An Outsider Fighting for His Place in 'Golden Boy'

BY TAMARA BECK

EACH generation has to find its own way.

For immigrants’ sons who carry their fathers’ foreignness within them, belonging to America is a struggle. The ambition, like Joe Bonaparte’s (Seth Numrich) in “Golden Boy,” is to “show ‘em all.”

Joe has a particularly thick streak of resentment. His chosen path to glory is with his fists to the dismay of his father (Tony Shalhoub) whose gift to his son is music. Joe, the City’s top young teen violinist, is looking for a very different kind of championship. Clifford Odets’ “Golden Boy,” at the Belasco Theatre in a Lincoln Center Theater revival through 20 Jan., pits the humanism of music against the noisy brutality of prize fighting. (See video above.)

As he commits himself to fighting, Joe also falls in love with Lorna Moon (Yvonne Strahovski), the girl of his manager Tom Moody (Danny Mastrogiorgio).

Joe (Seth Numrich) warms up with Tokio (Danny Burstein) to the seeming satisfaction of Tom (Danny Mastrogiorgio) in "Golden Boy." Photos by Paul Kolnik.

The cleverly designed sets by Michael Yeargan, which truck out on platforms for each scene change, are at once detailed and stylized. Catherine Zuber’s costumes add to the sense of time and place in “Golden Boy.”

Director Bartlett Sher and the superb cast in this “Golden Boy” honor the period of the piece in every facet of the work presented on the stage. In its juxtaposition of music and prize fighting, no one wins. This production focuses on the tragedy of discontent.

These characters speak in Runyonesque tones. YS, an Australian, impresses with her tough talk and no-nonsense demeanor. Her Lorna is blessed with some delicious dialogue, as in an early exchange with Moody. “Go to hell,” Lorna says. “But come back later tonight.”

Tony Shalhoub, Seth Numrich, Dagmara Dominczyk and Michael Aronov bring to life bygone days in "Golden Boy."

In a cast that deftly immerses itself in the 1930s in which “Golden Boy” is set, SN and DM stand out, along with Michael Aronov as Joe’s feisty brother-in-law, Siggie.

In its original production in 1937, also at the Belasco, “Golden Boy” played for two Broadway seasons. The LCT production is both a celebration of CO’s masterful all-American playwriting and a homecoming.

Visit http://www.lct.org to learn more about "Golden Boy."

Cold, Hard Fact About Champagne: Warm up the Bubbly!

Champagne bubbles do not like extreme cold. Photo by Neil Gould.

HEAD’S UP: Welcome to a special edition of Grape: Wine Talk. Sommelier Tamara Fish was having difficulty sleeping just thinking about all of the poor souls drinking – and possibly not enjoying – Champagne to toast the new year. It was a most fervent wish of hers to offer a bit of advice that could save so many from such a cruel fate. We thank her greatly, of course, for her generous counsel.

BY TAMARA FISH

AN iconic image: Champagne in an ice bucket.

A truism: There are as many ways to ice Champagne as bottles on New Year’s Eve. A fact: according to thermodynamics, sprinkling table salt over the ice in the bucket and adding water will cause the bottles to chill quickly. The God’s honest truth.

But never keep Champagne on ice for long.
Chilling Champagne too long gives bubbly a bad name. No doubt, we’ve all run across people who like wine but say that they don’t like Champagne. That is simply impossible.  Not liking Champagne is like hating a warm and sunny day. Or perhaps such folk are the exception that proves the rule. Most likely, the Champagne they sipped was simply too damned cold.

Champagne that has been “over chilled” often has a peculiar aftertaste. Imagine licking an aspirin right after taking a sip of wine. Not pleasant. Our tastebuds detect the acidity in über-chilly Champagne more readily than its other flavors. Should this happen, the remedy is simple.

Warm the bubbly up a bit.
Remove the bottle from the chiller or hold the filled tulip glass between your fingers (palm up), cradling it in your hand. Wait a minute or two. Now sip again. Slightly warmed from is arctic bath, Champagne behaves as anyone might do in a similar situation: opens up, relaxes and becomes a bit more expansive.

Contact between Champagne and ice is best kept to a strict limit. Photo by Craig Toron.

Test Case:
Taittinger Champagne Brut Blanc de Blancs Comtes de Champagne 2002
$200 at 67Wine.com, http://www.bit.ly/RYXnhf

Sounds far-fetched? Just how much can Champagne improve? Exponentially. At a  67 Wine Taittinger Champagne tasting in New York City, my first sips of the Comtes de Champagne 2002 showed a nice wine with an unfortunate aspirin-bitter aftertaste. Barrett Hamilton of Kobrand Fine Wines and Spirits (http://www.kobrandwineandspirits.com/) spotted the wet telltale chill line on the bottle.

Clearly those little bubbles were screaming, “Get me outta h-h-h-here,” but we just didn’t hear. He pulled the Champagne from the bucket, waited a minute or two, and poured another glass. We took a sip, and there it was.

Very tight bubbles seemed so so small, so light on the tongue. Taittinger Comtes de Champagne 2002 unfolded layer after layer. Flavor after flavor broke open, if the tastebuds could observe a morphing kaleidoscope in the mouth. Completely astounding my senses (and almost making me break my vow of never ever using such phrases as nutmeg-hued lemon honey macaroon in this column), I nearly shelled out the $200 on the spot.

I simply cannot do justice to this Champagne. Some Champagnes and sparkling wines are perfect for a casual toast. Other Champagnes are for special occasions such as promotions or engagements or weddings, a perfect accompaniment for elegant dinners. Still others are vintage Champagnes: a designation of excellence that the vineyard’s winemakers bestow on the product of an exceptional year, something that happens less often than a blue moon.

Taittinger Comte de Champagne 2002 is an exceptional drink. Image from KL Wines.

Opening a vintage Champagne is the occasion. Taittinger Comtes de Champagne 2002 – a vintage Champagne – fully lives up to its name. Over the top? Perhaps, but first, find a bottle, chill – but not too much – and then tell me.

Will just any champagne be as fabulous as Taittinger Comte de Champagne 2002? No. But I guarantee that every Champagne will taste better if it’s not too cold. Skip the thermodynamics. Submerge the bottle in a bucket of ice – no water, no salt. Remove after 15 minutes and serve.

And remember – if you imbibe, drink responsibly for a bright and Happy New Year.

Stoking the Fracking Fires in 'Promised Land'

WHAT becomes the fate of a film that starts controversy before practically anyone has seen it. Will it be a hit or a miss?

That is a question that applies to “Promised Land.” The film makes its world debut today in limited release in the United States and will continue to roll out across the world through 13 June 2013, including a stop for its official international premiere at the Berlin International Film Festival (http://www.berlinale.de/en/HomePage.html) in February. (See video above.)

The main reason that “Promised Land,” headed by Matt Damon and Frances McDormand, has generated controversy is because it deals with the hot-button issue that is hydraulic fracturing, which is more commonly known as fracking.

Simply put, fracking is a process by which natural gases are extracted from rock formations in reservoirs. Controversy enters the picture because it is claimed by many – especially environmentalists – that the chemicals used to help extract the gases contaminate drinking water and cause health problems.

Sue and Steve (Frances McDormand and Matt Damon) arrive in a downtrodden town with a deal that seems too good to be true in "Promised Land." Photos by Scott Green for Focus Features.

Naturally, companies involved in fracking and their surrogates disagree. Both sides are trying to win local and state officials to their cause. Fracking is a big issue in states like New York and Pennsylvania, where “Promised Land” was filmed.

There is an interesting backstory to the film. First, it was supposed to address wind power. But at some point it was determined that fracking was more topical and sexy. Again, controversy can potentially help the film at the box office because it creates buzz.

While the producers behind the film have not overtly sought to stir controversy, their “Promised Land” is a film that has Oscar and other award pretensions (and rightly so, for it features solid work), which brings up a second point about the backstory.

Not only does MD star as Steve Butler, the company man dispatched to town to lockdown the drilling rights deal, he is also a producer and co-screenwriter of “Promised Land” with John Krasinski (from a story by Dave Eggers). The latter also stars in “Promised Land” as an environmentalist who is just as savvy as MD’s Steve. The last time MD had a co-screenwriting credit on a film (“Good Will Hunting” with childhood friend Ben Affleck), he won an Oscar, his first and only so far.

Third, “Good Will Hunting” was directed by Gus Van Sant, as is “Promised Land.” Fourth, MD was originally onboard as director of the film but had to step down owing to a conflict at which point he approached GVS with whom he had not worked in a decade (“Gerry”).

There is more to the “Promised Land” backstory but the aforementioned will suffice. Incidentally, as Steve, fracking opponent MD is playing against type. He’s rather credible, though, as a former-farm boy-turned-corporate-enforcer who is prepared to use any means necessary to secure the deal unless other forces in town, led Frank Yates (Hal Halbrook), can stop him and Sue Thomason (FMcD), his partner in slime.

Alice (Rosemarie DeWitt) and Steve (Matt Damon) eventually warm up to each other in "Promised Land."

Another potential force in this down-on-its-luck town is Alice (Rosemarie DeWitt) who may capture both Steve’s heart and soul.

“Promised Land” is rated R. Visit http://www.focusfeatures.com/promised_land/ to learn more about the film.

'Tis Also the Time of Year to Indulge in Alvin Ailey

BY TAMARA BECK

FOR many, taking the kiddies to see a production of “The Nutcracker” is a holiday tradition. Taking in a performance of the Alvin Ailey American Dance Theater (AAADT) should also be a favorite diversion of the season for the whole family and any visitors to New York City.

The company is performing at New York City Center through 30 Dec. Hurry!

AAADT is a national treasure, known far and wide for its showcase “Revelations,” created in 1960 by a 29-year-old Alvin Ailey as a nostalgic tribute to his Texas youth. Going to church with AA is a special privilege.

Yannick Lebrun takes flight in "Takademe." Photo by Andrew Eccles.

“One of the promises of my company,” founder and choreographer AA said at the time, “is that its repertoire will include pieces that ordinary people can understand ... That’s my perception of what dance should be – a popular form wrenched from the elite.”

The journey in “Revelations,” from “I’ve Been ‘Buked” – with music arranged by AA’s friend and mentor, Hall Johnson – to “Rocka My Soul in the Bosom of Abraham,” arranged by Howard A. Roberts, is a pageant of joy and inspiration. Ailey dancers display athleticism, exuberance and grace. They are a glorious troupe. (See video at top.)

The dancers are also stylistically suited to performing from the Paul Taylor cannon. “Arden Court” was added to Alvin Ailey’s programming last season with PT himself on hand to direct. The dancers sublimely execute this regal, yet down-to-earth work and its handsome partnering.

Robert Battle, the new Alvin Ailey Artistic Director (only the third) who was handpicked by a retiring Judith Jamison last year, has also added works to the repertory. His “Takademe,” set to Sheila Chandra’s “Speaking in Tongues II,” is an Indian Kathak-style dance. As such, it has intricate footwork and elaborate, if unfussy motion. As performed by Yannick Lebrun, the lively and enchanting solo soars.

“Takademe” is paired with the Afro-Carib jazz of Garth Fagan’s “From Before” (1978). The vitality of the music, Ralph MacDonald’s “Path” and the movement call for toe-tapping and big smiles. (See video above.)

Visit http://www.alvinailey.org/ to learn more about Alvin Ailey American Dance Theater, including tickets and showtimes.

During Holidays Present a Bottle of Sherry, yes Sherry

Dry Sherries come in a range of browns. Photo by Ryan Opaz.

BY TAMARA FISH

EVER get tired of drinking white wines that are so light, so fruity, so … well … summery? Ever hanker after a white wine that somehow has more heft and a heartier, richer taste?

Generally, people will opt for a mineral-edged Sauvignon Blanc or a white Bordeaux blend, completely forgetting the wonders of a truly fine dry Jerez.

Jerez (pronounced hair-EZ, with a slightly raspy ‘H’ and a lightly rolled ‘R’) sounds like the latest new drink fad, but actually, it’s as old as the hills. Straw to amber to cinnamon and sometimes a rich raisin color, Jerez is redolent of rich nutty flavors, almonds and sometimes a dash of nutmeg. It pairs perfectly with Virginia ham, roast goose, Peking duck and adventurous turkey.

In fact, if impressing the boss or the relatives at dinner ranks high on the end-of-the-year to-do list, then break out a bottle of fine, dry Jerez. Tell them what it is. See if it registers. If it does, watch their eyes want to roll back in their heads, and watch them try to recover from that impolite impulse with grace, for:

Jerez = Xérès = Sherry.
Sherry: the same afternoon nip that gives little old white-haired ladies-who-lunch a bad reputation.
Sherry: the same super sweet drink that laid on the world’s worst put-me-down-now-PUH-LEEZE hangover.
Sherry: the same quaff no self-respecting (non-Spanish) hipster would ever sip.
Sherry: the same aperitif most people probably never had, properly.

Like Port, Sherry is a fortified wine, meaning that spirits (neutral booze) have been added to increase its alcohol content. Made exclusively from grapes produced in the Jerez region of Spain, many Sherries are light white wines, both in color and taste, and can be served as such. However: the older the Sherry, the longer its fermentation, the more extensive the oxidation, the darker its color, and typically, the sweeter the taste. Sherry comes in a wide range of expressions.

Soleras take on Scotch after they've had their fill of Sherry. Photo by Ryan Opaz.

Solera: Specialty Wine Casks for Sherry (and Scotch)
Sherry’s range of flavor comes from centuries-old crafting techniques. Producers place the Palomino juice into a series of wooden casks called solera, one after another for years at a time as part of the fermentation process.

Each subsequent solera is older than the one before it and, except for the very oldest casks, contains its own yeast (flora) that imparts a distinctive taste. In fact, producers deliberately leave part of the liquid behind, so that as the content of one solera is transferred to the next, some of the precious fine Sherry long since tapped (fractional blending) blends in.

Think about this for a moment: While most winemakers would love to make an excellent vintage – capturing certain regional grapes of one spectacular year in a bottle – every excellent Sherry should have a nano or two of its centuries-old predecessor. Consequently, there is no such thing as a vintage Sherry, but there is such a thing as a fine 30-year-old one, provided that the bending goes well.

The task for fine Sherry producers is knowing how to control the temperature so that the proper flora grows, when and how much fortification (booze) to add, when to stop the fermentation process, and if need be, when and how much sweetener to sprinkle.

Like beer, Sherry comes in many forms. Photo by Dave Dyet.

And what happens to old solera when they retire? They move to the United Kingdom and become casks for aging Scotch. Truly.

Sherry: Discover a Sublime White Wine for Dinner
Dismissing Sherry categorically is like dismissing beer. Some people genuinely hate all forms of beer, and that’s fine. Other people would rather not drink Stout but find Lager quite appealing, yet both are beers. Similarly, the question is not whether one likes or dislikes Sherry in general, but rather, which type of Sherry.

Which Sherry is right for a dinner wine? For right now, let’s skip the Sweet Sherries, Cream Sherries, and other dessert Sherries, typically made from Pedro Ximenex (PX), Muscatel grapes, or a blend thereof, and go directly to those made from Palomino grapes.

For dry Sherrys, imagine sipping a white wine that is not very sweet at all. Strip out all the fruity flavors, leaving just the barest hint of citrus. And now imagine sipping that wine after having just eaten an almond-stuffed olive. Sherrys have a certain earthy quality at their core. The various regional floras then infuse them with hints of spice. Food allows their flavors to open up and sing. Serve well chilled.

Jerez is the official wine-producing region of Spain's Andalusia. Photo from Wikicommons.

Fino / Manzanilla
Typically not sweet at all (dry), as light in color as chamomile tea (manzanilla, in Spanish) and light in taste. Great with fish, tapas and as an aperitif (before-dinner drink).

Amontillado
Aged longer than a Fino; tends toward an amber color, and a warm, rich taste. Perfect with pork and all poultry.

Oloroso
Aged even longer than Amontillado but since Oloroso solera contain no flora, the fermentation has stopped. Tends to be a light-to-deep brown. Beware: while Oloroso is typically a dry wine, many producers sweeten them. Look at the label closely. Pairs nicely with any cheese.

My advice: try a fine Amontillado. There’s a reason that Edgar Allen Poe wrote about them; they can be truly memorable. (Just never offer it as a gift in brick-printed paper. It will be a declaration of war instead of a holiday message of peace.) Between the Fino’s full dryness and the range of Oloroso’s richness and sweetness, an Amontillado is a perfect balance between the two.

Start here, and then follow wherever the tastebuds lead. Is Amontillado too astringent, too dry? Then try an Oloroso. Is it a little too full, too much fruit on the palate? Then try a Fino. Just like in the “Three Little Bears,” there is a Sherry that’s just right.

Emilio Lustau Dry Amontillado will get along well with pork roast and roast turkey. Image from Emilio Lustau Web site.

Hands down, Emilio Lustau produces the best consistently high quality wide range of Sherries, perfect for creating for a tasting flight:

Emilio Lustau ‘Solera Reserva’
Light Manzanilla Papirusa Sherry
$10; on sale for $9, Solano Cellars, CA
http://www.bit.ly/ZACzjl

Dry Amontillado Los Arcos Sherry
$16; on sale for $9, Solano Cellars, CA
http://www.bit.ly/U9q1Yx

Don Nuño Dry Oloroso
$28, on sale for $19, WineTransit.com
http://www.bit.ly/10iUmdZ

Note: Serve well chilled. Like most white wines, Sherry does not store well once it has been opened. Cork it, pop it in the refrigerator and drink within a few days, or else use as a marinade.

Next up: Champagne Tip 101: Warm up the Bubbly!

'Les Miserables' Registers in Mostly Lower Keys

BY LEANNA YIP

THE first thing I tweeted after seeing “Les Misérables” was that I felt like I'd been punched in the gut about 24,601 times.

If you're at all familiar with the score, there's a joke in there. It also speaks to the heft of such a dramatic piece. This is a heavy, harrowing story. Most of that heft, however, doesn't come from the music – instead, it's from the look and feel of the movie and the respect paid to the original novel.

In this “Les Misérables,” the sum of its parts is greater than its individual pieces. The film opens today in Canada, Hong Kong, Malaysia, Singapore, South Korea, Spain and the United States. It rolls out across other parts of the world through 30 March 2013(http://www.bit.ly/MQeQkL; see video above).

First, a disclaimer: I'm probably not the typical audience member. I didn't see “Les Misérables” a couple of times, bought one cast recording, and fumbled through pronouncing the title. In the past 20 years, I've seen the show in five states – two national tours, one regional production, the Broadway revival and three school-edition performances. Let's just say that if rounded up, the number of performances would be closer to 100 than 10.

Cosette (Amanda Seyfried) and Marius (Eddie Redmayne) try to find happiness in spite of forces that threaten it. Photos courtesy of Universal Pictures.

Still, I don't consider myself a “Les Misérables” purist. The numerous changes from stage to screen – recitative turned into dialogue, rearrangement of songs, slashing of verses, inclusion of small details directly from the novel – make the film different enough to be engaging but similar enough to be familiar.

Because of these changes, the film almost feels like a separate adaptation of the novel that uses the 1980s mega-musical as a reference point, rather than something that can be lumped in with “Chicago,” “Phantom of the Opera” and “Rent” as just another film version of a musical theater hit.

Victor Hugo's 1862 novel – nicknamed "The Brick" in fan circles for its density – chronicles the life, death and redemption of convict Jean Valjean, his pursuit by Inspector Javert and his adoption of the orphan Cosette. Along the way there's Fantine, Cosette's impoverished mother; Marius, the student Cosette falls in love with; Eponine, the doomed waif in love with Marius, and Enjolras, the leader of an 1832 insurrection that's often mistaken for the French Revolution.

It's a lot to pack into one movie, let alone more than a dozen movies since the silent era, let alone one musical. Yet in 1985, composer Claude-Michel Schönberg, lyricist Herbert Kretzmer (adapting Alain Boublil's French lyrics) and producer Cameron Mackintosh successfully brought this weighty tome to the London stage, where it continues to run.

The Broadway production ran from 1987 to 2003, with a revival from 2006 to 2008. For an oldster fan like me who has a “Les Miz” program advertising a 1993 film release, it's surreal that after years of false starts, “Les Miz” movie posters are now ubiquitous.

As has been tirelessly mentioned in “Les Misérables” promotional pieces, director Tom Hooper chose to have the actors sing live on set. (Viewers will be treated to lots of wobbly chins, popping veins and other marks of vocal authenticity.) It's a commendable choice, and most of the time it works. The rest of the time Russell Crowe is on screen.

Crowe's Javert isn't a disaster – as some fans had predicted – but he's the most blatant example of big-name casting in favor of appropriate talent for the role. He has a rather pleasant voice, but he's concentrating so hard on singing well that everything else gets a bit lost. It's telling that his strongest scene is a violent confrontation with Valjean where shouting on key is pretty much all that's vocally required of both RC and Hugh Jackman.

Russell Crowe and Hugh Jackman aren't in their natural element singing the lines of Javert and Valjean.

Most everyone else in “Les Misérables” fares better, including the shrink-rayed Anne Hathaway (Fantine). She turns "I Dreamed a Dream" into a plaintive monologue from a woman who's hit rock bottom, successfully erasing all memories of anyone who went viral after impressing Simon Cowell.

The closeups during this song are just a taste of what's to come, since TH’s not shy about showing bodily fluids, simulated or otherwise. (Sensitive to blood, snot, sewer runoff or 1830s beggar-style sores? Don't sit too close.)

Though AH and HJ (a slightly vocally strained but intense Jean Valjean) have received a great deal of press, the surprise breakout in “Les Misérables” is actually Eddie Redmayne (Marius), the freckly part-time Burberry model and Laurence Olivier and Tony Award-winner (“Red”).

ER made his career in film and straight plays, but after this full-voiced, incredibly thoughtful performance, he should become the toast of London's West End. His chemistry with Amanda Seyfried's luminous Cosette (now in her second movie musical role as a doe-eyed, lovestruck ingenue – remember “Mamma Mia”?) brings much-needed warmth. His scenes with Enjolras (steely-jawed Broadway veteran Aaron Tveit) and rebel buddies are passionate as well as playful.

Down-on-her-luck Fantine (Anne Hathaway) finds a friend in Jean (Hugh Jackman).

Anyone who buys a ticket to this “Les Misérables” and whose happiness is riding on his or her memories of beautiful, musical theater-belting and stage dirt, is going to be disappointed.

Instead, think of “Les Misérables” as another excellent production of the musical and enjoy the ride.

"Les Misérables" is rated PG-13. Visit http://www.universalpicturesawards.com/#/lesmis to learn more about the film.

Holiday Gift Guide Last Day: Red Cross Giving Catalog

Caregiver training for one family ($75) can go a long way toward easing the transition of a returning service member. Photos from Red Cross Web site.

HEAD’S UP: Is it December already? YES, it is. In many parts of the world that means it is holiday gifting season. For many, the very idea presents a little conundrum. They have no idea what to gift, poor things! These are the very souls that the elves at VEVLYN’S PEN endeavor to lend a hand. We’re starting a bit early this year with our humble Holiday Gift Guide, because the spirit hit us and … well … we’re filled with the spirit! From today through 24 Dec., every day or every other day or so – willy-nilly, actually – we will introduce one or a series of products/services, items and brands that we believe would make a smashing holiday gift(s). And (as the old saying goes) … we’re off!!!

HOT Meals in February, Hot Wheels in June, warm Blankets in March and a cool place to stay in January.

These essentials are all part of the Gift of the Month ($500) package proposed by the Red Cross in its “2012 Holiday Giving Catalog” (http://www.redcross.org/gifts). As the agency goes about its business of providing disaster relief, such largesse would be, as it asserts, “constant and unforgettable.”

Physical and emotional care is the May portion of the Gift of the Month package.

People around the world recovering from typhoons, earthquakes, famine, tornadoes, war, droughts and other natural and manmade calamities would no doubt appreciate December’s Emergency Water Container. Further, appreciation would abound in the knowledge that the Bicycle on which water and the container were transported on roads impassable by vehicles was made possible, courtesy of the June allocation.

Often, bicycles are the only practical means of transportation in the aftermath of a disaster.

Because the Red Cross is never not responding to a disaster, the agency never ceases to need support in its good and necessary work. It is through generous donations from kindhearted folk that it is able to provide three Blankets ($15) and a Full Day of Emergency Shelter for four people ($200). The Vaccinations for 100 children ($100) and four Military Comfort Kits ($200) and three Phone Cards ($60) do not appear out of the ether.

The warmth and comfort of a blanket can make an awful situation just a little bit better.

As an incentive to invest in its cause through the “2012 Holiday Giving Catalog,” the Red Cross will part with a few autographed keepsakes such as a Water Bottle ($100 minimum donation) and Deluxe Emergency Radio ($1,000 minimum donation).

Indeed, the sources that make possible Reconnecting Families (1@)$150) and Physical and Emotional Care for two days ($230) are you and you and you.

Visit http://www.redcross.org/gifts to learn more about the Red Cross “2012 Holiday Giving Catalog.”