibition spaces are empty except for stray tools, and the only functioning office on-site is the contractor’s modular unit, which looks like a double-wide Porta-Potty. That hasn’t slowed down the summer chatter on the L.A. art scene about the so-called new L&M space—legendary L.A. gallerist Irving Blum, for one, admires it—even though invitations to the inaugural exhibition of new work by Paul McCarthy won’t be printed for weeks to come.

The gallery is the first out-of-town expansion from a pair of New York dealers, Dominique Lévy and Robert Mnuchin, best known for their museum-quality historical shows in an Upper East Side town house. And it’s one of a spate of projects in Los Angeles that is quickly changing the shape of the local art world, and perhaps even subtly shifting the balance of power on the American art scene.

“I’ve felt for two or three years an incredibly strong creative energy from Los Angeles,” says Lévy. “I felt that the old, postwar pole of Paris–New York had become Berlin–Los Angeles.”

Of course, cultural geopolitics is not the only explanation for L&M’s move, Lévy admits. It stems primarily from the gallery’s strategic business decision to move into the lucrative market known as “primary sales,” which means works fresh from the artist’s studio rather than the secondhand art Lévy and Mnuchin handle in New York. Since Manhattan’s crowded gallery scene was already “saturated,” says Lévy, she first looked to Europe before deciding that L.A. had become a “new cultural hub” capable of returning dividends on L&M’s large gallery investment.

Matthew Marks, the merchant prince of New York’s Chelsea gallery district, recalls facing a similar decision—and reaching a similar decision—when he was considering what to do next. Marks had already opened four spaces in New York (three of which he continues to operate), and had the cash flow to fund an expansion wherever he wanted, thanks to a lineup of artists that includes Jasper Johns, Ellsworth Kelly, Brice Marden, Robert Gober, Nan Goldin and Andreas Gursky. After years of keeping an apartment in London with an eye toward opening there, Marks instead decided to go west, trading his London flat for a house in the Hollywood Hills. Why? “It’s a feeling,” he says. More tangible reasons include the obvious fact that L.A. is closer than New York for those rich collectors and museums scattered across the western half of the continent, from Mexico City to Seattle.

From: http://www.wmagazine.com/

priyanka chopras magnificent footprints

The stifling belle will soon be headed to Italy to leave her foot impression at Salvatore Ferragamo Museum, Florence. She’s been invited by the museum people to give her foot imprints. The museum is dedicated to shoe designer Salvatore Ferragamo , who’s often tagged as the ‘Shoemaker to the Stars’. Priyanka Chopra will be there in March to create a foot impression that will be made of wood or metal.

These wooden or metal lasts will be exhibited in the museum along with those of Hollywood stars like Marilyn Monroe, Sophia Loren, Audrey Hepburn, Madonna and Drew Barrymore.

It would be a matter of great honor for Priyanka as she is the first celeb from the Indian film industry to get an invitation from the elite shoe designer Ferragamo’s family. The museum, which shows the artist’s sketches, patents and designs, is also known as the Mecca of Shoe Fashion.

Piggy Chops will also be gifted with a pair of designer shoes exclusively made for her. The Fashion star is quoted as saying about her trip to Florence: “I am really excited.”

All socks-ed up to put her best foot forward!

Next Station Metal Fashion

It is said that plank frames are closer with fashion. Metal frame is always with the personal sense of aging and lethargy so young people who are looking for fashionable trend would choose plank frame. Although choose metal frame there are some people concerned about their young away enough to choose some characteristics metal frame.
How can we have not only a sense of noble in metal frame but also handsome fashion in plank? Doglasses brings you the best choice. The next stop the metal is also fashionable.

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Each color of this frame is unique, whether it is coffee, gold, or black. The excellent sense of color combines the temperament of the metal itself. Everything is cool. The frame and lenses are incomplete linked. What a special and magnificent design! You have to admire the designer’s creativity.

Bright changing colors, Fashion shape, Distinctive details of the design.
We are accustomed to looking at law-abiding frames. Sometimes you may feel they are so boring. But those bizarre shapes might not meet people’s elegant aesthetics. We need different and chic not vulgar. The elaborative design makes the series eye-catching and highlight. The shape of frame is out of the ordinary, giving entirely the feelings of gorgeous.

Elaborate and meticulous craftsmanship, High-quality product assurance
The most important fact of product is its quality and price. You can assess its quality from any detail, the imported alloy and the perfect workmanship. No matter from which angle to measure, it is a high-quality guarantee. Corresponded with this is not a high price that difficult to accept but very reasonable. So the cost performance is very high.

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No matter you pursuit the young fashion or the calm of the competent. No matter you want to shout loudly or smile slightly. This can match. Fashion covered classic and classic contained fashion. That is the largest feature of this series frame. They can meet your different needs and suit the unique qualities of you.

From: http://www.glassesocean.com/

Michelle Raab and Angus Mitchell

Michelle Raab and Angus Mitchell, son of Jolina Mitchell and Paul Mitchell, the late hairdresser, during their wedding ceremony on the family’s estate in Hawaii.
ALTHOUGH Angus Mitchell owns a hair salon in Beverly Hills, Calif., and grew up in the beauty industry, he has always avoided mirrors. “I never liked what I saw,” said Mr. Mitchell, 39.
Enlarge This Image

Toby Hoogs for The New York Times
That is almost impossible to believe. With his black leather pants, tight shirts and spiky hair, he resembles an overconfident rock star. He looks like someone who could break your heart so badly, it would have split ends. Beautiful women often surround him or are hugging him. At his salon, Angus M, hugs are like mints: offered when you walk in and when you leave.

He is the only child of Paul Mitchell, the Scottish hairstylist who became famous in the 1960s for cutting hair so that it would move more freely, like women themselves were beginning to do. The elder Mr. Mitchell also helped found John Paul Mitchell Systems, the now-enormous beauty products company. The younger Mr. Mitchell grew up on his father’s solar-powered farm on the Big Island of Hawaii. “I’m just lucky my name wasn’t River or Rainbow,” he said.

After his father died in 1989, Mr. Mitchell moved to Los Angeles and was beginning to establish himself — as a hairstylist and a ladies’ man — when he met Michelle Raab, who worked on the business side of the Vidal Sassoon Academy in Santa Monica, Calif. The two liked each other right away, but also avoided each other. Mr. Mitchell knew she had a boyfriend, a hairstylist. And she knew Mr. Mitchell’s reputation. “Angus was a playboy and that type of person frightened me because it would rip open all of my insecurities,” she said.

Ms. Raab, 41, also grew up avoiding mirrors. She was born in Trinidad and moved to San Diego with her mother when she was 11. “I was in Southern California wanting to be blond and blue-eyed,” she said. “I can remember staring at magazines and thinking, ‘If I stare at it long enough, will I end up looking like that?’ ”

Over the years, Ms. Raab and Mr. Mitchell admired each other from afar. Hard-working and ambitious, she eventually became the director of business development at the academy. She also became engaged to her boyfriend, even though their relationship was rocky. “When you don’t feel beautiful, you make bad decisions in love,” she said.

Meanwhile, Mr. Mitchell became engaged more than once but always got cold feet at the last minute. “I was like the runaway bride,” said Mr. Mitchell, who owns John Paul Mitchell Systems along with John Paul DeJoria, the other founder of the business.

In 2007, Mr. Mitchell hired Ms. Raab to work at Angus M, which was still in development. By that time, she was pregnant and Mr. Mitchell was engaged, again. In fact, he proposed to his girlfriend onstage at a hair show, with Ms. Raab in the front row. “I was so happy for him,” she said. “We were not on a crash course to end up with each other at all.”

But they did begin spending much more time together, going over everything from the salon’s spreadsheets to eco-friendly wall paints. “He’s clever and quick and strategic,” she said. “He’s gorgeous but I didn’t find out he was smart until later. I thought he was just a pretty face.”

They also began giving each other love and life advice, which both needed. He was becoming an increasingly unhappy playboy. “I was asking myself, ‘Why am I going out to a nightclub every night?’ ” he said. “ ‘What am I chasing?’ I’d done everything, and I was getting sad.”

Ms. Raab’s daughter, Mee, was born July 15, 2007. Her marriage began to crumble soon after. By 2008, her divorce was pending and she had moved out and into a new home: a tiny apartment on the top floor of an old wooden house in the Venice section of Los Angeles. “I had a crib, a couch that came out as a bed, a kitchenette, a bathroom,” she said. “It was kind of like a Rubik’s Cube. It would be one way for dinner, then I’d shift it around for bedtime.”

Mr. Mitchell had yet another new relationship, which didn’t work out.


From: http://www.nytimes.com/

Could Chris Nolan have convinced anyone but Warners to make 'Inception'?

Over the years, whenever I've stopped by the Warners lot to interview Clint Eastwood, I've always been struck by how much his Spanish-style studio bungalow felt like a home away from home, down to the little parking space right by the front door. The whole domestic image is especially appropriate, since Eastwood has been making movies regularly at Warners since he directed "The Outlaw Josey Wales" there in 1976, when Gerald Ford was president, Harvey Weinstein was promoting rock concerts in Buffalo and some of Warners' top young executives were still in diapers.

Eastwood is just one of a host of filmmakers that have what you might call special relationships at the studio, which under the aegis of Warner Bros. Picture Group President Jeff Robinov has been especially aggressive in courting a new generation of gifted filmmakers. The biggest payoff, of course, came this weekend with the release of Christopher Nolan's "Inception," which not only was the weekend's top-grossing film, making more than $60 million, but has created shock waves all across Hollywood, serving as a reminder to cautious studio bosses that a strikingly original film could compete at the height of the summer moviegoing season with all the usual sequels and remakes and other franchise fodder.

But would Warners have made "Inception," which cost $160 million to produce and even more to market, if Nolan hadn't earned the trust of Warners' top brass after making a string of well-received films at the studio, including the critically beloved "Insomnia" (bankrolled by Alcon Entertainment but distributed by Warners) as well as the mega-hits "The Dark Knight" and "Batman Begins"?

"I don't know if we would've made 'Inception' without already having the relationship with Chris," Robinov told me over the phone Monday. "But he is so compelling and so good in a room that we were willing to bet on him making 'Batman Begins' at a time when all he had made was 'Memento' and 'Insomnia.' And you could argue that we took an even bigger risk of betting on him with 'Batman Begins,' since we had so much riding on that film, which was an effort to reboot one of our biggest brands.

"But to make a studio successful, you always have to believe in talent and that often requires taking a certain leap of faith with filmmakers, which is easier to do if you've enjoyed a certain level of success together."

Warners is the studio most invested in filmmaker relationships. In addition to Nolan and Eastwood, it has longstanding relationships with Steven Soderbergh, who since 2000 has made all but one of his major studio films at Warners, and Zack Snyder, who has two upcoming films on the Warners slate after making "300" and "Watchmen" at the studio. Rob Reiner, whose "Flipped" is due out from Warners next month, hasn't made a film away from Warners since the mid-1990s.

But Warners isn't alone. Even though the age of the studio system, when actors and filmmakers were under long-term contracts to studios, is long over, most studios still have steadfast relationships with key filmmakers whose work often reflects the studio's vision of itself. Sony's Amy Pascal, who loves films about complicated romantic relationships, has enjoyed a close creative alliance with James Brooks, whose "Everything You've Got," is due out from Sony this fall. Brooks hasn't made a film outside of Sony since 1987's "Broadcast News."

Universal, which has a particularly good track record at making irreverent comedies, has a close rapport with Judd Apatow, who has made all three of his films as a director at the studio. Universal also has a strong relationship with Paul Greengrass, who has made all four of his U.S. studio films at Universal, including two of the studio's series of "Bourne" thrillers. Paramount has a close relationship with J.J. Abrams while Shawn Levy, one of the top comedy directors in the business, has made five of his last six films at 20th Century Fox. Fox, of course, is also the home of James Cameron, who has been there longer than even Rupert Murdoch, having made all his films (outside of "The Terminator" series) there since "Aliens" in 1986.

It's not even unusual for filmmakers to outlast their original studio patrons. "The Sorcerer's Apprentice," which flopped at the box office this weekend, was directed by Jon Turteltaub, who may not have a lot of critical cachet but definitely has Disney staying power. While the studio has had a complete turnover in its executive ranks, Turteltaub is still alive and kicking, having made eight straight films at Disney (including the hit "National Treasure" films) dating back to 1993's "Cool Runnings."

Why do studios keep such close ties with filmmakers even after the executives who originally brought them in have been sent packing? Keep reading.

"Believe it or not, there is still such a thing as an institutional memory in Hollywood," says "Erin Brockovich" producer Michael Shamberg, who is producing Soderbergh's next Warners film, "Contagion," which shoots in the fall. "Most of the studios have either inherited or adapted a lot of the old studio practices. Once a director has made a lot of money for a studio, they're eager to keep that director in the fold. That's just good business practice. And if you're a filmmaker, if all things are equal, you want to stay at the same place, where you have executives that you know and trust and are comfortable with."

It's no secret that Warners has the most top filmmakers in its fold because, unlike some studio bosses, Robinov actually recognizes that the true source of creativity on a film derives from the filmmaker, not meddling studio executives.

"We're just a filmmaker-driven studio," Robinov says. "It doesn't mean that it's always going to be easy or that things are always going to work out as we'd hoped. But every movie needs a strong vision and the people that have the most exciting and interesting and accessible vision possible are the filmmakers. So they are the ones we want to build a long-term relationship with."

After Nolan had struck pay dirt with "The Dark Knight," everyone in town was throwing juicy projects at the filmmaker's feet. "But Chris hadn't found anything that quite landed with him," recalls Robinov. "So he went back to working on 'Inception,' which he'd started seven or so years ago. When it was done, his agent, Dan Aloni, said that Chris wanted to offer it to us first, out of respect for the relationship."

In Hollywood, respect for the relationship is a two-way street, especially when the filmmaker has just directed one of the top-grossing films of all time. Robinov and Warners chief Alan Horn immediately read Nolan's script and met with the filmmaker. "We asked a lot of questions and he had answers for all of them," says Robinov. "We wanted to know whether people would be able to understand where they were--in terms of the different subconscious levels and dream states. But Chris knew exactly where he was going, narratively and digitally. We agreed on a budget and Alan greenlit the movie right there in the room."

In the relationship game, not every bet pays off. Insiders have predicted that Baz Luhrmann, after the failure of "Australia," may make his next film elsewhere after having directed all of his U.S.-made films at Fox. Warners has hedged its bets in the past, famously forcing Eastwood to find outside financing for films like "Mystic River" and "Million Dollar Baby" before the studio pitched in with part of the budget. Night Shyamalan was an integral part of the Disney family until then-production chief Nina Jacobsen told the filmmaker she had problems with his script for "Lady in the Water." Insulted, Shyamalan left the studio in a huff, taking the film to Warners, where it bombed.

It's easy for relationships to flourish when everything is going smoothly. The true test comes when a film tanks. Studios often blame the filmmaker while filmmakers often blame the studio's marketing efforts. So the real test of Warners' belief in its filmmakers doesn't come so much with Nolan, who has something of a Midas touch, but with a filmmaker like Soderbergh, who has delivered both hits (the "Oceans Eleven" series) and misses ("The Good German" and "The Informant!").

Referring to those last two films, Robinov says: "They weren't necessarily all that accessible, but they were really interesting to us on an artistic level. And if you want to send a message to the creative community that you're willing to try to do different things, then you actually have to try to do different things. That's the bet we make and it always starts with the filmmakers."

From: http://www.latimes.com/

Gucci New collection fuses the classic with the modern

Contemporary minimalism and extreme luxury meet in Gucci's fall/winter 2010 collection.
Inspired by Gucci's golden eras of the 70s and 90s, Gucci's creative designer Frida Giannini presents a collection that exudes a new sense of sleek glamour.

Giannini kept the color palette for the new collection to Gucci's house colors like camel, ice grey, brick, and tobacco.

The collection is characterized by simple color combinations and tone-on-tone outfits that look extraordinary when paired with Giannini's designs.

It features tailoring borrowed from the boyfriend's closet, oversized and deconstructed cashmere coats and dresses and coats with trench coat constructions, asymmetrical skirts and wrap silk dresses with complex constructions, and over the knee suede platform boots.

Other interesting pieces include body hugging dresses yielding anatomical razor cuts to expose bits of skin yet look amazingly sexy.

The collection's evening wear were inspired by a controlled opulence. Artfully constructed dresses on python pattern chantilly lace give off an almost fetishistic vibe. Hand-cut vinyl sequins with ombre shading embroidered with ostrich feathers highlight Gucci's impeccable craftsmanship. The look is completed with feathered shrugs, lace stockings and T-strap crocodile sandals.

An iconic Gucci design from 1973 makes its way back to serve as the metal hardware motif on the new collection of handbags that includes ostrich handbags, flat clutches, and miniaturized bags with a long gold chain.

More Gucci handbags info...

Naomi Campbell will testify at war crimes trial

LONDON – Fashion model Naomi Campbell says she will testify at the war crimes trial of former Liberian president Charles Taylor.
Taylor is accused of supporting the rebels in Sierra Leone's 11-year civil war in exchange for diamonds and other natural resources. He denies trading in the so-called "blood diamonds."
Prosecutors at Taylor's trial in The Hague have summoned Campbell to testify later this month about reports that she received diamonds from Taylor during a 1997 reception in South Africa.
The Outside Organization, a public relations company that represents Campbell, announced on Friday that Campbell would testify. Her appearance is scheduled for July 29.



From: www.yahoo.com