Adrienne Barbeau: actress, sex symbol, writer - Armenian Reporter

the armenian
reporter
July 12, 2008
July 12, 2008
culture&
arts
the armenian reporter
&
Adrienne Barbeau:
actress, sex symbol, writer
See page C6
Faith
in the
inner
eye
Page C4
Celebrating
Jirayr Zorthian’s
legacy
Page C2
The voice
behind
the echo
Page C9

Celebrating Jirayr Zorthian’s legacy
A new exhibition
documents the late
artist’s collaboration
with physicist Richard
Feynman
by Adrineh
Gregorian
Jirayr Zorthian said, “The purpose of life
is living.” Though this statement seems
obvious, very few people truly live life.
Modern norms have confined humans to
a seat not far from one screen or another.
We have in some form or another suppressed
our imagination and our minds
have been numbed by convention. Zorthian,
however, never subscribed to the
norm – not in his upbringing, not in his
profession, and definitely not in his lifestyle.
Zorthian was born in Kutahya, Turkey,
on April 14, 1911. He and his family survived
two massacres during the Armenian
Genocide. In 1923, when Zorthian
was 9, his family sought refuge in New
Haven, Connecticut, by way of Europe.
While in Europe, Zorthian’s father exposed
his young son to the arts.
This exposure would eventually change
the course of Zorthian’s life. In 1936, he
graduated from Yale University with a
degree in fine arts and flew off to Italy
to study at the American Academy of
Rome.
Back in the United States, Zorthian’s
reputation as a mural artist burgeoned.
His artwork can be found in 42 buildings
throughout the country. Zorthian then
took his artistic vision into the third dimension
as an architectural and design
consultant.
Despite a long career of creating artwork
and designing structures, Zorthian’s
lifestyle and contribution to the
artists’ community can arguably be his
lasting legacy.
In 1945, he purchased a 45-acre ranch
outside Pasadena, California, and
turned it into The Center for Research
and Development with an Emphasis on
Aesthetics.
This ranch was Zorthian’s refuge. It
wasn’t so much for escaping the world;
rather, he was showing the world how
it could be. With decades worth of collected
recycled materials, Zorthian constructed
buildings, art installations, collages,
and sculptures.
For their bohemian lifestyle, Zorthian
and his wife, Dabney, created a self-sufficient,
sustainable existence by raising
their own livestock and growing their
own vegetables.
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Jirayr Zorthian, The Divorcement, 1952 Ink on paper 17 x 24 inches
Zorthian in “Planet Zorthian”
In 1957, Zorthian established on his
ranch a summer day camp, called the
Zorthian Ranch for Children, where
youngsters could develop their creative
and athletic potential. Zorthian served
as camp director for the following 25
years.
Zorthian would go on to become a
staple in Southern California’s art circles.
Throughout the decades, he accommodated
a large number of artists and
free spirits on the ranch. By doing so,
Zorthian created his own eccentric community.
One facet of this community was
the friendship between Zorthian and
CalTech physicist and Nobel Laureate
Richard Feynman. Their friendship became
the catalyst for a notable exchange
of the scientific/objective and artistic/
subjective worlds, and Zorthian became
Feynman’s artistic mentor.
Every year the Zorthian clan participated
in two major celebratory events.
The first was the annual Blessing of the
Animals, around Easter, when the Cardinal
of Los Angeles blesses animals on
historic Olivera Street in Downtown.
Zorthian and his family would gather all
their pets and livestock to participate in
the procession of animals.
The second event was “The Primavera,”
celebrating the coming of spring, the
birthdays of Zorthian and Dabney, and
their wedding anniversary.
Both of these events are chronicled in
Planet Zorthian, a 2004 film collaboration
between Harout Arakelian, Lisa Tchakmakian,
Sevag Vrej, and Arno Yeretzian.
While the four filmmakers followed the
artist independently of each other, their
films combine to create an experimental
On page C1: Adrienne Barbeau, a successful actress, known for her roles in
horror movies, has co-written a new book, Vampyres of Hollywood. Read a
reprint of her interview with the British online entertainment magazine
Den of Geek on page C6. Photo: Pamela Springsteen.
“cubist” documentary, whereby each of
the four segments can be seen as standalone
pieces yet complement one another
by offering individual perspectives on
the life and work of Zorthian.
Zorthian passed away on January 6,
2004, at the age of 92. Dabney died in
2006. Though he is no longer with us,
his spirit lives on in his art, his passion
has permeated thousands who passed
through his ranch, and his example is an
inspiration to many still to come.
Since the 1950s, Zorthian had rarely
showcased his work in exhibits. While
most of his public art consisted of murals
in buildings across America, his
sketches and paintings remained in his
private collection. This year Jay Belloli
and the Armory Center for the Arts in
Pasadena have curated an art exhibit
titled “Jirayr Zorthian/Richard Feynman:
A Conversation in Art,” running
through August 31, 2008.
“Everybody knew Zorthian,” says Belloli.
“He was such a colorful personality
that everybody knew him. But hardly
anyone knew the art because he hardly
every showed.”
Most of Zorthian’s artwork is still at
the ranch.
“Jirayr was extraordinarily talented.
He was really almost like a prodigy,” says
Belloli. “A lot of the artwork in the show
is from very early in his career. He was
doing important art when he was still a
student at Yale University. It just shows
how good he was.”
Belloli goes on to say, “Zorthian had
an incredible facility, astonishing drawings
in the show, very ambitious drawings,
wonderful portraits. He was just
really very good.”
According to Belloli, Zorthian considerably
influenced Feynman through his
mentorship and their close friendship.
C2 Armenian Reporter Arts & Culture July 12, 2008

Jirayr Zorthian, Cortez in Mexico, 1936 Tempera and gold leaf on board 52”x 67 1/3”
“Feynman didn’t think he could draw
and Zorthian really taught him how to
draw,” Belloli says. “The exhibit really
became about both of their work and
their close connection as friends and as
Zorthian serving as Richard Feynman’s
mentor.”
Zorthian started off in the 1930s, the
period of social realism, with very realistic
art. By the 1940s, he progressed
into expressionism. In the late 1950s
and early 1960s, he focused on elaborate
realistic drawings. Some of the artwork
featured at the current exhibit is
unprecedented in terms of size. “It just
shows that even though he got older, he
was still being ambitious in the art that
he made,” says Belloli.
Until his death, Zorthian and Dabney
lived, worked, taught, and entertained
at this small utopia they called home.
Not only did he build this lifestyle, but,
more importantly, he planted the seeds
for future generations to cultivate their
own self-expression.
“Jirayr Zorthian/Richard Feynman: A
Conversation in Art” will be on view in
the Susan and John Caldwell Gallery at
the Armory Center for the Arts Tuesday
through Sunday, noon-5:00 p.m. Admission
is free. The Armory is located at 145
North Raymond Avenue, Pasadena, CA
91103 f
connect:
armoryarts.org
zorthian.com
The artist in action...
Armenian Reporter Arts & Culture July 12, 2008
C3

Faith in the inner eye
The art of Seeroon
Vassilian-Yeretzian
by Mariette Tachdjian
There is a bittersweet quality to Seeroon
Vassilian-Yeretzian’s voice over the telephone.
Remaining palpable even after we
meet face to face, it is the same quality
that is characteristic of many artists who,
through their own personal struggles,
have transmitted their lives onto canvas.
Then there is her brilliant artwork. A true
testament to a woman’s hardships resulting
from genotyping and the yearning for
expression, Seeron’s paintings became
chapters in her own spiritual evolution.
At the Roslin Art Gallery in Glendale,
which she owns, Seeroon unravels her
many layers, through both the canvas
and her voice.
It doesn’t take a skilled eye to interpret
the anguish present in her early
works. Dark, sometimes morbid figures
are immortalized through oily hues of
black, blue, and gray. Anyone can feel
the torment that cries out from the
nightmarish faces in her 1988 piece titled
“Condemned.”
Macabre subjects are just one aspect
of this multi-faceted artist, however.
“My art became like my diary. You bring
from the past, you go forward, and you
watch around you,” says Seeroon, who
spent her first 17 years of life in a South
Beirut Armenian refugee camp. Shortly
after trading their shanty town hut
for a real house, Seeron’s father tragically
died. Pain and suffering have been
known to create great art. But perhaps
it is her later pieces illustrating crucified
women that really pushed her own edge,
and that of her audience.
In an attempt to expose the enigmatic
underside of a woman’s resilient exterior,
Seeroon used the creative process to
peel back all of her fragile layers, starting
from her early adulthood.
It was the dawn of the civil war in
Beirut, and Seeroon, having been discouraged
by her parents from pursuing
art, decided to study opera, followed
by fashion design. An impressionable
young woman, her fate seemed to be realized
as she fulfilled the expected role
of becoming a bride. But little did she
know that her marriage to an intellectual
named Harout Yeretzian (who would
later become the proprietor of Abril
Bookstore in Glendale) would one day
create a harmonious existence between
art and literature. With their son and
a few coins in their pockets, the Yeretzians
moved from Beirut to Los Angeles
in the 1970s.
Still starving for formal training in
the fine arts, Seeroon studied at the
prestigious Otis Parsons Art Institute
and UCLA. The liberated soul was finally
allowed to channel her experiences and
emotions onto the canvas for the first
time, without restraint or censorship.
Influences of Picasso, Dali, Miro, even
Francis Bacon, are evident in her early
work, though she will tell you that they
may have been at play only at a subconscious
level. Seeroon went on to draw
inspiration from her Armenian and
Middle Eastern backgrounds as well as
the underbelly of American life.
Of particular interest to her were the
Top: Evolution. Above
left: Condemned.
Above right: Self
Portrait. Left: Seeroon
Yeretzian
homeless in Los Angeles, a sight that
disillusioned her at first, as she herself
had come from a childhood of poverty.
“We were homeless but we had a
home, and a father and mother… it was
a commune,” she says. Perhaps it was
that sense of the loss of innocence that
burst out in pieces like “The Mattress”
(1989) and “Timeless” (1999s). Along
with a newfound freedom in the City of
Angels, she became keenly aware of the
estrangement that is often felt in such a
vast and impersonal city. “Here we live
in homes, but we are not a community,
we are in cages. We care about humanity,
but we don’t care about our neighbors,”
she explains.
Darkness and destitution unquestionably
inspired some of her masterpieces.
But perhaps her most striking, and controversial,
work to date is her series of
crucified women, which she completed
in the 1990s. At first glance, these paintings
appear sacrilegious. But beyond the
religious symbolism, there is a clearly
metaphorical treatment of female martyrdom
on those canvases. “It’s not only
Christ who gets crucified. Each of us has
a process,” says Seeroon, who still sees
women’s roles as inherently difficult
amidst a society of material abundance.
C4 Armenian Reporter Arts & Culture July 12, 2008

Above: Glory Alphabet. Left: Timeless.. Below:
The Trap.
“We inflict our wounds. Sometimes it’s
self-inflicted,” she says. The paintings
were not exactly palatable to Armenian
audiences. But Seeroon adds with conviction,
“I didn’t care. I don’t paint to
sell.”
Though her work is first and foremost
provocative, Seeroon has been able to
move from one phase to the next without
compromising her artistic integrity.
These days she is focused on more natural
elements and livelier subjects, such
as her evolving series based on and inspired
by medieval Armenian illuminated
manuscripts, which she calls “our Armenian
jewels.” She expands on the natural
themes of birds, peacocks, as well as
human forms, using vivid purples and
golds, reds and blues, to create illumination
(stylized lettering accompanied
by painted figures). She has mastered
this style, having been influenced by
medieval masters such as Toros Roslin
(after whom Seeroon’s gallery is named).
Through her own interpretations, she is
able to create anything from a meditative
mandala to intricately decorative
depictions of the Armenian alphabet.
Seeroon’s work has been featured at
UCLA’s Kerchoff Hall, Otis Parsons Gallery,
as well as the J. Paul Getty Museum’s
Armenian and Iranian art festivals.
She was even invited to participate in
a large public-art installation commissioned
by the City of Los Angeles in
2002. If you were an Angeleno back in
2000–2002, you may recall the “Community
of Angels” project, in which
dozens of unique, six-foot-tall statues
of angels – commissioned by the
city – were displayed near landmarks
throughout Los Angeles. Seeroon
– the only Armenian artist invited to
participate in the exhibition – created
her “Angel of the Century,” by painting
angels of various ethnic backgrounds
onto a statue that stood at the Century
City Plaza Towers.
Seeroon’s personal life has allowed her
to embrace the best of Armenian art and
Armenian Paradise.
literature. “We are book and art pushers,”
she says, of her collaboration with
her husband. Together, they have created
a unique voice in the community.
But that voice also feels strongly about
supporting other artists. “If we support
our artists, we are supported,” she says.
Seeroon currently displays her work
alongside other notable artists from the
Armenian community, at the Roslin gallery
in Glendale.
f
connect:
roslin.com
Armenian Reporter Arts & Culture July 12, 2008
C5

The Den of Geek interview: Adrienne Barbeau
The formidable star of
Escape From New York and
other cult classics chats
with DoG about writing,
bats, therapy, and kicking
ass...
by Martin Anderson
Editor’s note: We are reprinting this interview
with permission from Den of Geek,
the British online entertainment magazine
which published the piece earlier this
month.
Adrienne Barbeau negotiated a successful
Broadway career – during which
she originated the role of Rizzo in Grease
- into a successful television career in the
1970s on the hit comedy Maude. A meeting
with John Carpenter, who was casting
his acclaimed TV thriller Someone’s
Watching Me, led to a role, marriage,
their son Cody, and yet another career
as an acclaimed “Scream Queen” in the
likes of The Fog, Creepshow, Swamp Thing,
Two Evil Eyes, and Escape From New York.
Following the acclaim of her 2006
memoirs There Are Worse Things I Could
Do, Adrienne has now written a horror
novel together with author Michael
Scott, in which heroine Ovsana Moore is
a rather Barbeau-esque actress... who is
also a vampire! The novel follows her efforts
in concert with an LAPD detective
to find the serial killer who is slaying the
“A-list” stars of Hollywood...
[N.b.: Vampyres of Hollywood did not
arrive on my desk until four hours before
this interview took place, so I had
only read the early chapters at the time
- M.A.]
Martin Anderson: Is Vampyres of
Hollywood the first time that you’ve really
looked for that creative voice inside
yourself
Adrienne Barbeau: It’s the first time
I’ve applied it to fiction, yes. I guess I
found a voice when I was doing There
Are Worse Things I Could Do, and tried to
bring it into this one as much as I could.
M.A.: You seem like a really social person,
so how does the writing life suit
you
A.B.: There’s a part of it that I love,
and some of that is not being dependent
upon anyone else for my creativity.
I don’t have to wait for the script to
come, I don’t have to wait for the offer
to come in or for the money to be raised
[laughs]. So it’s wonderful just to be able
to get up in the morning and get the
kids to school, and then come back and
sit down and try to fashion something
that didn’t exist before. Because there’s
so much else that I have to do in terms of
being a mom and continuing my acting
career and all of that, I don’t sit at the
computer for days on end without talking
to other people. We have a house at
the New Jersey shore, and we’re here for
about five weeks - my husband has been
loving enough and gracious enough to
take the kids on some four-day field trips
[laughs]. They’ve gone off to Boston, so
Adrienna Barbeau: “I never set out to be a sex symbol.”
I am able to just get up and sit down
and just write straight through - but I’m
able to balance the communication with
other people with the communication
with the computer [laughs].
M.A.: So you’re developing your own
routines
A.B.: Yeah, I guess I am. It’s still new
enough to me that I don’t trust how
much time I can take away from it, if
you know what I mean. So if my husband
says “So-and-so’s having a party
on Friday night and I think we should
go,” I tend to think “I don’t know - how
many words am I gonna get written
this week” [laughs]. So I worked out a
monthly deadline and when I get there
and realize that I’ve written as much as
I’m supposed to have written, then okay
- I can go off and go shopping.
M.A.: Many writers say that they
surprise themselves at what they come
up with when they’re writing - has that
been your experience That you have access
to creative resources that you can’t
normally get to
A.B.: Yes, it has, and the way I would
explain it is that I’ll go back maybe 60
or 70 pages, or back to the beginning or
whatever, and I’m reading through it and
I find myself thinking “Did I write that”
[laughs]. Where did that come from Out
of me There are other times when I’ve
written something and I think “Oh, that
works,” and I’m sorta proud of that. But
even as I’m aware of that, I’m also aware
that it wasn’t anything that I thought of
before I put my fingers on the computer.
And it’s really fascinating.
M.A.: You’ve said that you didn’t turn
to George Romero or John Carpenter
before the novel was completed. So was
the feedback loop during the writing
process between you and Michael Scott,
or was there someone else to turn to
A.B.: Hmmm... I don’t want to get
confused between the first one and the
second one, which I’m writing all by myself.
That one I have definitely shown
to my husband and I have two other
friends, both of whom are writers, that
I’ve sent chapters to, asking “Am I still
on track” - that kind of thing. Vampyres
Of Hollywood I’m sure I showed to Billy -
my husband - but I don’t think I showed
it to anyone else as I was going along. I
think there was one night when I got
together with a bunch of girlfriends
[laughs] and I read the opening pages so
that they’d know what I was doing.
With Vampyres, Michael and I were
bouncing it back and forth. He’s an
expert at these things, and that was
enough - except for my husband.
M.A.: Speaking of the opening pages,
which I’ve read – “Death By Oscar’ [in
which a deplorable actor who has just
won an Academy Award is found dead in
a taxi with the statuette shoved up his
rectum]... – man, that’s a nasty death!
[Adrienne laughs]. Is this maybe a case
of having a little bit of payback on one or
two real characters from your own life
A.B.: I hadn’t thought of that part
of it being a case of getting revenge! I
have a feeling that if I go back and look
at it, there’s probably a few things in
there... [laughs]. I hadn’t really realized
this about being a writer, but a friend of
mine told me that another well-known
author has always said to her “I’m the
Goddess! I can do anything I want!” I’m
just coming to realize that. If there’s a
book I like that I’m reading, I can have
my character read that book, and I can
give that author a boost. And that’s
great fun.
M.A.: But it’s quite therapeutic as well
as creative
A.B.: I think so. You know, because
you read the memoirs, that I’m not looking
to drag too many people over the
coals [laughs], but it’s fun to be able to
get those little details in there that some
people will recognize.
M.A.: There’s a nice division in the
book between Ovsana’s voice and the
detective’s voice - is that how the work
divided between yourself and Michael
Scott in practical terms
A.B.: No, actually - the voice is a
real amalgam of the two of us. I think
that the final chapters, the battle and
the monsters and the Vampyrs and the
Weres, more of that came out of Michael.
We sat down and outlined the
whole thing together, in the same room,
saying that this was where we wanted
to go and this was what we wanted to
have happen. The structure of it is really
Michael - he wrote the first draft of the
chapter and then he sent it to me and
said “This is your book, just do whatever
you want with it.”
So the voice, the actual words on the
paper... the voice is more mine. The dialogue,
the way they speak - that’s more
me. But when we went back over it, we
both agreed that we couldn’t tell where
I had left off and he had picked up and
vice versa. I had to look something up
the other day and I thought “Is that in
Michael’s first draft or mine” I couldn’t
figure it out. We really found a way to
blend the two, I think.
M.A.: Ovsana seems like a melding of
all the roles that you’re loved for, like in
Escape From New York, Swamp Thing, and
The Fog... surely there’s got to be a film,
and you’ve got to play her.
A.B.: [Laughs]. Well, I think she looks
younger than I do! Well, you haven’t read
it all the way through yet. But maybe I
can play the villainess at the end - who
looks like Betty Davis as Baby Jane Hudson
in Whatever Happened to Baby Jane!
C6 Armenian Reporter Arts & Culture July 12, 2008

M.A.: Did you hesitate to put so many
real-life Hollywood stars of the past as
vampires in the book They’ve even got
dialogue...
A.B.: No, I just had to do a lot of research.
We didn’t hesitate [laughs]! I
didn’t always use these specifications,
but I tried to find people who had died
in a manner where I could logically conceive
of bringing them back, like Olive
Thomas, who died so young that she
never aged, that kind of thing. In the
end I don’t think I succeeded all the way.
I just went back and I looked at some of
the bios for the characters that we used
- some of them did live quite a while!
I tried to pick ones that had died of a
death that could be faked, that kind of
thing. But it was great fun.
M.A.: How far advanced are you on
the sequel
I’m almost half-way through. I’ve got
a deadline of January, and I’ll make it!
M.A.: I’m asking blindly, since I
haven’t read the whole of Vampyres yet,
but can you tell us anything about the
direction that Ovsana will take in the
new book
A.B.: There’s a relationship that develops
between Peter and Ovsana, much
to Maral’s distress, so I’m gonna explore
that a little bit. But it’s a true sequel,
picking up not long after this one ends,
and dealing with the fallout of this one.
M.A.: Would it have been harder to
originate this first book alone
A.B.: Yes... definitely! I don’t know if
I would have! Michael was the driving
force right from the beginning. I met
Michael through another friend, and
the first night I met him, he had read my
memoir, and he knew my film history
and my career, and he said you should
be writing a novel for your 18-34 fan
base, all the guys –
M.A.: 18-41. Please.
A.B.: [Laughs]. Ah, thank you! Since
I’ve been doing these conventions, I’d
say it was like 18 - death! People who
like horror films, they don’t stop liking
them! They are fantastic fans; it’s an
incredible... support system! So he said
“You should be writing a horror novel for
your horror-genre fan base. And I said
that I didn’t know, I’ve never written a
novel, just this nonfiction book, and he
said “Oh, I’ll help you - that’s nothing!”
[laughs]. Okay - fine! So we sat down
and he said “Okay, what do you want to
write Science fiction, like Escape From
New York, or a ghost story like The Fog”
A.B.: And I honestly don’t remember
how I settled on vampires. But what I’ve
come to realize, now that I’ve written
one and we’re in the middle of writing
the next one, is that Ovsana’s character
- a female vampire - is very much akin to
the characters that I read all the time. I
read Lee Childs, the Jack Reacher novels...
he’s one of your countrymen, actually,
although I think he lives here in the
States now... but I read detective novels,
or mysteries or thrillers or whatever
you’d [call them], and Jack Reacher is one
of my favorites. And when I think about
it, Ovsana, she can kick ass [laughs], just
like all these guys that I read, and like the
characters that I usually play. So I guess
that’s where she came from. What better
format to write the kind of woman that
I would like to be - and like to think that
I am, on occasion, and that I play in the
movies...the strong survivor, fighting for
justice... [laughs].
M.A.: Of course I was going to ask, is
that tough “Adrienne Barbeau” character
- for which you’re celebrated - someone
that you’ve grown into or someone
that you maybe admired and would like
to be Is it a fantasy or a reflection of
how you’ve lived your life
A.B.: You know, I think it is. I think it’s
a reflection of my heritage, in some ways.
I’ve dedicated the second book to my Armenian
aunts and my grandmother. I’ve
come from a culture of women - at least
my relatives - that were survivors. They
survived the holocaust. You’ve read the
memoirs, so you know that I have one
relative that walked away from her two
year-old son and never saw him again in
the hope that he would be taken in and
survive; she escaped and she eventually
lived a very long life.
So I think some of it is in the DNA -
and we use that with Ovsana, as she’s an
Armenian vampire. The rest of it, I guess,
is the person that I became, or maybe
that I grew up as and then became. I’m
not a victim [laughs]. I’ve sort of spent
my life trying to grow into... if I say a
strong person, I mean a capable person,
or a person who can take care of herself
and hopefully take care of the people
around her.
I would like to think that if I were in a
terrifying situation, I would act the way
the characters that I’ve portrayed act
[laughs]. I’m never tested. But I value
strength in a person.
M.A.: Aside from your physical attributes,
do you think that it was the
independence and strength of your onscreen
characters that made you a sex
symbol
A.B.: I don’t know, Martin. You know,
you’ve read the book. I never set out to
be a sex symbol, and I don’t know what
makes a sex symbol. I think that it was
the camera, or the media or whatever,
that made me a sex symbol. I wasn’t playing
those roles, but they just… [laughs].
M.A.: You talk about the visualization
that helps you get the things that you
need and want - were you visualizing
something like the Vampyres project
when Michael Scott turned up
A.B.: I don’t know if I was visualizing
something like this project. I think that
years ago, before I ever started writing,
it was in my head as something. I read a
lot, and whenever I read somebody that
I love I always thought “God, I wish I
could write like that.” And I know that for
years, going back, I thought “Wouldn’t it
be wonderful to be a writer, and you
could do it anywhere…” You could go sit
on a beach, you wouldn’t have to be in
Los Angeles or New York, on Broadway.
So I was putting that kind of thought
out at least, that it would be a wonderful
career to have.
I had a friend years ago, he was a therapist,
he used to say “Adrienne, someday
you’re going to reach a lot of people
in some other way. I think you’re going
to be a teacher or something, but
you have something else you have to say
that you’re not saying as an actor.” And
I just thought “I don’t know what that’s
all about.” But maybe this is it.
M.A.: I get the impression that your
own lifelong struggle to find your voice
has given you character and attitude
that you might have otherwise struggled
hard to find
A.B.: Yeah, probably so. The struggle
or the search was always to understand
myself, I think. And to communicate.
I’ve always been fascinated with communication.
I’ve taken a course... there’s
a fella whose name just went out of my
head [laughs], who teaches all over the
world and has written a book called Nonviolent
Communication, I think. I went
and took a couple of weekend seminars
with him. I remember back even before
my first son was born, so that’s about
25 years ago, reading Parent Effectiveness
Training, and they talk about methods
of communication, “active listening,”
things like that... and it’s what I was in
therapy for, I think... to learn to communicate.
I hadn’t thought of it until just
now, when you asked me the question
[laughs]. I’m communicating again!
M.A.:There were some really good actresses
out there kicking ass in the 80s
- and you were amongst them - but it
really kind of took off in the 90s and beyond.
Do you feel that you kind of paved
the way for that, or maybe regret that it
all happened later
A.B.: What I feel is that I wish someone
was still interested in seeing somebody
like me doing it again [laughs]!
M.A.: I’m interested...
A.B.: Ahhh, thanks! Did you see The
Convent
M.A.: I did.
A.B.: That came along just at the time I
was saying to my husband “Ah, nobody’s
gonna hire me to pick up a gun again.”
But yeah, I wish that kind of character or
those kinds of roles had been as popular
when I was doing them as they are now.
Or as “mainstream” as they are now.
What with the advent of the popularity
of video games and everything, so
that you’ve got... well, I’m going back a
ways now and thinking about Lara Croft.
There must be something more recent...
but you know... big films. Because I still
love doing ‘em. But I’m just glad I had
the chance, you know [laughs].
M.A.: One of the things I loved in your
memoirs was the story of “the trapped
bat,” and I was wondering if you’d tell it
again for our readers
A.B.: Oh, poor John! [Laughs]. We
had just moved into a home that we
bought, up in Inverness, where we shot
The Fog. A gorgeous part of the country,
and this house was in the middle of the
woods - there was nothing around. It
was Labor Day weekend, which meant
that Jerry Lewis was doing his telethon,
for muscular dystrophy or whatever it
is that he does. John [Carpenter] had
to stay up and see it - that was his annual
night-time watching. So I went to
bed and I was sound asleep, and all of a
sudden I hear John’s voice saying “Adrienne!
Adrienne!” And I looked around
and I didn’t see him... and he was on the
floor, on his knees, with a towel over his
head - the master of horror! And he said
“There’s a bat in the living room!” And I
said “Well... yeah” And he said “There’s
a bat in the living room!” So I got up and
got to the living room and opened the
door and this little bat flew past me and
flew out the door [laughs].
M.A.: So cool - someone who makes
horror movies is bound to be frightened
of bats! Totally makes sense...
A.B.: [Laughing] Yeah!
M.A.: You talk about the hard time
you had making Unholy at the end of
your memoirs, and I kind of expected
you to finish with “Oh boy, never again,”
but instead you take it all in your stride.
How do you get to think like that
A.B.: This sounds sort of hokey, but
for me it always begins with the words.
So I’m always aware that something
could come along and be really valuable
because of the words, the script.
But it may not necessarily be the one
that somebody with a lot of money
wants to finance. I just did another one
last November that was just a wonderful
character for me to play, and I’m
so glad that I did it. But it was lowbudget.
What I learned from Unholy
is that I make sure I have a dressing
room [laughs]. There were kids in that
movie who were dressing in a tent at
18 degrees, and I sort of draw the line...
I’ve got to have at least a heater in a
room [laughs].
M.A.: I could feel the cold as I was
reading it.
A.B.: Oh, it was a nightmare. But then
you turn around and do one like I did
last year [Reach For Me]. Seymour Cassel
is starring, and Alfre Woodard and
LeVar Burton, and LeVar directed it. I
loved the character and I got to do some
work that I wouldn’t have gotten to do
if I wasn’t willing to put up with the lowbudget
aspect. I just like to work.
M.A.: Have you ever wanted to take
the reins yourself and do some directing
A.B.: Never. It doesn’t interest me
at all. What I think I might be good at
would be directing an actor, maybe onstage
or in a scene, but I don’t understand
filmmaking at all [laughs]. I know
what’s wrong... I know what an actor
needs to do to get him where he needs
to be, and I could probably impart that,
but I’m not interested in directing.
M.A.: Do you like horror any more
now than you used to In your memoir,
you say that you’re not a great fan...
A.B.: [Laughing] No! My husband
wanted to see The Happening, which just
came out, and the previews looked really
good. But I said “I don’t wanna go
in there” [laughs]. I don’t want to have
them do that to me! I don’t like it. I
love action-adventure - I’m right there
for James Bond or thrillers or anything
like that, but if it’s gonna make me jump
and scream...
We went to see Get Smart yesterday
[laughs], and my poor kids were sitting
in front of me... I don’t know what happened,
somebody stepped out of a closet
or something... and I screamed! f
connect:
denofgeek.com
Armenian Reporter Arts & Culture July 12, 2008
C7

The show must go on
Paul Meshejian is the
driving force behind
the annual PlayPenn
theatrical conference
by Armina
LaManna
PHIL ADELPHIA
and LONDON
– As the founding
artistic director
of PlayPenn, Paul
Meshejian is an integral part of the greater
theatrical community of Philadelphia. Recently
he stole a little time from his overwhelminlgy
busy schedule to talk to me
about PlayPenn and Another Man’s Son – a
play written by Silva Semerciyan, which
will be featured this month at the Play-
Penn 2008 Conference in Philadelphia.
Meshejian had spent several years
working as an actor and director in Minneapolis,
where he first came across
the Playwrights’ Center – a big laboratory
dedicated to the advancement
of playwriting. “When I was getting a
little tired of acting, I started to think
about what work in the theater satisfied
me the most,” Meshejian explained. “I
found that it was my time there, at the
Playwrights’ Center!”
Realizing that Philadelphia had nothing
like the Playwrights’ Center and how
ephemeral work in the theater could be,
Meshejian started talking to artistic directors
around town about beginning a
similar program in Philadelphia. “Almost
everyone said that they needed something
like this,” Meshejian said. “So one
day I was talking to someone about this,
and he asked me how much I needed. I
foolishly picked a number out of the air,
and this guy said that he’d give me half
that for three years. And that kind of
money – $20,000 a year for three years
– was the seed money that allowed me to
ask other people to invest. And they did.
The first year, 2005, we raised $50,000,
then last year our budget was around
$94,000, and then this year our budget
is $148,000. But we haven’t raised all
that money for this year yet.”
Meshejian described PlayPenn’s expansion:
from four plays during the summer
conference to six; from a single symposium
to two; and then this year they are
adding two extra readings. “It’s clear that
there is a need for it,” Meshejian said,
referring to the significance of PlayPenn.
Even before finding success locally,
PlayPenn made headway on the national
scene. Out of the 14 plays developed
so far, eight have been produced
around the country. “One of the things
I wanted to do was introduce new work
to Philadelphia,” Meshejian said. “I’m
very happy to say that of the six plays
we developed last year, four are being
produced this coming season, and three
of them are seeing productions at local
theaters: the Arden, Interact Theatre,
and People’s Light.”
I asked Meshejian about how he came
across Semerciyan’s play: “Early on the
ADAA [Armenian Dramatic Arts Alliance]
got in touch with me, right when they
“I’m very happy to say that of the six plays we developed last year, four are being produced this coming season, and three of them are seeing productions at
local theaters: the Arden, Interact Theatre, and People’s Light.”
Silva Semerciyan.
Actors Harry Philibosian and Larry John Meyers.
were first starting. I became a member.”
Meshejian continued to tell me about
how he searched for ways to reach out to
Armenian writers who were doing work
that would be interesting to a broader
audience. “First, the richness of our history
is worthy of reflection,” Meshejian
said. “Second, the Genocide experience
is lost in the shadow of the Holocaust.
Not that there’s a competition, but there
just hasn’t been any public, formal recognition
of it.” To illustrate his point,
Meshejian referred to Peter Balakian
and his book, Black Dog of Fate. “What he
[Balakian] says is that there is no way to
understand a thing like this [Genocide]
until art gets made from it,” he said.
To this end, Meshejian said, he put a
call out to the ADAA for Armenian plays
tackling these issues. The response came
in the form of two plays, one of which,
Another Man’s Son, was a family drama.
“The politics of this particular family reflect
the invidious influence of tyranny
and how that tyranny, which comes from
without, gets exercised at home,” said
Meshejian said, who seemed very enthusiastic
about the play. I could understand
why. I recently read the play and found
myself drawn to the family, especially to
Lucine, the heroine. The writer, Semerciyan,
an American who has been living
and working in England for the past ten
years, will be making a special trip to
Philadelphia for the PlayPenn 2008 Conference
to see a reading of her play.
When asked about where he sees Play-
Penn in five years, Meshejian laughed
heartily and said, “What I would love is for
PlayPenn to extend the work of the conference
outward throughout the year. I would
like to offer a weeklong reading workshop
to a worthy play and playwright. My fantasy
would be to find the funds that would
allow me to invite writers here, give them
a good enough stipend, so that they can
establish themselves here, make relationships
here with local theaters, and possibly
become interconnected with the actors
and directors of this theater community.”
Meshejian continued to tell me that he
would also like to be able to give local writers
the opportunity and resources to hear
their plays performed by actors. All these
plans require the support of the community
at large. “It’s such a rarity that the
Armenian people, history, and culture get
such exposure,” Meshejian said. “So this
is a great opportunity for people who are
interested in fueling this exposure to step
up and contribute to PlayPenn.”
Another Man’s Son is a play that tackles
issues of filial duty, tyranny, loyalty,
and love. Its protagonist, Lucine, a brave
young woman, faces and confronts these
issues head on. Semerciyan and I had a
chance to discuss the play over the phone.
As her determined and passionate
voice came through the headset, I started
to sense similarities between Lucine
and her creator. “I studied playwriting at
the University of Michigan,” Semerciyan
said. “I was really taken by playwriting
and knew that I’d always be interested
in it. After my move to the UK, I had to
move away from it, but then returned to
it about four years ago. And I began with
Another Man’s Son.”
She went on to tell me that the knowledge
she accumulated over the years
about playwriting was applied to her play,
which she hopes will one day come to fruition.
“Along the way I wrote other plays,”
she said, referring to Playthings, Filibuster,
and Down the Packhorse. I asked Semerciyan
about how the characters in Another
Man’s Son came about. She explained that
they were fictitious. “But even fictitious
characters have antecedents in life,” she
said. “Lucine is kind of like me, you know.
What if I had been born back then And,
of course, a little bit of imagination.” Semerciyan
added that the father character
was a composite of patriarchs that she
had come across and heard about over
the years. “The factual information about
the father surviving the Genocide – I got
from my grandfather,” she explained.
“But to really bring characters into conflict
the way that they do in my play, it had
to come more from the fictitious realm.”
Originally, Semerciyan had submitted her
play to a contest held by the ADAA, then
she was invited to submit it to PlayPenn.
“I am hoping that hearing it out loud from
start to finish at PlayPenn will give me a
better idea of how it plays and how to better
gauge the dramatic action,” she continued.
“This is a great opportunity to see
how it works.” When asked if there was
a specific theater that she hoped would
produce Another Man’s Son, Semerciyan
simply said, “I would just like it to have a
life after PlayPenn. To be seen!”
The debut public reading of Another
Man’s Son will take place on July 26, at 8
p.m., at the PlayPenn 2008 Conference. f
connect:
playpenn.org
C8 Armenian Reporter Arts & Culture July 12, 2008

The voice behind the echo
Ardzagang Armenian
Television continues to
grow strong
by Armina LaManna
NEW MILFORD, N.J. – In last week’s Arts
& Culture section, the Armenian Reporter
presented the story of a young and multitalented
artist, Haik Kocharian. In that
article Haik talked about the influence
his parents, also artists, had on him. It
is them – Haik’s mother, Karine Kocharian,
in particular – that we shall tell you
about today.
An accomplished actor and a dedicated
journalist, Mrs. Kocharian enjoys
the love and respect of those who surround
her and those who get to see
her and her work weekly on the “Ardzagang”
television program. Co-produced
by Aram Manoukian and Haik
Kocharian, the Brooklyn-based show
offers news and cultural information to
Armenian communities in the tri-state
area. Cablecast on Brooklyn Community
Access Television, “Ardzagang” is
also broadcast throughout Southern
California.
For those of you who have had
the pleasure of seeing plays at the
Sundukian Theater in Yerevan in the
70s, 80s, and 90s, will undoubtedly already
be familiar with Karine Kocharian
– a woman whose talent, drive, and
love of her people helped her overcome
the difficulties of a homeland in great
flux, and who, together with her husband,
Ara Manoukian, created a muchneeded
bridge between Armenia and its
diaspora.
Mrs. Kocharian is a graduate of the
Yerevan Fine Arts and Theater Institute.
“There is a funny story about how I got
admitted to the program there,” she remembered
fondly. “After the first exam,
I fell and broke my foot. Obviously, I
thought that I wasn’t going to be admitted
since I missed the other exams.
But, shortly thereafter, Vartan Ajemian
sent me word that he would be taking
me into the program.” She then continued
to tell me that at first she went to
university to study something else, but
when her teacher noticed that she was
not into her French exam, “she asked
me why I wasn’t responding to the questions.
I said because I wanted to be in
the theater program. That’s when the
teacher told me to just go to the theater
program,” Kocharian explained.
At the very young age of 19, Karine
married Vladimir Kocharian, a renowned
actor and artist in his own right.
This was a union of love and to this day
she fondly recounts her days with her
husband. The couple later moved to
Leninakan (now Gyumri), where Karine
worked at the State Theater of Gyumri.
“A couple years later, Vartan Ajemian
and then Hratch Ghaplanian invited us
back to Yerevan to the Sundukian Theater.
Being invited to the theater was a
big deal then,” recalled Kocharian. But
tragedy struck in 1989, when Vladimir
suddenly died. “This was a great, great,
great tragedy for me,” she stated.
Armenian Reporter Arts & Culture July 12, 2008
As we spoke, it was clear to me that
she was greatly fond of the Sundukian
Theater and her years there. After all,
she thought of that theater as her home.
There she appeared in many leading
roles, ranging from Shakespeare to Ostrovsky.
“My life’s meaning has always
been in the theater!” Kocharian said.
“And I feel a great void now that it’s not
part of my life.”
Kocharian then excitedly told me
that later this year she will be back on
stage at the Sundukian Theater, to play
the title role in Brecht’s Mother Courage.
“This is a dream come true for me,” she
commented. To Kocharian, teaching
proved to be another source of much
happiness and joy. “My students at the
Yerevan Fine Arts and Theater Institute
and the Pedagogical Institute gave me
life,” she said. Talking about her teaching
years and her students was a very
nostalgic moment for Kocharian. She
spoke about the guilt she felt for leaving
her students when she resigned
from her teaching post. She said she
even wrote a play about a similar scenario
– only in her play the students
were able to get their teacher to return
to them.
At this point in the conversation, Kocharian
told me about a truly joyous
moment in her life: her reunion with
Ara Manoukian, a fellow actor, in 1994.
Before coming to the States, Manoukian
and Kocharian performed in Europe for
a couple months. They continued acting
in America and even performed for what
was then a small Armenian community
in Colorado. Manoukian finished Ghaplanian’s
theater program in Yerevan and
has been seen in many plays and films
in Armenia. “To this day Ara and I still
don’t know what kind of force brought
us together,” Kocharian said. “But what
I can say is that Ara gave me a will to live
again.” Kocharian credited Manoukian
for the fact that she is still around and
that she is still creating. “I had cancer a
few years after we arrived in the States.
We lived through many troubles,” she
recalled.
In the mid 1990s, it was suggested to
them that they begin a television program.
The rest, as they say, is history.
Kocharian and Manoukian went back to
college, got certified as producers, and
began their new careers in the fledgling
world of Armenian-American television.
“It was on April 3 of 1996 that our first
program aired,” Kocharian remembered
and proudly stated that “Ardzagang” has
Above: Ara Manoukian
and Karine Kocharian.
Right: Karine
Kocharian. Below:
Kocharian and
Manoukian’s many
characters.
been on for 12 uninterrupted years. “Ara
is in charge of the filming and I write
the texts and programs,” Kocharian explained.
The show covers topics ranging
from culture and education to religion
and politics, and features profiles of and
interviews with cultural leaders, clergy,
and politicians.
“For the past two years I have also
been working for Voice of America,” Kocharian
said. “I prepare programs which
I send to Washington and from there
they get sent to Armenia.”
Karine moved on to talk a bit about
politics and the relationship between
Armenia and the diaspora. “When Armenia
was closed to the diaspora, that
same diaspora cherished Armenians
from their motherland,” she said. “Then,
when Armenia first opened up to the
diaspora, something similar to animosity
ran amongst everyone. Now it is my
opinion that after getting to know each
other better, the diaspora and Armenia
are once again united.”
Kocharian added that it is the specific
mission of “Ardzagang” to better investigate
the differences between Armenians
of various countries of origin, to help
us see each other in a more informed
light, and ultimately strengthen the ties
that bind us. “Healthy criticism is a good
thing,” Kocharian said. “But there are
times and situations when we have to
have a more constructive attitude rather
than a judgmental one.” It is to this
vision that Kocharian and Manoukian
wish “Ardzagang” to ‘contribute.
“‘Ardzagang’ is television for our diaspora
here in and near New York and is
about our diaspora in New York,” Kocharian
said and added, “We cover everybody,
no matter what their political associations,
no matter what their religious
denomination. We treat everyone fairly.”
Since the launch of the program, “not
once have we had a rerun,” Kocharian
continued. “Recently there was a flood
and we lost almost all our equipment. Yet
even then, our programs did not have a
break. After all, ‘Ardzagang’ is like a child
to us!”
f
C9

Program Grid 14 – 20 July
USArmenia is a 24-hour broadcasting station specializing in the full spectrum of HD-quality Armenian
programming.
Located in Burbank’s famed media district, our headquarters comprise 15,000 square feet of studio
space and production facilities, in addition to 40,000 square feet of offices.
Our programs are broadcast locally on Charter Cable’s Channel 286, and nationwide on Global Satellite
117 and through the Dish Network, to a viewership of over 100,000 households.
Our broadcast lineup consists of original programming produced both locally and in Armenia. It
includes local, national, and international news, news feeds from Armenia four times a day, as well as a
broad range of proprietary talk shows, soap operas, reality shows, documentaries, and feature films.
USArmenia holds exclusive rights to the Hay Film Library, a collection of hundreds of Armenian- and
Russian-language movies released since 1937. To date, more than 550 titles in the collection have been
restored and upgraded to HD quality.
USArmenia works in conjunction with the Armenian Reporter, an independent English-language weekly
newspaper with a circulation of 35,000 across the United States.
For timely and highest-standard local and national news coverage, USArmenia maintains a mobile HDproduction
unit in Southern California and a reporting team in Washington
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Space matters
John Halajian’s
riveting account of
lunar exploration
by K. N. Mouradian
Moon Stories: A Roadmap to Lunar
Exploration and Beyond is the last
book written by John Halajian, a
pioneering engineer and an expert
on Armenian architecture died last
year.
As with his previous works
– like 2006’s Armenian Church Architecture:
From Dormancy to Revival
– Moon Stories reflects the
author’s expansive knowledge of
multiple aspects in the sciences
and arts. Halajian writes his stories
as a quest to understand the
moon, and pays homage to the unsung
heroes he worked with while
serving as a technical consultant
to NASA during the peak lunar-exploration
years of the 1960s.
Halajian begins with a chronology
of events that led to the photometric
mapping of the moon. The
ensuing narrative is as much a
scientific account as it is a human
story, and unfolds the trials as
well as the excitement and humor
of the uncharted journey. During
the course of the moon stories, the
journey itself becomes the destination,
and the author conveys how
events came together, through either
coincidence or fate.
The book also depicts the means
by which discoveries are made and
transformed into new technologies.
The antithesis of the book may be
initially viewed as the post-lunarlanding
days, and the premature derailing
of many lunar research programs.
But further reading offers an
optimistic view of the reinvention
of ideas, from the mapping of the
moon to that of our own planet.
Specifically, the author’s invention
of the first computer-compatible
digital imaging system to map the
“integral brightness,” polarization,
and color of the moon inevitably
led to the evolution of the digital
camera we use today. As the book
approaches its final chapter, the author
becomes more philosophical,
touching on human origin and destiny.
Moon Stories is a must read for
those with an appreciation of the
sciences and a sense of adventure.
Halajian was the co-inventor
of a version of the digital camera,
which he developed to map the
moon. He is also known as a writer
of essays on a variety of subjects
including history, science, religion,
architecture, and music. He built
his own house in Long Island, New
York, where he lived until his final
days with his family. During the
latter part of his life, Halajian lost
the use of his arms and legs following
spinal-cord surgery. However,
with the help of an energetic support
team of caregivers, friends,
and family, he was able to channel
his knowledge and creative ideas
into books.
The recent revival of the lunar
exploration program on a global
level is a tribute to the author
and his pioneering peers. Halajian’s
moon stories are an important
link in the continuity of new
lunar discoveries and innovative
technologies.
Technical papers and reports
written by the author on photometric
measurements of simulated
lunar surfaces and other related
lunar topics can be found on the
NASA Technical Reports Server at
ntrs.nasa.gov/.
f
Moon Stories: A Roadmap to Lunar Exploration
and Beyond
By John Halajian. Tate Publishing, 2007.
Available at abrilbooks.com, amazon.com,
and other booksellers.
John Halajian’s last
book, Moon Stories
C10 Armenian Reporter Arts & Culture July 12, 2008

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Remembering Harry Barba
by Christopher Atamian
He believed that writing should
instruct and elevate the soul. He
turned out finely crafted, oldfashioned
realist prose. And he
spent much of the latter part of
his life concerned that he and his
writing had already been forgotten
by the general public. Noted
Armenian-American writer Harry
Barba died on December 4, 2007,
at the age of 85.
A Pulitzer Prize finalist for his
1985 novel Round Trip to Byzantium
and an accomplished shortstory
writer, Barba belonged to a
pioneering group that helped pave
the way for succeeding generations
of Armenian writers in the
United States. Barba tackled issues
of ethnicity and assimilation, perhaps
in a more indirect but no less
important manner than his more
famous contemporaries William
Saroyan and Marjorie Dobkin.
Barba belonged to a generation
of Armenian-American writers
who often lived their ethnic identities
half-in, half-out, and who,
for whatever reasons, occulted
their own and their characters’ Armenian
roots. Another successful
Barba novel, For the Grape Season
(1960), introduces readers to a
group of seasonal grape pickers
who move to a remote Vermont
valley and are never explicitly identified
as Armenian. Rather, we are
led to believe that they are Tatar
or Iranian, or simply from some
nebulous genetic starting point in
the Caucasus.
Barba belonged to a
pioneering group that
helped pave the way for
succeeding generations
of Armenian writers in
the United States.
In Round Trip to Byzantium, an
American Fulbright professor
travels to Syria to teach English
literature. At one point, a female
student is dismissed by her Arab
classmates as “an Armenian.” Later
on, the main erotic interest in the
book is a mixed Armeno-Byzantine
Lolita character who could have
walked straight out of a Middle
Easternized version of Nabokov’s
imagination. Once again, however,
a Barba protagonist, in this case
the professor, is never identified
as Armenian, although he is obviously
based on the author himself.
And in the racy short story “Love
in the Persian Way,” the oversexed
teenage protagonist, who makes
a favorite pastime out of bedding
every female in his household, also
has an indeterminate ethnic identity.
The orientalized, the exoticized,
the repressed Other: all these
things haunt Barba’s prose like
ghosts from an ethnic past, clawing
at the edge of page and story,
waiting to come out of hiding and
declare themselves for who they really
are. But Barba – who was born
Nahabed O’Hanessian – is relevant
to the general public as well. His
insistence on “socially functional
writing,” which posits that literature
has both a redemptive and a
moral value, is certainly a powerful
if somewhat out-of-vogue viewpoint
these days. And some of his
short stories, such as “The Man
Who Didn’t Want to Box Muhammad
Ali” and “The Plum Tree Plunderers,”
are simply outstanding.
It’s good to be
reminded of literature’s
redemptive powers.
It’s good, as well, to
read well-crafted and
sometimes salacious
prose.
In the end, it’s good to be reminded
of literature’s redemptive
powers. It’s good, as well, to read
well-crafted and sometimes salacious
prose. Finally, it’s good that
we have had people like Barba, for
whom writing and teaching, along
with family life, represent a raison
d’être unto themselves. Thanks in
part to Barba and his generation,
those ghosts from the Armenian
past have finally made their way
onto the page in bold letters, jinns
sprung from the bottle, never to
return.
f
Armenian Reporter Arts & Culture July 12, 2008
C11

C12 Armenian Reporter Arts & Culture July 12, 2008