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Size matters. If you are over six feet tall, solidly built, and female, your height is not a detail. "I mean, it's like having a clubfoot!" is how Meryl Streep puts it. In Nora Ephron's new movie, "Julie & Julia," Streep plays Julia Child—the looming emissary of French cooking, who, upon arriving for the first time at Le Havre, as a "six-foot-two-inch, thirty-six-year-old, rather loud and unserious Californian," feared that France was a nation "where the women were all dainty, exquisitely coiffed, nasty little creatures," as Child wrote in her memoir. Child's tallness was crucial to Streep as she developed the character. "It was a real unusual thing for a woman to be that height, and I think it had an enormous impact," Streep said. "It was a handicap of sorts, certainly in the world into which she was born, in Pasadena, where women went East to school to get a husband." Julia Child, whose epic contribution to American culture was "Mastering the Art of French Cooking," was a sensuous giant. Who knows who she would have been if she'd come out delicate and married a Republican banker, as her father had expected. We might never have heard of hollandaise.
Nora Ephron came of age three decades after Child, in a house "full of apples and peaches and milk," in Beverly Hills. Size still mattered. In a 1972 essay called "A Few Words About Breasts," Ephron wrote, "If I had them, I would have been a completely different person." Perhaps this is so. If Nora Ephron had been born buxom, what else besides that article might she not have written? Harry might never have met Sally. "Sleepless in Seattle" might mean nothing but Northwestern insomnia.
Ephron is more petite than ever. She is five-six ("or I used to be"), and, at sixty-eight, she is as slight as a sparrow. She loves food, but she eats very, very carefully. ("I watch her eat and I watch me eat and it's like a heavenly princess and a barbarian," Steve Martin, Ephron's friend and the star of one of her early movies, "Mixed Nuts," says.) "I've been in the Zone for a long time," Ephron informed a group of women who had come to see her speak at the 92nd Street Y a few years ago, "and I'm tired of it."
When she is sitting, Ephron folds in on herself—she crosses her legs and holds her chin in her hand—and becomes very compact, a little origami of a person. "She was utterly composed," Ephron's younger sister Delia Ephron wrote in her novel "Hanging Up," describing a character she based on Nora. "She kept still, her arms very close to her body, and although she wasn't tall, she seemed to be looking down at everyone, even when she was sitting."
Ephron isn't cold, but she is queenly: a Jewish dame. Recently, she participated in a panel discussion about "The Future of Filmmaking." After Ephron had unloaded some tart observations, the moderator turned to the actress Anne Hathaway and asked if she had anything to add. "Oh, my God," Hathaway said. "I was intimidated to get onstage with Nora Ephron. You want me to follow her?"
Because of her ladylike bearing and her extraordinary comic timing, people tend to experience Ephron as jaunty and fresh. That does not mean that they are not often slightly afraid of her, too. "I don't know if my first impression was just because she seems like the quintessential New Yorker," Meryl Streep, who met Ephron when they collaborated on "Silkwood," in 1983, said. "She always wears black and she's so cool and she always has the perfect bon mot to toss off just effortlessly. I mean, who can be like that? Anyway, I was intimidated."
"She will ask you a question: 'Well, what do you think of so-and-so,' " Tom Hanks told me. "And I always have a little voice inside me saying, 'If she doesn't agree with me, I'm going to be a little crushed.' Because she might say, 'You are insane.' Or she might say, 'Exactly.' " Hanks was the star, with Meg Ryan, of Ephron's second film, the 1993 hit "Sleepless in Seattle," which made Ephron famous as a director. She was already famous for a number of things.
Ephron first became well known in the late nineteen-sixties, as a magazine journalist who wrote features about cultural institutions and media celebrities. Ephron's pieces were vivid and cunning and crackling with her personality; she began an eviscerating profile of Dorothy Schiff, the publisher of the New York Post, where she had worked for a time, with the words "I feel bad about what I'm going to do here." In the early nineteen-seventies, Ephron wrote a column in Esquire about developments in the burgeoning women's movement. She was the funniest feminist, or pseudofeminist, depending on whom you ask. (Pretty much everyone admits that she was funny.)
Ephron became even more famous in 1976, when she married Carl Bernstein, just a few years after he and Bob Woodward, as reporters for the Washington Post, exposed the Watergate scandal. When Ephron wrote "Heartburn," a best-selling roman à clef about walking out on Bernstein after discovering that he was having an affair while she was seven months pregnant with their second child, she grew more famous still. Then she was nominated for an Oscar, with Alice Arlen, for their screenplay for "Silkwood," a film directed by Mike Nichols and starring Meryl Streep.
Next came the film version of "Heartburn," also with Nichols and Streep; Ephron wrote the screenplay. It took more than five years for Ephron and Bernstein to negotiate the terms of their divorce, and for about half that time the central issue was Bernstein's demand for script approval on "Heartburn," in which he was played by Jack Nicholson. Harper's ran an excerpt of a document entitled "Attachment A to the Marital Separation Agreement between Nora Ephron and Carl Bernstein." A pseudonymous column in Vanity Fair accused Ephron of "indecent exploitation" for making a record that her children could one day read and watch of their parents' bitter end. ("Here is Carl Bernstein and adultery; there is Nora Ephron and child abuse. It is no contest.") It is difficult to imagine anyone caring much about a pair of divorced journalists now, but theirs was a different era: Carl and Nora were the Brad and Jen of the early eighties.
In the early nineties, Ephron started directing her own movies. Her most successful since "Sleepless" was "You've Got Mail" (1998), another Hanks-Ryan vehicle, loosely based on the Ernst Lubitsch movie "The Shop Around the Corner." In 2006, Ephron managed the almost impossible feat of becoming an It girl yet again, in her sixties. She published the collection "I Feel Bad About My Neck," which became a No. 1 best-seller. Remarkably, she enhanced her own glamour by writing about the distinctly dowdy subject of aging. "When we were young . . . the amount of time we spent making ourselves look good bore some correlation to the number of hours we spent having sex (which was, after all, one of the reasons for our spending so much time on grooming). But now that we're older, whom are we kidding?" The book sold more than a million copies.
"I think people think I am much smarter than I know I am," Ephron said one afternoon over lunch at Payard, on Lexington Avenue. She was wearing sunglasses and sitting in a corner banquette eating a Cobb salad very slowly, in small, tidy bites. "I have a huge number of friends who've managed to change their lives," she continued, "women way more than men. Certainly in part because so many women of my generation are not the main breadwinners, so they have slightly more flexibility. It's sort of the silver lining of things not quite being fair: it's not as big a deal if you say, 'I'm going to take a salary cut and see if I can be something else. A night-club singer.' "
Ephron grew up in Los Angeles, the daughter of two screenwriters. "It was so clear there were no women in show business," she said. "It was so clearly not a place for a person like me." Female screenwriters, like Ephron's mother, Phoebe, almost always had a husband they collaborated with, and "woman director" was an oxymoron. Since childhood, Nora Ephron had been "athletic, ambitious, outspoken, competitive," as she has written. But she was also practical. So when she graduated from Wellesley, in 1962, and went to New York City, her fantasies had settled on becoming Dorothy Parker, not Preston Sturges.
Over the years, she has managed to shoot for a bit of both. About half of Ephron's movies have been firmly rejected by both critics and audiences, but the other half have become mainstays of their genre. "We always knew when I was at network television that there are certain movies, no matter if they've been out for a while and people have seen them already or rented the DVD—if it's Valentine's Day and it's on, you're going to watch 'Sleepless in Seattle,' " Ephron's friend Howard Stringer, the chairman and chief executive of Sony Corporation, says. "You're going to watch 'When Harry Met Sally.' " For that, Ephron received an Academy Award nomination for Best Original Screenplay, in 1990. These films—along with "You've Got Mail"—seem to be in a constant loop on TV, and not just in February: you could probably recite whole chunks of them if you tried. They are deeply comforting comedies, and they have made Ephron, at least by some measures, the most successful female director working in this country.
"We don't think of things that way and I'm not," she told me firmly, putting her fork down on the table. "I think Nancy Meyers"—who directed "Something's Got to Give"—"is more successful. But it doesn't matter. The main thing is that it just seems like a sad thing to be called."
Or one could take it as an enormous compliment. "It's a very male business," as Ephron herself put it in "Dreams on Spec," Daniel J. Snyder's documentary about screenwriters breaking into Hollywood. "Vast portions of it . . . might as well be the United States Army in 1943." She continued, "Most directors, I discovered, need to be convinced that the screenplay they're going to direct has something to do with them, and this is a tricky thing if you write screenplays where women have parts that are equal to or greater than the male part. . . . You look at a list of directors and it's all boys; it certainly was when I started as a screenwriter. So I thought, I'm just going to become a director and that'll make it easier."
Ephron detests whining: you can acknowledge a problem, but only in the service of solving it. "Nobody really has an easy time getting a movie made," she said. "And furthermore I can't stand people complaining. So it's not a conversation that interests me, do you know? Those endless women-in-film panels. It's, like, just do it! Just do it. Write something else if this one didn't get made. It's my ongoing argument with a whole part of the women's movement."
When Ephron finished her salad, she reapplied rose-colored lipstick. She was wearing black pants and a black shirt with a striped scarf, and a Jil Sander jacket, and her makeup and her manicure and her hair were just so. She never does her own hair if she can help it. Instead, twice a week she goes to the beauty parlor to have it washed and blow-dried. "The amount of maintenance involving hair is genuinely overwhelming," she has written. "Sometimes I think that not having to worry about your hair anymore is the secret upside of death."
"But you're so good-looking! I don't know what you're talking about," a woman Nora Ephron had never met before said to her as the two of them stood in front of an avalanche of oysters at the 2009 James Beard Foundation Awards, the Oscars of the food world. It is possible that the woman was thinking of the title or the content of "I Feel Bad About My Neck" when she said that, or she might have been referring to a comment Ephron made earlier in the evening, when she got onstage to introduce a clip of "Julie & Julia" to the culinary establishment. Ephron approached the lectern and said, "I would like to say to whoever is running the camera: just stay back," which made everyone laugh.
There could not have been a better audience for the clip that Ephron showed, of Meryl Streep, as Julia Child, zealously mastering the art of onion chopping. Many of the people present at the Beard Awards had known Child, and they were dazzled by Streep's performance. ("Meryl doesn't do an imitation of Julia Child," Mike Nichols told me. "She is Julia Child. Now, we know that's not possible, but we see it.") It was one of the more engaging segments of the ceremony, which dragged on for more than three and a half hours. There were awards for the best graphic design for a restaurant, the best newspaper writing about food without recipes, the best cookbook on a single ingredient (fat), the best new restaurant, the best old restaurant, and so on. Everyone was starving. At what felt like four in the morning, one of the hosts, Stanley Tucci—who plays Julia's husband, Paul Child, in Ephron's film—begged winners to "just say thanks."
The theme of the evening was Women in Food, and the dominant color was pink.
"Isn't this great?" Ephron asked as she made her way to a tasting table where tiny cups of a broth made from coral were being distributed, along with little sea-urchin sandwiches. "I'm going to eat a lot."
The restaurateur Drew Nieporent came over, a big bear in a tuxedo. "I can't wait to see the movie!" he said. "I want to do a party for the movie—I will do it wholesale, if you know what I mean. Tell Sir Howard." He meant Howard Stringer, who is, ultimately, the person in charge of all financial decisions at Sony, the distributor of "Julie & Julia."
"Julia Child ate at Nobu once," Nieporent continued. "She's sitting there, she's looking at the sushi, she goes like this"—Nieporent mimed falling asleep in the middle of a sentence, laughed, and walked away.
Ephron moved along, stopping to eat something that looked like a slice of glycerin soap. "It's like grass Jell-O," she said, swallowing a piece of Charlie Trotter's Fava Bean and Onion Surprise, and then made her way upstairs to the V.I.P. dinner.
Ephron was seated next to a man named Len, a Washington lawyer, who said he'd done work for Oprah. "You know, we've had dinner together," he told her.
"Did we date?" Ephron replied.
"No," Len said, and laughed. "In your Carl days. During Bob Woodward's divorce."
"Which one?" Ephron asked, and glanced at her menu. "Oh, my God, this is tragic!" she said, realizing that there would not be any beef marrow on mustard croutons making its way to the table. Stanley Tucci was seated across the table, and she asked him, "Stanley, did you already have the beef marrow downstairs?"
"No. I went with the D'Artagnan lady"—the head of a foie-gras-and-meats company. "I had a piece of her duck sausage," Tucci said. "And then I had a stroke."
Ephron decided that the only thing to do was to go back downstairs. There were more admirers at the marrow table, a pair of food bloggers. "Have you tried the marrow at Minetta Tavern?" she asked them. "It's unbelievable. They serve it with crisp bread and it is just extraordinary."
"Um, I'd need you to get me into Minetta Tavern," one replied, which made Ephron smile.
She felt that these particular morsels were not as hot as they ought to be, but still she loaded a napkin with half a dozen of them to bring back to Len and the rest of her tablemates.
"I love you, you're fabulous, I've loved you from the beginning," a woman named Harriet told Ephron before she could make it back. Harriet looked to be in her late sixties. She had a perfect white Louise Brooks bob and she was wearing a low-cut, sequinned Ferragamo outfit. "I listened to the neck book on tape. My daughter was driving back from Madison. I said, 'Go with Nora!' How are your kids? They turned out O.K.?"
"Just great," Ephron said.
"What are you writing now?"
"A play," Ephron told her.
"I'm a divorce lawyer," Harriet said. "Which you know from. Well, you did what you had to do, right?" Harriet thought about it for a second, and then said, with real feeling, "What a shit!"
It has been more than a quarter century since "Heartburn" was published. Despite the fact that Ephron has been married for twenty-two of those years to the writer Nick Pileggi, her third husband, she remains the patron saint of women scorned, the poster girl for divorce. Which is ironic. Because in a Nora Ephron movie it's very easy and painless to break up with someone. In "Sleepless," Meg Ryan's character tells her fiancé, "I can't do this," long after he has had his proposal accepted, met her parents, set a date for the wedding, planned the menu, given her his mother's ring, and picked out china. "Annie, I love you," he replies. "But let's leave that out of this. I don't want to be someone that you're settling for. I don't want to be someone that anyone settles for. Marriage is hard enough without bringing such low expectations into it." People tend not to be quite so reasonable and easygoing when you break their hearts and destroy their dreams. Ephron has acknowledged as much. In the director's commentary for "You've Got Mail," another romantic comedy in which a breakup involves the same level of anguish one generally associates with selecting a flavor of ice cream, Ephron said, "I suppose it's very rare that this happens, that people break up with one another and it's such a relief. But we all like to think it's possible." People need sarcasm, Ephron seems to think, but they also need fairy tales.
Back at the table, two kinds of red wine and four kinds of white had been served. There was Fiore di Nonno burrata on bulgur crackers with artichokes and green olives. There was Bolinas goat tongue with Meyer-lemon-fenugreek-mint-and-tomato chutney. And there were veal cheeks with a spring-vegetable-and-quinoa salad that the New York chef and restaurateur Lidia Bastianich had concocted for the occasion. Ephron told Bastianich, who was also seated at her table, that she went to one of Bastianich's restaurants on her first date with Nick Pileggi. "Good, good," Bastianich said. "And the marriage is O.K.?"
"So far, so good."
In the car ride home, Ephron said she was pleased that she hadn't brought her husband to the Beard Awards. "Nick has some insane position about not eating standing up," she said, and started rummaging through the gift bag from the dinner, which included mojito mix and an in-flight menu from Delta, a Beard sponsor.
"Look," she said, pointing at a vibrant picture of airplane food. "This looks so delicious. I think we should go directly to J.F.K."
"I swear to God I'm not doing this to extend my control of this movie," Ephron said one day to Paul Levin, her post-production supervisor. Levin was setting up a clip for her to watch in a midtown screening room.
"I know you're not," Levin said.
"You do not," she said, and Levin laughed.
"Do you want to see the video master?" he asked her.
"How should I know?" Ephron replied, and Levin laughed some more. She was there to see a scene from the beginning of "Julie & Julia" in which Meryl Streep and Stanley Tucci arrive at a restaurant, supposedly in Rouen. Ephron shot it in Paris, and the buildings visible on the way into the restaurant looked too fresh and new, so they had been digitally dirtied up. But it was overdone. "You know, most people are seeing the credits at that moment, and not the too much dirt on the buildings," Ephron said, with a shrug. "But it bothered me."
Levin played the clip and Ephron was pleased with the grime reduction.
"It still looks a little bit like a set," she whispered in the dark. "But that's Paris. What can you do?"
Streep and Tucci were now inside the restaurant, and on the screen was a closeup of the golden sole meunière that Child described in her memoir as "the most exciting meal of my life." Ephron smiled. "That filet of sole is my proudest achievement as a director," she said. "There is nothing I'm more proud of." You could practically smell the butter browning. "I'll tell you one thing," Ephron went on. "Every time I watch this movie, I'm hungry."
Ephron wrote the screenplay based on two books about women and food and marriage: Julia Child's memoir "My Life in France," which traces her evolution from spirited Embassy wife to revered foodie; and the blogger Julie Powell's book about cooking her way through every recipe in Child's "Mastering the Art of French Cooking," in a single year. Powell's blog echoed Ephron's own experience in the kitchen when she was in her twenties, cooking "at least half the recipes in the first Julia," as she has written, and having "imaginary conversations" with Child in the process.
Ephron's alter ego in "Heartburn" is a food writer, and she and her cad of a husband and their best friends have "a friendship that was a shrine to food." There are recipes in "Heartburn" for cheesecake, bread pudding, and bacon hash. The protagonist worries that she has focussed excessive attention on cooking, which is an issue that appears again in "Julie & Julia." ("Too much food, not enough sex," Powell's husband complains in the movie, though all the cooking and eating does not seem to get in the way of Julia and Paul Child's ardor.) "I've written about cooking and marriage dozens of times," Ephron writes in "Heartburn," "and I'm very smart on the subject, I'm very smart about how complicated things get when food and love become hopelessly tangled."
When Ephron knows that she knows something, or knows that she wants something, she does not hesitate to say so. She is like Meg Ryan's character in "When Harry Met Sally." "I just want it the way I want it," Sally tells Harry, about her habit of ordering, say, a piece of apple pie à la mode with the ice cream on the side, strawberry instead of vanilla if it's an option, and, if it's not, then whipped cream, but only if it's real.
To be a director, it is important to know what you want; it is also important to like being in charge. Ephron has never had a problem with either of these things. "There is nothing that she didn't feel was her responsibility to tell me," Delia, the second-oldest of the four Ephron sisters, said. Just after Nora graduated from college and moved to New York City, she fixed Delia up on a date with a reporter she'd met on an assignment for the Post. "He told me he met her because there was a murder somewhere, and all the reporters were downstairs arguing about who would get to go up in the elevator first," Delia recalled. "And Nora organized them. She divided them up; she said that the afternoon reporters would go first . . . and you can imagine what this group of reporters was like. And she was just in her twenties."
"The epigraph for this whole thing would be 'Nora Knows What to Do,' " Mike Nichols said. "She can tell you who the doctor is for what you've got. She can tell you when to forget something, let it go. Where the best food is. What the greatest new idea for cooking this or that is. She knows." She knows things, and she knows people. Name a famous person. Chances are Ephron used to be her neighbor (Cyndi Lauper). Or interviewed him as an up-and-comer (Bob Dylan). Or went to high school with him (Barry Diller). Or has had him to one of her dinner parties (Carl Sagan). Or dated him (Mort Zuckerman). Or vacations on his yacht (David Geffen). Or has rented her house in East Hampton to her for a reported two hundred thousand dollars a month (Heather Mills, Paul McCartney's ex-wife).
Delia Ephron sounded one cautionary note on the subject of her sister's expertise in all matters, large and small. "Ten per cent of the time, Nora's wrong," she said. "And you never know what the ten per cent is and it's really scary—you know, 'Could this be it?' "
Ephron has made some duds. "Michael," starring John Travolta as a fallen angel who smokes and drinks and hides his enormous feathered wings under a trenchcoat, is tough to get through. "Bewitched," the film she made before "Julie & Julia," starring Will Ferrell as a narcissistic movie star who falls in love with a witch (Nicole Kidman), has some very funny bits. (Stephen Colbert, Steve Carell, and Michael Caine all play supporting roles.) But critics hated it. The Times said that Ephron "forgot that a gimmick is no substitute for a screenplay, never mind a real movie." The Washington Post called it "dismal." The rap on Ephron from her detractors has always been that her cinematic vision is too schmaltzy, too eager to soothe and please. A line in "Heartburn" anticipates such complaints decades before they were made. "What they say about me," Ephron wrote, is "I don't have an original point of view, and I am a sellout. (This last accusation always makes me cross, because I would love to be a sellout if only someone would ask.)"
Ephron's aspiration is to make something like new old movies. It's not that she's creakily nostalgic; she loves the Internet (she blogs, but she does not Tweet), and made one of the first films starring e-mail. But she has great reverence for the clarity of classic romantic comedies. "You look at Lubitsch, movie after movie after movie," she said, "and you find yourself slowly sinking into your pillow because it's so daunting, what he did. It's like the Olympic dive where they don't do anything at all: they just dive into the water. It looks easier than the one with all the twists. But it's actually not."
It is no small thing to get studio backing after you've lost money on a movie, especially if you are over a certain age. (In Hollywood, that age is approximately twenty-seven.) "It is hard," Ephron said. "I think I've managed it partly because Amy Pascal"—the co-chairman of Sony Pictures—"keeps giving me work." It can't hurt, either, that Pascal's boss is Howard Stringer; Ephron is Stringer's son's godmother. But a writer-director who comes up with something wonderful always has a chance, especially "if, like Nora, you have a long track record of having made money for the company," as Michael Lynton, the chairman and C.E.O. of Sony Pictures, put it. This is the talent that Ephron has always relied upon to resuscitate her, whether from "the catastrophe, the great fiasco, of my second marriage," or from the loss, domestically, of more than twenty million dollars on "Bewitched." "If you're a writer," she said, "you can write your way back."
For a long time, Ephron kept a picture of the mobster John Gotti on her desk, taken during the trial that sent him to prison for the rest of his life. "He was walking out of the courthouse in the most perfect suit, and he looked so great," Ephron told me. To her, it symbolized a spunky defiance that she could appreciate: self-confidence in the face of humiliation and defeat.
Many of Ephron's best friends experience her as impervious to regret or, at least, wildly resilient. "I'll tell you one thing about Nora: she really knows how to pick herself up and turn herself around and start over," Joan Didion, who has been Ephron's close friend for more than four decades, said. "I've never been aware of Nora in a low mood; she doesn't show them." Didion added, "I don't think she gets a lot out of guilt. Whatever secondary gain the rest of us get out of it, Nora doesn't; she just leaves it alone. Isn't that good?"
"One of the things I love about Nora is that she is a force—she's unstoppable," Delia Ephron said. "She was really a well-known journalist and she was really successful at it and a lot of people were jealous of that. And then, lo and behold, Carl, you know, that awful thing happened when she was pregnant, and people thought, Oh, she's just gonna go down. And they were all very excited about it. People do get excited about things like that, especially when it's a woman who's gotten uppity." There is a scene in Delia Ephron's "Hanging Up" in which the two younger sisters gossip with gleeful horror about a rumor that their oldest sister is going to get fired from her job as a magazine editor. Shortly thereafter, the big sister calls to say that she is going to be the editor-in-chief of her own magazine.
"If you want to be successful and you are a woman, you have to understand that there's all kinds of horrible stuff that comes with it, and you simply cannot do anything about it but move on," Ephron told me matter-of-factly one afternoon, sitting on a white Jacquard couch in the living room of her apartment, on the Upper East Side. It is a big place and has a vaguely Parisian feel ("It is a little Froggy in here," she said), with wood panelling in the living room and doors that open out onto a balcony lined with pots of orange nasturtiums. The Chrysler Building punctuates the view and the décor: Ephron and Pileggi have hung old picture postcards of the tower on their walls, and a collection of little crystal and pewter Chrysler Buildings is set up on a silver tray on the coffee table.
I asked Ephron if she had any idea what it's like to feel like a failure. She looked stricken. "God, yes. Are you kidding? Are you kidding? Well, sure," she said. "Especially with a movie that didn't work, because people sort of follow you into the water and expect that they won't drown. If you are lucky as a director, actors feel very safe with you. And then it turns out they weren't. You know, that's terrible. There are probably people who don't feel that, but, oh, my God. Are you kidding me?"
So Ephron has feelings. But she has been working on her John Gotti imitation all her life. Ephron and her sisters were brought up with the knowledge that moaning and complaining were . . . boring. Their parents "simply had no interest whatsoever in your sorrows," Ephron said. Her mother, Phoebe, "might as well have been Ben Bradlee, it was so pull-up-your-socks." (To understand this, all you really need to know about Bradlee, who was the executive editor of the Washington Post during the Watergate era, is that Jason Robards played him in "All the President's Men," and that it was very good casting.) "It was so 'Someday this will be a funny story,' " Ephron continued, "so 'I'm not interested. I'm having a drink and smoking a cigarette, and what else is new?' I think if you learn over and over from your parents that you do not get love from wallowing in heartbreak or failure, then you don't really have much of a habit of doing it."
When Nora was a child, the tone in the Ephron household was upbeat; she has said that she feels as if she'd grown up in a sitcom. But with time the environment deteriorated. Henry Ephron, Nora's father, was in and out of mental hospitals in his later years, and attempted suicide. Phoebe Ephron became an alcoholic, and died of cirrhosis, at the age of fifty-seven, in 1971. "But the immediate cause of death was an overdose of sleeping pills administered by my father," Ephron wrote in 2006, in an essay called "The Story of My Life in 3,500 Words or Less." For weeks, while her mother was dwindling in the hospital, her father kept insisting that the doctors "pull the plug." But there was no plug to pull. On the night of her mother's death, Ephron went to her father's apartment after he called her with the news:
My father reaches into the pocket of his bathrobe and pulls out a bottle of sleeping pills. "The doctor gave me these in case I was having trouble sleeping," he says. "Flush them down the toilet.". . . The next morning, when my sisters arrive, I tell them about the pills. My sister Amy says to me, "Did you count the pills?"
"No," I say.
"Duh," she says.
I asked Ephron why this incident wasn't a bigger deal. "You mean, was I angry at him for doing that?" she asked. She was not being sarcastic. "At that point, we had all been through real hell with my parents, our parents. And come out the other side." She thought about it for a minute. "I mean, I was upset that my mother had died, don't get me wrong. But she had been dying for a while." She thought about it some more. "And when that happened, I don't know how to say this except . . . it was a moment of almost comic relief. It seemed entirely possible, in character, understandable, and I think we all filed it under Will I Ever Be Able to Use This in Anything?"
This is a family coping mechanism that was explicitly instilled. "Everything is copy," their mother used to say, which was related to her expectation that all suffering be reconfigured into a funny story before it was brought to her attention. "Take notes," she directed Nora, from her deathbed.
"In our family, we were expected to be writers," Delia Ephron told me. "My mother was a working woman when no mothers were—that is the critical thing—and she had this idea that we were the Ephron Sisters. I mean, what is that? It's nuts. But that was what she thought."
Since all four sisters eventually fulfilled their mother's wish and became writers, there is no shortage of literature based on the Ephrons. (Hallie, the second-youngest, writes mysteries that have nothing discernible to do with the family.) Nora's rendition is madcap and bouncy. In most of her writing, life with her parents is depicted as only slightly more unnerving than the version that Henry and Phoebe Ephron presented themselves, in their play "Take Her, She's Mine," which was based on Nora's letters and visits home during her time in college. (It was later made into a movie, starring Jimmy Stewart and Sandra Dee.) The young protagonist is precocious, driven, and irrepressible, as the Ephrons brought up their oldest daughter to be. "Oh, I'm not really marred," she tells them after a bad date. "Takes more than that to mar me. By the time I get back to school I'll reappraise it and it'll be a hilarious story to tell the girls."
Delia's "Hanging Up" is funny, but has a darker cast, dissecting their father's selfishness and irascibility as he, too, descends into alcoholism and, ultimately, dementia at the end of his life. (Delia and Nora wrote a screenplay based on the book, which Diane Keaton made into a movie. The sisters have collaborated on five other scripts, including "You've Got Mail.") And then there is "Cool Shades," the first novel by Amy, the youngest sister. "My parents would argue five nights out of six and I would awake to the smell of scotch and cigarettes and the sound of their screaming," she writes. As a teen-ager, the narrator moves out of her parents' house, as did the author. It is no comedy.
Nora Ephron's parents didn't really come unglued until after she had made it safely to late adolescence. Maybe because of this, or maybe because of her genetic gifts, or for whatever reason, Nora has been the most successful of the sisters at molding their parents' instability into a world of entertaining wackiness. ("I'm very into denial," she told an audience who came for an evening of "Advice for Women" from Ephron and her friend Arianna Huffington a couple of years ago. Everybody clapped.) Her urge to put a happy ending on every story is what her critics dislike and her fans depend upon. And her corresponding refusal to succumb to self-pity is what people envy and resent: it is a quality you don't often see in women, or, for that matter, men.
"I don't mean that you can't have your feelings hurt or that you can't sit at home and feel sorry for yourself—briefly," Ephron said that afternoon in her living room as the sun set on the Chrysler Building. "But then I think you have to just start typing and do the next thing." She winced. "I just don't want you to think I'm so bizarrely inhuman that I don't have moments of thinking, Oh, God, that didn't work and I feel horrible about it. If my friends don't know that I feel that, then either they have no imagination or I've been really good at being John Gotti."
Ephron used to make a lot of jokes about men not being able to keep it in their pants. In "Heartburn," she wrote that Mark Feldman, the character based on Carl Bernstein, "was capable of having sex with a venetian blind." In "Mixed Nuts," a shrill character (played by Madeline Kahn) says, "Men could have sex with a tree." But that was then. The men in "Julie & Julia" are nearly flawless. There is a scene in the film in which Julie Powell has a fight with her husband because he is sick of her calling him "a saint" on her blog.
Ephron has a different point of reference now. She is the mother of two grown sons and the wife of Nick Pileggi, "a famously nice guy," as she has put it. "It's interesting when you have boys," she said. "Because boys are so sweet. Little boys, they are just great, and it was completely fascinating to me to see that. But the problem with men is not whether they're nice or not. It's that it's hard for them at a certain point in their lives to stay true. It just is. It's almost not their fault. But it feels like it's their fault if you are involved with any of them. And then you get older and almost all the men I know just seem as sweet as the boys I once had."
When Ephron and Pileggi started dating, he "instantly caught pinkeye" from her children, who were three and four at the time. Within a month, he had moved into her apartment, on the West Side, "and that was just that," she said. They have been together for twenty-six years. "I have never, ever seen them have a fight," Ephron's son Jacob Bernstein, who writes for Women's Wear Daily, said.
Pileggi is "not the difficult person in the marriage," Ephron said. "Although he is the crazy person! No one knows that, everybody thinks I'm the crazy person, but he's the crazy person. But he will just laugh if you say it to him."
When Nick Pileggi got home, he was in a good mood, as usual. He is very calm, very charming and wears his hair in a modified Benjamin Franklin: sparse on top, long behind the ears. He is the author of the book "Wiseguy," which Martin Scorsese made into the film "Goodfellas," in 1990. Pileggi has been working in films as a writer and producer ever since.
Pileggi's first marriage ended about the same time that Ephron and Bernstein broke up. "I think when we got married we were both nervous. We were young and it was—"
"Young?" Ephron shrieked. "We were so not young!" (She was forty-six and he was fifty-four.)
"I thought of myself as young at the time."
"Younger," Ephron said.
They sat down to dinner at the round marble table in their dining room. Ephron had made some excellent shrimp sautéed in butter and Cajun spices from a recipe by Paul Prudhomme, which she served with Provençal tomatoes and crispy rice baked in a copper casserole.
"This is good, isn't it?" she said. "A big mess of tastes! I'm not a serious cook—I'm a feeder."
"You like to cook so that people will sit at a table and you can bring out all these things and everybody can talk," Pileggi said. "I mean, no better day does Nora have than you get up at eight in the morning and you start getting ready to do things—"
"My only regret—well, no, it's not my only regret about our wedding—"
"And she still talks about it!"
"Well, my wedding dress. Just this appalling dress. And I looked terrible in it. It looked like '101 Dalmatians.' I don't know what I was thinking or who I thought I was. But the worst thing was that everyone said I couldn't cook because it was my wedding."
"And to be getting married that day and cook," Pileggi said, between shrimps.
"It was too . . . the sort of thing I might do," Ephron said. "So we had a caterer—I think it's practically the only time in our life. And I had nothing to do all day. I had no idea what I was supposed to do."
They invited about forty guests to a dinner party and then surprised them by getting married at it. "You could have easily done it," Pileggi said. "Though I think I was against it at the time."
"Yes, you were," his wife said.
"I just thought, You're getting married on that day, do you really want to be in the kitchen cooking stuff while you're getting dressed and the guests are coming and you don't know what other stuff is going to come up that you don't know about?"
"Anyway," Ephron said.
There is a restaurant in Washington, D.C., called Nora, which was very popular while Ephron was married to Bernstein, and she still gets worked up remembering her friends' being fed by another Nora. "People would say, 'Let's go to Nora's,' and I could not stand it—I could not stand it!" Ephron said, silently banging her skinny fist on the table. "I always used to say it was one of the reasons I had to leave Washington. Because I was so used to being—"
"The only Nora," Pileggi finished, beaming.
When Julia Child moved to France, in 1948, she was not the Julia Child that Nora Ephron or, later, Julie Powell fell in love with and took on as a culinary guardian angel. She was the daughter of the "staunchly conservative" John McWilliams, who had hoped that she would "settle in Pasadena to live a conventional life," she wrote. "Instead, I had married Paul Child, a painter, photographer, poet, and mid-level diplomat who had taken me to live in dirty, dreaded France. I couldn't have been happier!" The Childs took a rambling apartment on the Rue de l'Université—which they dubbed Rue de Loo—and, as Paul Child worked on exhibitions at the Embassy, Julia hosted glamorous cocktail parties. They socialized with John Kenneth Galbraith, Ernest Hemingway's ex-wife Hadley, and Alice B. Toklas. They ate in grand restaurants and poky cafés, where "my tastes were growing bolder," Child wrote. "I had never thought of eating a snail before, but, my, tender escargots bobbing in garlicky butter were one of my happiest discoveries!"
Despite being "giddy" about living in Paris, Child was unsatisfied. "I wanted to look chic and Parisian, but with my big bones and long feet, I did not fit most French clothes," Child wrote. She tried to read "Serious News Articles," though she worried that her "sievelike mind didn't want to lock away dates and details; it wanted to float and meander." There is a scene in Ephron's movie in which the Childs are having dinner at a glowing Paris bistro and Julia asks her husband, "What should I do, do you think?"
"About what?" he replies.
"All the wives here don't do anything. That's just not me."
What Child did, of course, was learn to cook, at Le Cordon Bleu, where her romance with food and France deepened into true love. Child's memoir and Ephron's film celebrate not just the thrilling life of Julia Child, with its remarkable adventures and success, but the pleasure of finding the thing you are best at, and devoting yourself to it with abandon. If you make a mistake, learn from it, then forget it. "I don't believe in twisting yourself into knots of excuses and explanations over the food you make," Child wrote. "Maybe the cat has fallen into the stew, or the lettuce has frozen, or the cake has collapsed—eh bien, tant pis! "
Don't complain, don't explain: that is the motto of Julia Child and Nora Ephron, two women who love butter and making dinner for their husbands. "You never get to see that on the screen," Meryl Streep said. "Because drama is conflict. So we only see the bad stuff. But we're all sustained by good marriages, to the extent that we are."
I feel bad about what I'm going to do here. But the truth is, "Julie & Julia" is not a fair fight. For half the film, we are in Paris with Julia Child played by Meryl Streep. It is pretty transcendent. For the other half, we are stuck in Long Island City, Queens, with the "lowly cubicle worker" Julie Powell, a character who is immature, self-pitying, and frazzled (which is to say, an average human being). Powell is played by Amy Adams, who is a talented actress, but she is up against the queen herself. When Adams, as Julie, is on the screen, it necessarily means that Streep, as Julia, is not, and you come to resent her for this.
It is possible that the film would not have worked if it were simply a bio-pic of Julia Child—that it derives its narrative thrust and commercial potential from the interplay between a young woman idolizing and relying upon Child in the more or less present and the splendid story of Julia Child's past. Perhaps Child is able to emerge from this film as an almost mythical creature because she is presented in contrast to a mere mortal.
But there may be another reason the Julia Child portions of "Julie & Julia" are so irresistibly vivid and the Julie Powell bits feel a little flat. It is possible that Nora Ephron no longer understands half as well what it's like to be ordinary as she understands being remarkable.
How would she? ♦


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Protecting an innocent spouse Challenge: As a CPA, I carefully filed my own tax return each year. After I married my husband, he informed me that he had not filed a tax return in 12 years. Solution: I called The Schlichting Group. Together, we filed a post-nuptial agreement, which protected my personal assets from the IRS.(...)
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Kissing expensive IRS penalties goodbye Challenge: Because of financial circumstances beyond my control, my software development company was forced to make delinquent payroll tax deposits for two quarters. The IRS assessed penalties of almost $17,000. Solution: The Schlichting Group presented my case before the IRS. Result: Thanks to their convincing arguments and tough negotiations, The Schlichting(...)
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Filing returns – even without the records Challenge: My wife passed away suddenly, and my life was in extreme disarray. When I went to my wife's office to pick up her belongings, I was shocked to discover that all of our personal records had been thrown away shortly after her death. Soon after, I received a(...)
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Fighting for a fair payment plan Challenge: I wanted to give the IRS the taxes that I owed. But some large medical expenses made it impossible for me to pay. At first, the IRS said it would accept an installment agreement with low payments I could afford. Then suddenly, the IRS changed its mind. They refused to consider(...)
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Challenge: I did not file tax returns or make tax payments for several years. The IRS came after me, claiming I owed thousands of dollars in back taxes. Solution: The Schlichting Group quickly prepared and filed my outstanding tax returns. Because I owed so much money, they worked to negotiate a payment plan I could keep up with.(...)
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Spreading payments over time Challenge: I failed to file tax returns for four years. When the IRS contacted me, it claimed that I owed thousands in back taxes. Solution: In just two weeks, The Schlichting Group had prepared and filed my tax returns. They also negotiated a payment plan – even before the IRS had examined(...)
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Settling for less than we owed Challenge: We did not file our personal tax returns for eight years. Both self-employed, we had minimal records. The IRS sent us a warning letter. When we filed our returns, we owed more than $325,000, including penalties and interest. Solution: We called The Schlichting Group. They immediately started negotiations with the(...)
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MILLEDGEVILLE, Ga. – The Georgia College cross country program and head coach Joe Samprone released the 2011 schedule Thursday, featuring four regular-season meets.
The season starts at home, as the Bobcats will host the third-annual Bobcat Invitational Friday, Sept. 2.
The following week, GC takes flight to Irvine, Calif. for a meet at Division I UC Irvine. Sept. 17 the Bobcats do battle at Division I Mercer University, and travel to Augusta, Ga. for the regular-season capper at Augusta State University Oct. 8.
The Peach Belt Conference (PBC) Championships are hosted by USC Aiken this season, coming Oct. 22. The next step is the NCAA Southeast Regional, this year hosted by Queens University in Charlotte, N.C.
The Bobcats return All-PBC runners on both sides, as senior Daniel Horseman (Cohutta, Ga.) and sophomore Allison Lones (Kathleen, Ga.) return to lead their respective teams. The Bobcat men took fourth in the PBC a year ago, while the women were sixth.
The Georgia College Department of Athletics, two-time winners of the PBC Commissioner's Cup, sponsors 10 varsity athletic programs at the NCAA Division II level. As a Division II program, Bobcat Athletics prides itself on balancing the life of the student-athlete, evidenced by the teams' multiple appearances in post-season competition as well as documented academic success and community-service involvement. Sign up at www.twitter.com/BobcatSports and www.facebook.com/gcbobcats for up-to-the-minute reports, and visit www.GCBobcats.com for more information, and to nominate your favorite former Bobcats and Colonials to the GC Athletics Hall of Fame.


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This is an excerpt from Sport and Public Policy, edited by Charles A. Santo, PhD, and Gerard C.S. Mildner, PhD.
From the beginning, competitors in organized sports have cooperated with one another to ensure order and provide a marketable product. A natural outgrowth of associations between individual franchises, leagues have enhanced the viability and stability of their professional sports by providing structure and ensuring an even field for competition.
The early years of British soccer and American college football were often played under "house rules" determined by the host team, which sometimes led to chaotic disputes and violent outcomes. Concerned by some of the extreme events, college presidents unified the rules of college football and instituted a number of measures to ensure the safety of players. The colleges hired impartial third-party referees to allow each team to participate under conditions of fair play.
As professional sports developed, league organizations established common rules of play so that fans could understand the game and teams could prepare for the next game without worrying that the rules would be tailored to help the home team.
A second reason for sport leagues to organize is the need to arrange a schedule among participating teams. Unlike other fields of commerce, each sport team needs to meet its rivals, so some coordinating authority must arrange a schedule of games. Moreover, fans find interest in the determination of the best team in that sport through a league table or league championship. For such a champion to be determined in a fair way, each participating team should play the other teams in their league in an equal or near equal number of circumstances.
Sport fans draw interest from seeing sporting events in which the outcome is uncertain and the strength of each team is more or less balanced. In practice, the intervention required for a league to ensure that the teams within the league have a competitive balance is extensive. For most of the 20th century, however, sport leagues did not make a great effort to ensure competitive balance. Dynasties thus emerged, such as the New York Yankees in baseball (winners of 6 American League titles between 1921 and 1928 and 8 World Series titles between 1947 and 1958) and the Boston Celtics in basketball (winners of 10 NBA championships between 1959 and 1969).
One can argue that competitive balance within a league is not necessary to draw fan interest to a sport, as evidenced by the attendance figures in baseball and basketball during the era of the Yankees' and Celtics' dominance. Dynasties create familiar players and story lines for fans to follow. More recently, the emergence of fantasy sport leagues has allowed fans to follow a game focused on the statistical performance of players whom they "own" rather than the outcome of the game itself.
Nevertheless, a number of innovations to improve league competitive balance have been created in recent decades. For example, consider the following:
Many critics of professional sport leagues view their obsession with competitive balance in recent years as more of an attempt to increase firm profitability by gaining an economic advantage over players in labor negotiations or by gaining advantage over broadcasting companies in the market for broadcasting rights. In addition, revenue-sharing agreements can often create perverse incentives for teams to lose. A team owner with a low payroll often stands to gain more in profit from revenue-sharing redistribution than he or she might by making the kind of payroll increases necessary to field a winning team.
At some level, leagues play a benign and beneficial role as a convener of events and guarantor of fair play. Although we accept that the home team has the advantage of its partisan crowd and its familiarity with the home stadium, no one would accept today having the home team hire the referees, pick which ball should be used, or establish the penalties for fouls. But sport leagues also present a troubling set of contradictions. Although leagues allow owners to work together to promote fair play and balanced competition between member teams, they simultaneously allow competing business people to collude with one another to gain control over individual players, squash any competition that might emerge from rival leagues, and exert influence over fans and city finances through market power. Such collusion among entities who are otherwise competitors is a hallmark characteristic of a cartel. Therefore, sport leagues also represent a contradiction in American public policy because their monopolistic operations are aberrations in the face of antitrust law. This contradiction has been enabled by a series of judicial and congressional precedents, which are summarized in table 1.1 and are discussed in detail throughout the remainder of this chapter.
Learn more about Sport and Public Policy.
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At last
Majorca Travel Guide - iLands Lite
What is it about?
At last!
Majorca Travel Guide is FREE but there are more add-ons
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At last!
A travel guide for the popular holiday destination of Majorca, that has all information integrated into the program, including a map of Majorca with GPS functionality (independent from the internet). Giving you complete independence, and saving you money from the expensive mobile internet roaming charges while on holiday!
Don't miss out on the magnificent sights and attractions!
Make the most of you're holiday!
In this lite version of our guide, the area of "Island information" is completely unlocked. Thus, there you have all the important information for the upcoming holiday on the island of Majorca at your fingertips. Furthermore, selected contributions from the other categories await you.
If you like the iLands Majorca App, you can easily upgrade to full functionality, or add other great features, via InApp-Purchase.
Benefits of 'iLands Majorca' travel guide:
*Integrated offline travel guide information. Eliminating the need for internet connection (saving you lots of money, from the expensive roaming charges of foreign countries).
*The iLands Majorca GPS map gives you direction to your chosen location without need of internet connection (Free of internet roaming)
*Detailed information, pictures and illustrated locations for many features and activities.
*Highlighted advice for the best things to do and see.
The topics that 'iLands Majorca' offers extensive information for are listed below:
This includes such subtopics as; specific travel permits- required by the country, geographical information, cultural information, essential basic Spanish vocabulary, as well as lot's of professional recommendations.
More than 80 beaches in Majorca wait to be explored by you! iLands Majorca has information on each of them, so you can make the better choice, knowing which is right for you.
For golf enthusiasts, iLands Majorca locates and lists all the golf courses on the island. It also includes help and information for your queries on handicap, number of holes etc.
iLands Majorca highlights recommended restaurants to visit, and gives you information on their features and characteristics.
The most interesting and important places explained. iLands Majorca gives you the information to your finger tips, and spur your desire to explore the island more.
Simply take a tour on or around the island. You'll be amazed with what you will experience on the island of natural beauty, places and people.
Majorca has so much more to offer than just partying. Experience the island and its history! iLands Majorca highlights the stunning areas and sites under two distinctive devisions: scenic and cultural.
This section of iLands Majorca gives you some special tips, coming from personal experiences of the Island.
Whatever happens, your covered!
iLands Majorca includes a list of (specialist) doctors and hospitals and their location.
So you can remain at ease.
It's time to fall in love with the island of Majorca again!
AppAdvice does not own this application and only provides images and links contained in the iTunes Search API, to help our users find the best apps to download. If you are the developer of this app and would like your information removed, please send a request to [email protected] and your information will be removed.


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JERUSALEM, Feb. 3 (UPI) -- Israel may build a buffer zone inside Syria to protect it from rebels, Britain's The Sunday Times reported.
The newspaper quoted unnamed sources as saying the buffer zone could reach up to 10 miles inside Syria, and would be modeled on the Lebanese security zone, which is jointly policed by the South Lebanese and Israeli armies.
The proposal, which is in the hands of Prime Minister Binyamin Netanyahu, is aimed at securing the 47-mile border against the growing threat from inside Syria, the newspaper reported.
"We've presented the prime minister with a comprehensive plan to defend Israel's border after, or perhaps before, the fall of Assad's regime," a source told the newspaper. "A buffer zone set up with the cooperation of local villagers lies at the heart of the plan. If the country remains unstable we might have to stay there for years."
Construction of a 20-foot steel wall to replace an old fence along Israel's border with Syria is already under way, the paper noted. The move reflects the changes in the Syrian regime, the source said.
"The old fence was fine for more than 40 years. We knew then that there was a strongman in Damascus. But not anymore. The new wall will be good when it's ready but without the buffer zone mortar and rocket attacks on Israel would be a daily event," the source said.
Israeli air strikes Wednesday allegedly destroyed a weapons convoy heading for Hezbollah in Lebanon and a military research facility that foreign reports said manufactured chemical weapons and missiles.


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Tomorrow night at 8pm at the Urban Saloon Mary Radzinski and Carolyn Busa will celebrate six months of their Monday night Laughs on Fairmount Open Mic with their first LOF Showcase. The two co-host the mic, held every week in the back room at the bar across the street from Eastern State Penitentiary and have now expanded to include a weekend showcase. The first show will feature comedians Sean Preston, Nicole Yates, Noah Goldstein, John Kensil and will be headlined by Pat House. The hosts of the show had a few words to say to encourage you to attend:
Carolyn: Hey, Mare, I'm super excited about this Saturday's six month anniversary show of Laughs on Fairmount! I really need something like this to look forward to, especially after the dentist appointment I just had.
Mary: Ginger-vitis?
Carolyn: I hate you.
Mary: No you don't.
Carolyn: Why don't you go get a spray tan?
Mary: Oh gosh, Carebear, not until Saturday morning. I want a fresh glow for the show.
The first Laughs on Fairmount Showcase will be held Saturday, September 17th at 8pm at The Urban Saloon (2120 Fairmount Ave.) Tickets are $10 at the door. More information can be found on the Facebook Event Page.


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Eminem's "Imported From Detroit" commercial would have you believe the Chrysler 200 is a sign of success, and not just the sign of a successful rental upgrade. The reality is a little different.
If you go back to the original "Lose Yourself" video (YouTube blocks us from embedding, but click here to see it), it's clear he'd prefer a flashy GM SUV like every other rapper. In this case a GMC Yukon Denali.
Hey, he can't "get by with this 9-to-5" so you can't blame him for getting his.


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MILLEDGEVILLE, Ga. – This is the fourth update on former Georgia College student-athletes working their way through the world of professional baseball.
Michael Antonini (2007)
Pitcher for the Chattanooga Lookouts of the Double-A Southern League, affiliate of the Los Angeles Dodgers … Has compiled a 3-6 record thus far with a 4.03 ERA in 51 1/3 innings of work … Antonini has a fantastic strikeout-to-walk ratio, currently sitting at 3-to-1 … He got a win in his most recent start, lasting six innings, allowing two earned runs and fanning five against the Carolina Mudcats May 23 … Opponents are hitting .264 against Antonini this season.
Andy Reichard (2007)
Pitcher for the San Jose Giants of the Class A Advanced California League, affiliate of the San Francisco Giants … Reichard has thrown in eight games with two starts, compiling an ERA of 2.73 and a 2-0 record in 26 1/3 innings of work … Opponents are hitting .275 off the righty … Got the win in his most recent relief appearance, going 4 2/3 innings with three earned runs in a victory over the Stockton Ports May 16.
Alex Burkard (2010)
Burkard is in rookie ball pitching for the AZL Angels … Their season has yet to get underway.
Martin Dewald (2010)
The righty has signed a contract to play for the River City Rascals Independent Frontier League … He has made one appearance, getting two outs and a strikeout in a scoreless outing during the 4-3 loss to the Normal CornBelters May 21.
Sean Harrell (2010)
The outfielder has signed a contract to play for the Southern Illinois Miners of the Independent Frontier League … He has played in two games, going 2-for-3 with a run scored and three RBI.
Brendan Malkowski (2010)
The righthander has also signed on to play for the Southern Illinois Miners of the Independent Frontier League … He has made one start, going five shutout innings to get the win in the 2-0 victory over the Gateway Grizzlies May 22.
The Georgia College Department of Athletics, back-to-back winners of the PBC Commissioner's Cup, sponsors 10 varsity athletic programs at the NCAA Division II level. As a Division II program, Bobcat Athletics prides itself on balancing the life of the student-athlete, evidenced by the teams' multiple appearances in post-season competition as well as documented academic success and community-service involvement. Sign up at www.twitter.com/BobcatSports and www.facebook.com/gcbobcats for up-to-the-minute reports, and visit www.GCBobcats.com for more information, and to nominate your favorite former Bobcats and Colonials to the GC Athletics Hall of Fame.


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The extensive console exclusivity period Microsoft enjoyed with Minecaft on Xbox 360 is coming to a close, as the first-person world-building game digs in on PlayStation 3 tomorrow. Like its 360 brethren, Minecraft on PS3 is limited by the console's minuscule RAM — the procedurally-generated worlds you'll explore are just a wee bit smaller than what's possible on a computer.
Of course, PlayStation 3 isn't the last stop for the Minecraft train: Vita, PlayStation 4, and Xbox One versions are all expected at some point in 2014. It's unclear whether the PlayStation version of Minecraft will experience the same flood of add-on, PlayStation-specific content as DLC post-launch, but developer Mojang says that, "would be cool!" We can't help but agree. As far as price is concerned, Mojang and Sony aren't saying; we're gonna take a wild guess that it'll be about the same as on 360, where it's $20.
Thanks to Engadget.com for this awesome insight.


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Are Mariah Carey and Nick Cannon Headed Towards a Breakup?by Mandi Salerno | PopCrush
It seems that the rumors cropping up all summer of an impending split between Mariah Carey and Nick Cannon are getting closer and closer to having a grain of truth. According to Page Six, the couple's marital problems are escalating to unfixable levels.
"He hasn't been staying at their home," an insider told the site. "He's been living out of hotels. They're fighting a lot."
The couple have been together for six years, after marrying in 2008 to the surprise of many, considering their 12-year age gap. In 2011 they became parents to twins Moroccan and Monroe, so it's sad for multiple reasons to hear that their marriage is on the rocks.
Earlier this year, it was reported that Mariah sent a bodyguard to keep an eye out on Nick, who was hosting lavish pool parties in Las Vegas. "The security guard wasn't there to keep the girls away from him," said Page Six's insider. "It was to keep him away from the girls."
In July, the pair placed their $13 million Bel Air mansion for sale.
Though most signs point to trouble, Nick was seen wearing his wedding ring in public as recently as this week, so who knows what's really going on behind the scenes! Only time will tell if Mariah and Nick can pull through.


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NFL team owners approved three rule changes Wednesday at the NFL Annual Meeting in Phoenix. While the "Tuck Rule" and the red-flag rule changes were met with modest reaction, it appears the same can't be said about the NFL's new crown-of-the-helmet rule.
Starting next season, it will be illegal for ball carriers to initiate contact with the crown of their helmets in the open field. Many NFL players took to Twitter to voice their disapproval.
Wow so they really passed that rule...last time I checked football was a contact sport. Calling bank now to set up my lowering the boom fundâ Matt Forte (@MattForte22) March 20, 2013
Guess I'll get my fine money ready #loweringtheboomfundâ Matt Forte (@MattForte22) March 20, 2013
I'm not Sliding!! #NewHelmetRuleâ Fred Jackson (@Fred22Jackson) March 20, 2013
So I'm guessing I'm going to have to find ways to strengthen my chin now lolâ Justin Forsett (@JForsett) March 20, 2013
These rules are getting out of hand, I wonder when they realize they are going to have to change the name of the sportâ Tank Carder (@tankcarder) March 20, 2013
Soon everyone will get a trophy for participationâ Harrison Smith (@HarriSmith22) March 20, 2013
Us players use to Joke around and say we play a grown mans version of tag.. Well now...Jokes over, 2 hand touch by 2015 watch what I say lolâ Carlton Mitchell (@C_Mitch18) March 20, 2013
Listen, American football is a violent sport. U choose to play at ur own risk. And with that u have to accept the injuries that come with itâ Rashad Butler (@RB2cool) March 20, 2013
Football will be destroyed because of "player safety" rules. â@davis_winkie: @jennings141 anynews on thepossible ruleto protect us snappers?â Jennings 141 (@Jennings141) March 20, 2013
NFFL #NationalFlagFootballLeague #smh...â Joique Bell (@JoiqueBell) March 20, 2013
My main concern is that the rules are just too confusing at times. Ex. When can a RB lower his head now to protect himself?â Brian Robison (@Brian_Robison) March 20, 2013
I don't agree with the rule change but the way they're changing the game, it's only fair for a defender to have ONE rule in our favorâ Terrell Thomas (@TerrellThomas24) March 20, 2013


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"Brocante" means "a second-hand store" in French. Visitors to such a place could expect to find a garage sale or flea market atmosphere.
But locals don�t have to go to France to experience it.
New shop owners Lydia Smith and her partner Teresa Farrar have opened Brocante in Miramar Beach on the south side of U.S. Highway 98 across from Sandestin. The store is located in the former location of J Miller and sports a burgundy store front with a gray striped awning.
Inside, shoppers will find much of the merchandise is second hand, but of the quality high-end variety.
"We are designing it as a high-end antique mall and consignment shop featuring furniture, home d�cor items, jewelry, upscale clothing, artwork, and locally made furniture," said Smith. "It's a different concept."
The clothing is gently worn (possibly only once or twice) and sparkly and includes minks and other furs.
Shoppers will also find candles, gifts, decorated holiday trees and other decorations.
Smith and Farrar worked together at Sandestin's Spa and Fitness Center for five years and grew to know many of the people who live on the golf resort property. And when it comes time to redecorate, the friends they made while working at the resort will think of them. Some already have.
In its 10,000-square feet, the two-story building is large enough that those who have enough items to sell are able to rent their own booth or space inside the store.
With a degree earned in fashion merchandising and design, Smith has always dreamed of striking out on her own in this type of venture. Joining forces with Farrar was a natural choice as Farrar has rented booth space for several years at various places.
"She has the antique-mall background, and as manager of the spa and fitness center, I have the business management background," said Smith of their perfect fit.
Brocante opened last week and is taking in new items daily.
Smith said no grand opening date has been set yet, but once all is arranged to their specifications one will be announced.
Brocante is open Monday through Saturday from 10 a.m. to 6 p.m. The store is located at 9755 Hwy. 98 West in Miramar Beach. Call 424-6520 for more information.


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Micrognathia is a term for a lower jaw that is smaller than normal.
In some cases, the jaw is small enough to interfere with the infant's feeding. Infants with this condition may need special nipples in order to feed properly.
Micrognathia often corrects itself during growth. The jaw may grow a lot during puberty. The problem can be caused by certain inherited disorders and syndromes.
Micrognathia is can cause the teeth not to align properly. This can be seen in the way the teeth close. Often there will not be enough room for the teeth to grow.
Children with this problem should see an orthodontist when the adult teeth come in. Because children may outgrow the condition, it often makes sense to delay treatment until a child is older.
Micrognathia may be part of other genetic syndromes, including:
You may need to use special feeding methods for a child with this condition. Most hospitals have programs where you can learn about these methods.
Contact your health care provider if:
The doctor will do a physical exam and may ask questions about the problem. Some of these may include:
The physical exam will include a thorough check of the mouth.
The following tests may be performed:
Depending on the symptoms, a child may need to be tested for an inherited condition that may be the source of the problem. The child may need surgery or devices to correct tooth position.
Evens K, Hing AV, Cunningham M. Craniofacial and orthopedic conditions. In: Gleason CA, Devaskar SU, eds. Avery's Diseases of the Newborn. 9th ed. Philadelphia, Pa: Saunders Elsevier; 2011:chap 95.
This page was last updated on: 1/29/2019 3:21:13 PM


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Your voluntary contribution to The Nature Conservancy's carbon offset program will help fund forest conservation, improved forest management or reforestation projects that produce measurable climate benefits. Projects in this program will help reduce or slow climate change and protect habitats and the natural services they provide. Make an even bigger impact with a monthly contribution to the carbon offset program.
We follow the high standards described on the program web pages to ensure the credibility of our projects. During the course of these projects, standards may change or laws may be passed that dictate specific standards and methods for voluntary carbon offsets. if so, some of the approaches taken in our program may be modified to conform to these changes in standards or laws passed. In no event shall either party be liable to the other party for indirect, special, incidental or consequential damages of any kind. The Nature Conservancy shall in no event be liable for any failure to perform to the extent resulting from any cause or circumstance beyond reasonable control and which it could not have reasonably predicted and either prevented or overcome.
The Nature Conservancy makes no warranties of any kind, whether express or implied, including, without limitation, any warranties of merchantability or fitness for a particular purpose. This disclaimer may not apply in all states.
The Nature Conservancy neither transfers nor sells carbon offsets through its voluntary carbon offset program. You contribute The Nature Conservancy; the projects in the Conservancy's voluntary carbon offset program create the carbon offsets, and then we retire the carbon offsets on your behalf. You neither take ownership over nor title to the carbon offsets. Donations to the charitable nonprofits are tax deductible because no financial benefit accrues to the donor.
Please verify your information above and click "Submit." Once you click "Submit," your donation will be processed.


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Experience all the things you know and love about the circus and be amazed by things you've never seen before! Astonishing performers, awe-inspiring athletes and amazing animals from around the world have been assembled in one place providing a riveting display of unimaginable proportions that is designed to excite, delight and captivate children of all ages!
Don't forget to come early to experience a variety of fun-filled, pre-show activities that will entertain your entire family!
H-E-B Center at Cedar Park
2100 Ave of the Stars
Cedar Park, TX 78613


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Sea Turtle
For more than 100 million years sea turtles have covered vast distances across the world's oceans, filling a vital role in the balance of marine habitats.
Scientific Name
Cheloniidae and Dermochelyidae families
2-6 ft.
Open water and coasts
Seven different species of sea (or marine) turtles grace our ocean waters, from the shallow seagrass beds of the Indian Ocean, to the colorful reefs of the Coral Triangle, and even the sandy beaches of the Eastern Pacific. WWF's work on sea turtles focuses on five of those species: green, hawksbill, loggerhead, leatherback and olive ridley.
Human activities have tipped the scales against the survival of these ancient mariners. Nearly all species of sea turtle are classified as Endangered. Slaughtered for their eggs, meat, skin and shells, sea turtles suffer from poaching and over-exploitation. They also face habitat destruction and accidental capture in fishing gear. Climate change has an impact on turtle nesting sites. It alters sand temperatures, which then affects the sex of hatchlings.
WWF is committed to stop the decline of sea turtles and work for the recovery of the species. We work to secure environments in which both turtles—and the people that depend upon them—can survive into the future.
- Places
Turtles, tigers, and more species receive additional protections at global wildlife meeting
Governments from around the world recently gathered to discuss the threat of wildlife trade on species.
The Sea Turtle Family
Why They Matter
Fundamental Link in Marine Ecosystems
Sea turtles are a fundamental link in marine ecosystems. They help maintain the health of sea grass beds and coral reefs that benefit commercially valuable species such as shrimp, lobster and tuna. Sea turtles are the live representatives of a group of reptiles that have existed on Earth and traveled our seas for the last 100 million years. Turtles have major cultural significance and tourism value.
Extinction Risk Vulnerable
No reasonable doubt that the last individual has died
Extinct in the Wild
Known only to survive in cultivation, in captivity or as a naturalised population
Critically Endangered
Facing an extremely high risk of extinction in the Wild
Facing a high risk of extinction in the Wild
Facing a high risk of extinction in the Wild
Near Threatened
Likely to qualify for a threatened category in the near future
Least Concern
Does not qualify for Critically Endangered, Endangered, Vulnerable, or Near Threatened
Sea turtles journey between land and sea and swim thousands of ocean miles during their long lifetimes, exposing them to countless threats. They wait decades until they can reproduce, returning to the same beaches where they were born to lay their eggs, few of which will yield hatchlings that survive their first year of life. Beyond these significant natural challenges, sea turtles face multiple threats caused by humans.
Worldwide, hundreds of thousands of sea turtles are accidentally caught in shrimp trawl nets, on longline hooks and in fishing gillnets every year. They become fisheries bycatch--unintended catch of non-target species.
Sea turtles need to reach the surface to breathe and therefore many drown once caught. Incidental capture by fishing gear is the greatest threat to most sea turtles, especially endangered loggerheads, greens and leatherbacks. This threat is increasing as fishing activity expands.
Overharvesting and Illegal trade
Sea turtles continue to be harvested unsustainably both for human consumption and trade of their parts. Turtle meat and eggs are a source of food and income for many people around the world. Some also kill turtles for medicine and religious ceremonies. Tens of thousands of sea turtles are lost this way every year, devastating populations of already endangered greens and hawksbills.
Killing of turtles for both domestic and international markets continues as well. While international trade in all sea turtle species and their parts is prohibited under the Convention on International Trade in Endangered Species of Wild Fauna and Flora (CITES), illegal trafficking persists.
Habitat loss
Sea turtles are dependent on beaches for nesting. Uncontrolled coastal development, vehicle traffic on beaches and other human activities have directly destroyed or disturbed sea turtle nesting beaches around the world. Turtle feeding grounds such as coral reefs and sea grass beds are damaged and destroyed by activities onshore, including sedimentation from clearing of land and nutrient run-off from agriculture.
Climate Change
All stages of a sea turtle's life are affected by environmental conditions such as temperature—even the sex of offspring. Unusually warm temperatures caused by climate change are disrupting the normal ratios, resulting in fewer male hatchlings.
Warmer sea surface temperatures can also lead to the loss of important foraging grounds for sea turtles, while increasingly severe storms and sea level rise can destroy critical nesting beaches and damage nests.
What WWF Is Doing
WWF works around the world to eliminate sea turtle bycatch from fisheries, reduce the unsustainable harvest and illegal trade in marine turtles, and stem the loss of critical sea turtle habitats.
Eliminating Bycatch
WWF aims to reduce turtle bycatch by working with fisheries to switch to more turtle-friendly fishing hooks ("circle" hooks). We advocate for the use of special turtle excluder devices in nets. WWF runs an international competition, known as Smart Gear, to attract creative new ways to solve bycatch problems and to advance the best of those ideas. Winning devices have been designed to minimize the bycatch of turtles on tuna longlines and help turtles avoid gillnets. We track turtle movements using satellites to help prevent future interactions between fisheries and turtles and work with fishermen to help them save turtles caught in fishing gear.
Addressing Overharvesting and Illegal Trade
WWF works with local communities to reduce turtle harvesting and egg collection. Because exploitation of turtles is often driven by a lack of economic choices, we help develop alternative livelihoods so that local people are no longer dependent on turtle products for income. WWF also supports programs that promote the value of sea turtles. WWF works through TRAFFIC, the wildlife trade monitoring network, to stop the illegal trade of turtle meat and eggs. We also train and equip local rangers to patrol turtle nesting beaches and protect against poaching.
WWF has been supporting a campaign led by TRAFFIC to combat illegal trade from the Coral Triangle and reduce demand in China. Activities include better training for law enforcement officials in both areas and a public awareness campaign in China, targeting areas where turtle trade is the highest. Radio broadcasts and advocacy events spread the message among local fishermen, souvenir shop owners and tourists about the problem of turtle trade.
In the western Solomon Islands, WWF supports local rangers on the beaches throughout turtle nesting and hatching seasons to protect against egg harvesting and hunting. The rangers collect important data and inform their communities about laws to protect turtles.
Protecting Marine Turtle Habitat
WWF works around the world to establish marine protected areas, ensuring sea turtles have a safe place to nest, feed and migrate freely. We encourage governments to strengthen legislation on, and provide funding for, sea turtle protection. WWF supports local turtle conservationists in many parts of the world to monitor and patrol turtle nests. These efforts often lead to ecotourism opportunities and offer alternative livelihoods.
Minimizing Climate Change Impacts
WWF studies how sea turtles are being affected by climate change and helps determine the best ways to reduce their vulnerability to changing environmental conditions. We work around the world with communities to monitor and protect nesting beaches, helping turtles be more resilient to the future impacts of climate change. In the Eastern Pacific and Caribbean we work to raise awareness of the threat of sea level rise on nest sites and the importance of shade for nests.
Satellite Tracking
Satellite telemetry allows researchers to track sea turtles as they swim from place to place. These satellite tags do not harm the turtles in any way and are designed to eventually fall off. The data will tell us where important feeding areas are, help us understand migration patterns, and anticipate where turtles may come in contact with fisheries and their gear.
Press Releases
- WWF Statement on CITES' Decision on Illegal Marine Turtle Trade August 26, 2019
Related Species
- Vaquita
- Whale Shark
- Dugong
- Humphead Wrasse
- Pacific Salmon
- Dolphins and Porpoises
- Whale
- Seals
- Sea Lions
- Marine Iguana
- Tuna
- Bluefin Tuna
- Sei Whale
- Yellowfin Tuna
- Hawksbill Turtle
- Skipjack Tuna
- Great White Shark
- Loggerhead Turtle
- Leatherback Turtle
- Green Turtle
- Olive Ridley Turtle
- Albacore Tuna
- Bigeye Tuna
- North Atlantic Right Whale
- Blue Whale
- Fin Whale
- Bowhead Whale
- Gray Whale
- Hector's Dolphin
- Galápagos Penguin
- Shark
- Polar Bear
- Narwhal
- Beluga
- African Wild Dog
- African Elephant
- Black Rhino
- White Rhino
- Rhino
- Giant Tortoise


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Food and Drug Administration, HHS.
The Food and Drug Administration (FDA) has determined the regulatory review period for ZELNORM and is publishing this notice of that determination as required by law. FDA has made the determination because of the submission of an application to the Director of Patents and Trademarks, Department of Commerce, for the extension of a patent that claims that human drug product.
Submit written comments and petitions to the Division of Dockets Management (HFA-305), Food and Drug Administration, 5630 Fishers Lane, rm. 1061, Rockville, MD 20852. Submit electronic comments to
Claudia Grillo, Office of Regulatory Policy (HFD-013), Food and Drug Administration, 5600 Fishers Lane, Rockville, MD 20857, 240-453-6699.
The Drug Price Competition and Patent Term Restoration Act of 1984 (Public Law 98-417) and the Generic Animal Drug and Patent Term Restoration Act (Public Law 100-670) generally provide that a patent may be extended for a period of up to 5 years so long as the patented item (human drug product, animal drug product, medical device, food additive, or color additive) was subject to regulatory review by FDA before the item was marketed. Under these acts, a product's regulatory review period forms the basis for determining the amount of extension an applicant may receive.
A regulatory review period consists of two periods of time: A testing phase and an approval phase. For human drug products, the testing phase begins when the exemption to permit the clinical investigations of the drug becomes effective and runs until the approval phase begins. The approval phase starts with the initial submission of an application to market the human drug product and continues until FDA grants permission to market the drug product. Although only a portion of a regulatory review period may count toward the actual amount of extension that the Director of Patents and Trademarks may award (for example, half the testing phase must be subtracted as well as any time that may have occurred before the patent was issued), FDA's determination of the length of a regulatory review period for a human drug product will include all of the testing phase and approval phase as specified in 35 U.S.C. 156(g)(1)(B).
FDA recently approved for marketing the human drug product ZELNORM (tegaserod maleate). ZELNORM is indicated for the short-term treatment of women with irritable bowel syndrome whose primary bowel symptom is constipation. Subsequent to this approval, the Patent and Trademark Office received a patent term restoration
FDA has determined that the applicable regulatory review period for ZELNORM is 2,826 days. Of this time, 1,931 days occurred during the testing phase of the regulatory review period, while 895 days occurred during the approval phase. These periods of time were derived from the following dates:
This determination of the regulatory review period establishes the maximum potential length of a patent extension. However, the U.S. Patent and Trademark Office applies several statutory limitations in its calculations of the actual period for patent extension. In its application for patent extension, this applicant seeks 1,888 days of patent term extension.
Anyone with knowledge that any of the dates as published are incorrect may submit to the Division of Dockets Management (see
Comments and petitions should be submitted to the Division of Dockets Management. Three copies of any mailed information are to be submitted, except that individuals may submit one copy. Comments are to be identified with the docket number found in brackets in the heading of this document. Comments and petitions may be seen in the Division of Dockets Management between 9 a.m. and 4 p.m., Monday through Friday.


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Angel Face Cocktail
1/3 Dry Gin. (3/4 oz Softer Gin like Plymouth)
1/3 Apricot Brandy. (3/4 oz Rothman & Winter Orchard Apricot liqueur)
1/3 Calvados. (3/4 oz AppleJack or Calvados)
Shake (stir please! ~Erik) well and strain into cocktail glass.
Gonna be a pretty different cocktail, depending on which apple spirit you choose. The Laird's Bonded AppleJack is pretty good, but a little rougher than the French stuff, or the nicer American brands like Clear Creek or Germain-Robin.
I thought of the idea of the apple angel's wings garnish on the way home and actually the flavor of the garnish and the cocktail complement each other nicely. The idea of trying to reproduce an angel's face also occurred to me; but, then I could only think about the Rilke poem which sez, "every angel is terrifying," and discarded the idea.
This post is one in a series documenting my ongoing effort to make all of the cocktails in the Savoy Cocktail Book, starting at the first, Abbey, and ending at the last, Zed.


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EnrollmentVerify℠ enables you to refer any commercial enrollment verification request to the Clearinghouse for secure, immediate response. If you qualify for our free Student Self-Service program, you can completely eliminate student-generated requests too.
You can initiate your free EnrollmentVerify service simply by signing an amendment to your Clearinghouse loan verification service agreement. No additional data or programming is required. Contact us to request an EnrollmentVerify amendment from your Clearinghouse regional or managing director. Once you sign up, you'll realize the benefits of decreased call volumes and greater office efficiency right away.


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A few weeks ago when I was talking about autocomplete and dabbrevone of my commenters asked if I had tried hippie-expand. My response was no, but I should take a look as it might allow me to input buffer names more quickly which is something I often need to do.
Following the recipe from the emacs wiki, I tried this:
(global-set-key [(meta f5)] (make-hippie-expand-function '(try-expand-dabbrev-visible try-expand-dabbrev try-expand-dabbrev-all-buffers try-complete-file-name) t))
After some experimentation, the limitation is obvious. I usually want to complete the entire filename including the path but I can't remember what the path begins with.
The next thing I thought about was removing *Messages* and *Buffer List* from
dabbrev-ignored-buffer-names. Unfortunately, I still need to complete from the beginning of the path but this is generally useful so I'm going to keep it. Really, I want to be able to select any part of the filename and complete from that. Sounds like a job for
First I need a method that returns all buffer names and filenames.
(defun get-files-and-buffers () (let ((res '())) (dolist (buffer (buffer-list) res) (let ((buffername (buffer-name buffer)) (filename (buffer-file-name buffer))) (unless (string-match "^ *\\*.*\\*$" buffername) (push buffername res)) (when filename (push filename res))))))
Then I can use ido to select between them which is perfect.
(defun insert-file-or-buffer-name (&optional initial) (interactive) (let ((name (ido-completing-read "File/Buffer Name: " (get-files-and-buffers) nil nil initial))) (when (and (stringp name) (> (length name) 0)) (insert name)))) (global-set-key (kbd "<f2> i b") 'insert-file-or-buffer-name)


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Poway Unified residents fume over expensive bond
A top county financial official is urging state lawmakers to make changes to school construction financing laws in the wake of concern over a controversial and expensive bond issued by the Poway school district.
The proposals unveiled Tuesday by the San Diego County Treasurer/Tax Collector Dan McAllister were greeted with a positive response from some legislators and state Treasurer Bill Lockyer.
Specifically, McAllister said his office will push legislation requiring districts to include a provision to allow for refinancing and early repayment of certain long-term financing known as capital appreciation bonds, or CABs.
His plan also calls for a 25-year cap on the repayment of the bonds and requires a separate government entity — either the county board of supervisors, county superintendent of schools or governing board of a community college district — to sign off on bond documents for all school district CAB deals.
The call for reform comes after the Poway Unified School District bond deal attracted national attention.
Poway received $105 million in school construction money in exchange for a long-term promise to repay investors more than nine times that amount — $981 million. The financing does not allow for repayment over the next 20 years while interest compounds, but then requires repayment in the 20 years after that.
McAllister's legislative proposal would also require districts to disclose the CAB interest rate and repayment ratio to their constituencies.
"I am taking these actions because I want assure our county taxpayers, parents and members of the public that disclosure, openness and transparency are vital to all future financial school district transactions," McAllister said, later adding that wants to see bond financing details explained on the ballot that goes to voters for approval.
Tom Dresslar, spokesman for the state treasurer, said Lockyer's support will be "more than behind the scenes. We will actively support it. We look forward to working with the county treasurer to get this legislation enacted."
"The proposals are eminently reasonable," Dresslar added. "They would provide appropriate oversight, more transparency and greater protection for taxpayers so we support them."
Earlier Lockyer had not taken a position on restricting the long-term financing.
State Sen. Mimi Walters called McAllister's effort to reign in CAB deals "a very good first step" she supports.
"One of my biggest concerns as a lawmaker is we take on too much debt at the expense of the taxpayers," said Walters, a Republican who represents southern Orange County and a sliver of north San Diego County.
"What really concerns me about the Poway deal is by the time the bond deal is paid back, it's nine times… It's our grandchildren and great grandchildren who are going to be paying these back and that's not fair to future generations."
State Sen. Joel Anderson, R-La Mesa, said he would work with McAllister and others "to help prevent this from occurring in the future."
"Poway (Unified) residents have a right to be angry," he said in a statement. "Many agreements requiring repayment of $9 for every $1 borrowed have been considered predator lending or 'loan-sharking.'"
He endorsed a call for a county grand jury investigation into the Poway bond that was made by a resident at a Monday night school board meeting.
Poway Unified officials did not respond to requests for comment on McAllister's proposals. District officials have stood by their CAB deal saying it allowed the district to capitalize on low construction costs and is only one piece of its larger $377 million bond program, which carries a more palatable 4.24 repayment ratio. Inflation, they said, will also lessen the burden on future repayments.
Ahead of any legislative changes, McAllister urged districts to be clear with voters about such bond maneuvers and spell out the repayment terms. He also recommended districts not enter deals with repayment terms exceeding four times the principal.
McAllister indicated his office would be ramping up its oversight role related to CABs, urging districts to consult with his office before finalizing such bonds. He said CABs requiring repayment more than seven times the principal will be deemed "unacceptable," while repayment between five and seven times will be "cautionary," and four times or less will be "acceptable."
He said clear summaries of all future school district bond issuances will soon be posted on the San Diego County Treasurer-Tax Collector website to help the public track and monitor tax commitments made by district officials.
McAllister's proposals were also embraced by Los Angeles County Treasurer Mark Saladino. In May 2011, Saladino issued a public notice that his office would not support CABs that exceed a 25-year repayment schedule, saying that they "result in a significantly higher debt burden."
Michigan banned CABs in 1994.
McAllister said he and Saladino will also work with the California Association of County Treasurers and Tax Collectors to push for reforms; the group said last August it opposed long-term CABs.