Virtual Gourmet

  January 23,  2022                                                                                            NEWSLETTER



Travel poster by Roger Broders, c. 1933


By John Mariani

By John Mariani

By John Mariani


By John Mariani


On this week's episode of my WVOX Radio Show "Almost Golden," on Wed. January 26 at 11AM EST,I will be interviewing Dr. Francis Iacobellis on the great cars of the 1950s.  Go to: The episode will also be archived at: almostgolden.


                        JAMES BOND'S TASTES
                                    Part 5


By John Mariani

       Moonraker was the third of Ian Fleming’s 007 novels, published in 1955 with a cover design (left) inspired by Fleming himself. The plot concerns Bond going up against an ex-Nazi named Drax, who is building a defensive missile for the British but in fact intends to use it as a nuclear bomb-delivering rocket to destroy London. (This was before the U.S. or U.S.S.R. had intercontinental ballistic missiles.) Although the novel was used as the basis for a South African radio broadcast in 1956 and a 1958 Daily Express comic strip, in fact, Fleming had written a screenplay adaption, but Moonraker did not become a movie until 1979, starring Roger Moore in his fourth outing as 007.
      While Bond eats and drinks his way through the book, it all takes place entirely in London, with no exotic locales (though the movie goes abroad, even into outer space).  At the time of the novel Bond is living in a Chelsea flat in Wellington Square (above), and—long before he acquired his Aston Martin in the Goldfinger film—he is driving a vintage Bentley, which he replaces, after winning £15,000 from Drax playing cards (Drax sneers, “I should spend the money quickly, Commander Bond.”), with a 1953 Mark VI in battleship gray with blue leather interior; cost: about £5,000.
      Mooonraker begins mundanely enough with Bond noshing on filet of sole, mixed salad with his own dressing, some Brie and a half carafe of white Bordeaux at MI6’s on-premises canteen.
      Things pick up when he joins his superior M at the latter’s club, Blades,  which is fictional but resembled Fleming’s own Boodles (below). (Drax is also a member of Blades.) M orders beluga caviar, deviled kidney, bacon, peas, potatoes and strawberries in kirsch. While Bond notes his “mania for really good smoked salmon,” he orders lamb cutlets—which, he declares, are “superb . . . the best English cooking in the world”—asparagus with Bearnaise and a slice of pineapple. With their dinner they drink Champagne and a half-bottle of claret. Oddly enough, Bond is brought an envelope of the amphetamine Benzedrine, which he takes a touch of with his Champagne in order to keep him wide awake when he plays bridge against Drax later that evening.
    Bond also becomes involved with Gala Brand, a Special Branch policewoman working undercover with Drax. After saving her from drowning, Bond takes her to dinner at the Granville (above, left), an old hotel on Saint Margaret’s Bay (demolished in 1966), for brandy-and-sodas, fried sole and Welsh rarebits.
      The filmed version of Moonraker used exotic locales widely, including Italy, Brazil, Guatemala and the United States, but showed little interest in food. However, when Drax, now an aerospace entrepreneur building a space shuttle,  invites 007 to his California mansion (actually filmed at the Château de Vaux-le-Vicomte, southeast of Paris, for the exteriors, and Château de Guermantes in Guermantes), he brings out afternoon tea, which he says is one of England’s “few indisputable contributions to the civilized world.” Bond, Fleming once wrote, hated
tea because he felt it made the British soft, so he refuses Drax’s offer.
      This was one of the many movies that Bollinger Champagne paid to have featured as Bond’s favorite. In Venice, Drax astronaut Holly Goodhead invites 007 to her suite at the Danieli Hotel, (left) where a bottle of ’69 Bollinger is on ice.  Even the monstrous character Jaws, with a steel trap for dentures, falls in love with a girl with braces named Dolly and opens a bottle of Bollinger with his teeth on board the space shuttle (right).
       Moonraker made a box office fortune, although it was the most extravagant Bond movie to date, one that robbed the audience of the kind of suspension of disbelief by being more sci-fi than spycraft. Moore seems more bemused about the plot than interested, and more than before his demeanor was more that of  a male model than someone "licensed to kill."





128 First Avenue

By John Mariani
Photos by Cassandra Wang


     Noreetuh, in Manhattan’s Lower East Side, is notable for a good number of reasons that have nothing to do with contemporary food media hype. First, it’s six years old and has managed thus far to survive the ups-and-downs, closures-and-openings of the pandemic; second, while originally it promoted its modern take on Hawaiian cuisine, it is now ever more inventive with what South Korea-born managing partner Jin Ahn (left) calls, simply,  “fusion,” incorporating a broader range of global influences (the name Noreetuh means “playground”); third, its commitment to gracious hospitality is antithetical to the noise and crush of similar small restaurants in downtown Manhattan and Brooklyn, where food and customers are rushed in and out; last, for whatever it’s worth these days, Noreetuh is on the Michelin Guide’s Bib Gourmand list.
      Since my last visit three years ago, little has changed about the décor,  what there is of it. The restaurant is composed of two rooms, with the walls pinned with hundreds of small photos of friends, staff and regulars. The big wooden tables are spacious but the lighting is still too low to allow for easy menu reading and to see the wonderful color of the food presentations.
       China-born chef-partner Chung Chow’s résumé indicates where he got his finesse, with long stints at Per Se under Thomas Keller, then at Lincoln Ristorante with Jonathan Benno. Having grown up in Hawaii and Japan, Chow (left) has taste memories of Pacific flavors that are indelible, so that he takes a traditional Asian dish and refines it into something both beautiful and layered with flavors and textures one only finds at the most inventive sushi restaurants around town (at much higher prices).
     The wise decision for a table of four or more is just to order all of the musubi bite-size pieces or the appetizers and side dishes (I’ll get to the main dishes in a moment). Musubi are morsels of nigiri-like sushi (a platter of four is $20; by the piece, $5-$8), and there are at least 15 selections each night, including a very popular one made with spicy SPAM, soy-pickled jalapeños and soy mayo; even better is the SPAM with truffled mayo and shaved truffles. Luscious pork jowl comes with scallions and ginger puree; spicy salmon tartare is made more luxurious with a tobiko mayo; galbi is a hearty Korean marinated beef dish of braised short rib and hot, pickled kimchi;  lobster comes with an aïoli blended with the crustacean’s coral and a Japanese chili paste called yuzu kosho, while a Japanese scallop comes wrapped in nori with a bright, tangy lemon mayo. An appetizer of wild striped bass sashimi with cucumber, green almond and calamansi ($16) was wonderfully refreshing and velvety in its texture. Do order a bunch of the crunchy fried shrimp chips flavored with scallops, shrimp and a lobster stock ($8).
Our party of four had only just begun. Up next were the main courses, beginning with sea urchin cavatelli with shrimp and daikon radish ($32), then plump lamb ravioli scented with cumin and given shots of Sichuan and black pepper graced with shreds of coriander ($24). Mochiko fried chicken will win no points for good looks ($42 for 12 pieces; $25 for 6), but the addition of pickles, Hawaiian macaroni salad and King’s Hawaiian Rolls makes a strong case for this Polynesian version. Chow used to offer wagyu beef, but it doesn’t really make much sense to do so when the ingredients he melds are so flavorful on their own.
      Those same Hawaiian Rolls come as a dessert bread pudding with rum raisin and pineapple ice cream ($10), and there’s a straightforward brownie made with excellent chocolate and studded with Macadamia nuts and sided with delicious coconut ice cream ($10).
     Ahn is very proud of his wine list and knows every bottle’s pedigree and reason why it goes with this kind of food so well. About 20 are available by the glass ($12-$16), and there is an eclectic selection of beers, including two from Hawaii, as well as a dozen sakes.
     I can readily imagine that if I lived in the Lower East Side, I’d be eating at Noreetuh once a week, maybe get take-out another night. With so many choices and a changing menu, I’m not likely to run out of good reasons to go. 


Open for dinner Wed.-Sun.; brunch Sat. & Sun.



Note: NYC Health Dept. rules require both staff and guests 12 or older to  show proof they have received at least one dose of a COVID-19 vaccine.



By John Mariani


      Katie showed up wearing gray slacks, a well-cut dark blazer and a burgundy turtleneck. Kevin O’Keefe was in a pin-striped suit, pale blue shirt with a white collar and polka-dotted bow tie that fit the standard image of his profession. His graying hair was slicked back, his nose patrician. Katie was buzzed into his office, where O’Keeffe was already standing up.
         “Excuse the mess,” he said, “The big New York Art Show on the Pier is coming up and we’re a madhouse at the moment. So, how can I help you, Ms. Cavuto?  The Vermeer sale, right?  Not something that our little gallery is likely to handle, alas.”
         “Do you mind if I record our conversation?” asked Katie, taking out her notebook and mini-recorder.  O’Keeffe just waved his hand.
         “I know how rare it is for a Vermeer to come on the market,” Katie said, “and how unique for it to be a painting no one’s ever heard about.”
         “Well, that’s not entirely true,” said O’Keeffe. “There’s long been an assumption that there had to be other Vermeers out there.  We know that twenty-one of his paintings were sold in one lot back in 1696, but we only know some of the paintings in that sale. For all we do know, there might well have been paintings that are not in the official catalogs of his work, paintings that have stayed in someone’s collection and never been seen.”
        “Is that likely?” asked Katie.
         “Not very. It’s more likely many, if not all, were dispersed to many buyers. As you may know, Vermeer was not a very popular artist for more than two hundred years after he died. But we really don’t know where a lot of them might be, if they still exist at all.”
         “But you believe there are still Vermeers out there no one has seen?”
         “That is indeed likely. It’s even possible that there are Vermeers hanging somewhere in a museum or private home that have not been officially declared to be Vermeers or attributed to other, lesser artists.  Every artist’s style changes from his youth to his maturity, and the few early Vermeers extant don’t look very much like his later work, though there are hints of the mastery to come. Those are the ones forgers paint.”
         Katie herself had wondered about some of the early Vermeers she’d seen in books, like the derivative Diana and The Nymph (above) and Christ in the House of Martha and Mary (right), while the odd, off-kilter composition of Girl Asleep hanging in the nearby Metropolitan Museum of Art only hinted at the sublime style Vermeer would later develop.
         O’Keeffe went on: “There have been a few paintings attributed to Vermeer that were later discounted, and a slew of pre-war forgeries that fooled even the most erudite scholars. There’s one out there now that’s been debated back and forth for the last forty years.”
         “All right, so let’s say this new Vermeer—I believe it’s called The Chemist?—is the real McCoy.  Do you have any idea how much money it would bring at auction?”
         “Well, that depends on a number of factors: What condition is it in? Does it need to be cleaned, or wholly restored? The famous Vermeer that people call The Girl with the Pearl Earring in the Hague was just beautifully restored two years ago, and there’s a stunning difference in color, tone and texture that will have scholars busy re-thinking their estimates for years to come.
         “Now, if it is already in very good condition, the sky’s the limit with the way prices are going these days at auction. The market of Old Masters has never been more inflationary, and that’s trickled down to the contemporary artists, too, many of whom I represent. Of course, aside from its rarity, a Vermeer is an easy sell: His work looks good on collectors’ walls. Much better than a biblical painting of Judith holding up the head of Holofernes she’d just hacked off. Wouldn’t look good in the dining room.”
         “Not to seem crass,” said Katie, “but is it true that a van Gogh is the most expensive painting sold in this century?”
         “Here, let me show you,” said O’Keeffe, reaching for a large format volume on Vincent van Gogh and opening to a page with a tab in it.  “That is van Gogh’s Portrait of Dr. Gachet (right), which he painted the year he died.”
         The painting showed a mustachioed man leaning on a table with books and a plant, his hair red, his face a bilious yellow-green, the whole of it painted in quick, small strokes whirling around the composition.
         “Van Gogh’s sister-in-law sold it for 300 francs after he died, then it was later acquired by a gallery in Frankfort, which hid it from the Nazis when they took power. But the Reich found it and confiscated it, listing it among what Hermann Goering called ‘degenerate art,’ so the fat fool sold it to a Parisian dealer who in turn sent it to New York, where a buyer lent it to the Metropolitan Museum of Art for a while. Then in 1990 it was put up for auction at Christie’s and bought by a Japanese tycoon named Saito (below) for $75 million plus a 10 percent commission, so it came to $82.5 million. 
“Saito then shocked everyone when he said that he would be cremated with the painting, and you can imagine how that went over in the art world! Then he said he was just kidding. He also hinted that he’d give the painting to the Japanese government but he died just a few weeks ago and no one knows where in heaven’s name Dr. Gachet is. I’ve heard it might come up for auction this year, but who knows?”
         Katie was wagging her head. “Eighty-two five. And you think the Vermeer will go for more?”
       “Oh, absolutely. The history of the van Gogh painting had a lot going for it that distinguished it from other van Goghs, but the fact is, he painted 900 canvases; there are currently only thirty-four Vermeers.  If this is a thirty-fifth, you can only imagine what it might go for—certainly in excess of $100 million.”
         “Well, then,” said Katie, flipping closed her notebook and clicking off her recorder. “You’ve been very kind and I appreciate your time, especially during this busy week for you. Can I give you my card, and if you hear anything else about the Vermeer, give me a call?”
         “Absolutely,” said O’Keeffe. “My ear is to the ground.”
         Katie left the gallery and headed west to the Metropolitan Museum of Art on Fifth Avenue in order to get another look at the four Vermeers there, one, Young Woman with a Water Pitcher, acquired in 1879, the rest in the 20th century, the last, Study of a Young Woman, in 1979.
         Next she crossed the street to see the three Vermeers at the Frick Collection, purchased by Henry Clay Frick between 1902 and 1919—A Soldier and Laughing Girl, The Music Lesson and A Mistress and Maidservant (right) .
   By then, Katie’s appreciation for Vermeer equaled her professional interest in the project she’d embarked upon. 
She began to see the unique qualities of Vermeer’s mature style in the composition of a room suffused with light from a tall window and how a delicate quiet pervaded even those paintings, like The Music Lesson, in which there was more than one person. And, although she had never seen the famous Girl with the Pearl Earring, hung in The Maurishis museum at The Hague in the Netherlands since 1881, the similar cast of the eyes and smile of the Metropolitan’s Study of a Young Woman mesmerized Katie as no other painting ever had. 
There was a story behind the strange girl’s eyes, a mystery more luminous than the smile of the Mona Lisa, some key to the man who painted her. For Katie, that young girl, not Vermeer himself, was the Sphinx of Delft, as serene as the moment she was caught in the soft light of Vermeer’s studio.

To read previous chapters of ANOTHER VERMEER, go to the archive

John Mariani, 2016



By John Mariani


Now that the holidays are over, when sales of wines and spirits were at their highest, we have a lull until spring when many new releases hit the wine store shelves. Meanwhile, it gives me a chance to catch up with some fine wines I am enjoying right now with seasonal fare. Here are several.


SPOTTSWOODECABERNET SAUVIGNON 2018 ($235)—It’s a blockbuster, all right, but it’s also a canny blend of 86% Cabernet Sauvignon, 9% Cabernet Franc and 5% Petit Verdot, without Merlot. Founded in 1882, the estate has been farmed organically since 1985 (certified organic in 1992), now by second-generation sisters, Beth Novak Milliken and Lindy Novak, with 42 acres planted primarily to Cabernet Sauvignon. The tannins are softer than you might expect, but this is one California Cab I’d really allow to age for five years, if you can resist.


SMITH & HOOK CABERNET SAUVIGNON 2019 ($25)—If you’re not quite up to paying $235 for a Cali Cab, this one, from the Central Coast, will readily give you pleasure at a remarkable price.  It is sourced from vineyards of San Benito, Arroyo Seco, San Antonio Valley, Hames Valley and Paso Robles—AVAs that give it complexity, and it’s ready to enjoy right now. Smith & Hook also makes a moderately priced Reserve Cab from 2018 ($45) with a bit more ballast.


CHÂTEAU DE PEZ 2018 ($55)—If history and tradition figure into your wine preferences, this estate is the oldest in Bordeaux’s Saint-Estèphe, founded in the 15th century. In 1995 it was purchased by Maison Louis Roederer and, after improving the vineyards, was reclassified as a Cru Bourgeois Exceptionnele in 2003. Winemaker Nicolas Glumineau, who is also winemaker at the renowned sister property Château Pichon Longueville Comtesse de Lalande (2nd Classified Growth), has shown his skill in bringing de Pez to a higher quality level than it’s had in many decades. The 2018 is a classic blend of 49% Cabernet Sauvignon, 49% Merlot, 1% Petit Verdot and 1% Cabernet Franc and is a reasonably priced indicator of the flavors of the Médoc. Ideal with roasted meats.


MT. BRAVE MT. VEEDER MERLOT 2018 ($85)—The label is deceptively simple and bespeaks respected winemaker Chris Carpenter’s expertise with this single varietal after his work at Lokoya and Cardinale estates. Well before that he interned at Tenute Antinori in Tuscany and studied at the University of Stranieri, which I suspect gave him a notion that big red wines don’t have to be huge red wines. There are layers of aromas and spices here, proving that Merlot is not one-dimensional and merely likeable. The price tag is high but the wine deserves respect.


BONTERRA MERLOT 2019 ($16)—Bonterra has long prided itself on its organic grapes and is mightily devoted to becoming carbon neutral in the near future. This is a very soft Merlot, having undergone malolactic fermentation and aging for 18 months in French and American oak barrels, half of them new. It has a very pronounced fruit profile without being jam-like, and, if one wine or another can be considered clean and fresh, winemaker Jeff Chicocki has achieved that with this very well-priced Merlot.


RAEBURN RUSSIAN RIVER VALLEY CHARDONNAY 2020 ($20)—Russian River Valley, with its cooling nighttime fog, is producing more nuanced Chardonnay these days, and Raeburn’s bargain-price bottling, barrel fermented 75% in French & Hungarian Oak, half new, with 6 months sur lie aging. The alcohol level is just at the tip where California’s Chardonnays show their vibrancy, and the acid here is welcome. The vintage was not easy to produce, with wildfires in and around Sonoma County, a dry winter, dry and warm spring and long and even growing season, then a hot summer that “pushed the vines to deliver a small berry set, low yield and an early harvest.” It’s good and ripe and ready to drink right now.


PIPER-HEIDSIECK MILLESSIME RARE 2002 ($250)—Too many prestige cuvee Champagnes are way too subtle for my taste and much too dry. Piper-Heidsieck, first produced in 1785 and a favorite of the French court, has never been shy about its intensity, and this vintage cuvée raises the flag high. The marque has since the 1990s been highly promotional, being official supplier of the Cannes Film Festival and handing out its own awards to the world’s leading actors. A new winery was built in 1995 and the Champagne is more solidly knit in its Chardonnay and Pinot Noir elements than ever. The Rare bottle is also a gilded beauty. The cuvée has only been made nine times since 1976, so this is a special wine I saved for a special event with the birth of my fourth granddaughter



According to a new survey conducted by OnePoll on behalf of Woodbridge Wines, only 17 percent of wine drinkers swirl and sniff the beverage before drinking it.



 Any of John Mariani's books below may be ordered from

   The Hound in Heaven (21st Century Lion Books) is a  novella, and for anyone who loves dogs, Christmas, romance, inspiration, even the supernatural, I hope you'll find this to be a treasured  favorite. The  story concerns how, after a New England teacher, his wife and their two daughters adopt a stray puppy found in their barn in northern Maine, their lives seem full of promise. But when tragedy strikes, their wonderful dog Lazarus and the spirit of Christmas are the only things that may bring his master back from the edge of despair. 


“What a huge surprise turn this story took! I was completely stunned! I truly enjoyed this book and its message.” – Actress Ali MacGraw

“He had me at Page One. The amount of heart, human insight, soul searching, and deft literary strength that John Mariani pours into this airtight novella is vertigo-inducing. Perhaps ‘wow’ would be the best comment.” – James Dalessandro, author of Bohemian Heart and 1906.

“John Mariani’s Hound in Heaven starts with a well-painted portrayal of an American family, along with the requisite dog. A surprise event flips the action of the novel and captures us for a voyage leading to a hopeful and heart-warming message. A page turning, one sitting read, it’s the perfect antidote for the winter and promotion of holiday celebration.” – Ann Pearlman, author of The Christmas Cookie Club and A Gift for my Sister.

“John Mariani’s concise, achingly beautiful novella pulls a literary rabbit out of a hat – a mash-up of the cosmic and the intimate, the tragic and the heart-warming – a Christmas tale for all ages, and all faiths. Read it to your children, read it to yourself… but read it. Early and often. Highly recommended.” – Jay Bonansinga, New York Times bestselling author of Pinkerton’s War, The Sinking of The Eastland, and The Walking Dead: The Road To Woodbury.

“Amazing things happen when you open your heart to an animal. The Hound in Heaven delivers a powerful story of healing that is forged in the spiritual relationship between a man and his best friend. The book brings a message of hope that can enrich our images of family, love, and loss.” – Dr. Barbara Royal, author of The Royal Treatment.


The Encyclopedia of American Food and Drink by John F. Mariani (Bloomsbury USA, $35)

Modesty forbids me to praise my own new book, but let me proudly say that it is an extensive revision of the 4th edition that appeared more than a decade ago, before locavores, molecular cuisine, modernist cuisine, the Food Network and so much more, now included. Word origins have been completely updated, as have per capita consumption and production stats. Most important, for the first time since publication in the 1980s, the book includes more than 100 biographies of Americans who have changed the way we cook, eat and drink -- from Fannie Farmer and Julia Child to Robert Mondavi and Thomas Keller.

"This book is amazing! It has entries for everything from `abalone' to `zwieback,' plus more than 500 recipes for classic American dishes and drinks."--Devra First, The Boston Globe.

"Much needed in any kitchen library."--Bon Appetit.

Now in Paperback, too--How Italian Food Conquered the World (Palgrave Macmillan)  has won top prize  from the Gourmand World Cookbook Awards.  It is a rollicking history of the food culture of Italy and its ravenous embrace in the 21st century by the entire world. From ancient Rome to la dolce vita of post-war Italy, from Italian immigrant cooks to celebrity chefs, from pizzerias to high-class ristoranti, this chronicle of a culinary diaspora is as much about the world's changing tastes, prejudices,  and dietary fads as about our obsessions with culinary fashion and style.--John Mariani

"Eating Italian will never be the same after reading John Mariani's entertaining and savory gastronomical history of the cuisine of Italy and how it won over appetites worldwide. . . . This book is such a tasteful narrative that it will literally make you hungry for Italian food and arouse your appetite for gastronomical history."--Don Oldenburg, USA Today. 

"Italian restaurants--some good, some glitzy--far outnumber their French rivals.  Many of these establishments are zestfully described in How Italian Food Conquered the World, an entertaining and fact-filled chronicle by food-and-wine correspondent John F. Mariani."--Aram Bakshian Jr., Wall Street Journal.

"Mariani admirably dishes out the story of Italy’s remarkable global ascent to virtual culinary hegemony....Like a chef gladly divulging a cherished family recipe, Mariani’s book reveals the secret sauce about how Italy’s cuisine put gusto in gusto!"--David Lincoln Ross,

"Equal parts history, sociology, gastronomy, and just plain fun, How Italian Food Conquered the World tells the captivating and delicious story of the (let's face it) everybody's favorite cuisine with clarity, verve and more than one surprise."--Colman Andrews, editorial director of The Daily

"A fantastic and fascinating read, covering everything from the influence of Venice's spice trade to the impact of Italian immigrants in America and the evolution of alta cucina. This book will serve as a terrific resource to anyone interested in the real story of Italian food."--Mary Ann Esposito, host of PBS-TV's Ciao Italia.

"John Mariani has written the definitive history of how Italians won their way into our hearts, minds, and stomachs.  It's a story of pleasure over pomp and taste over technique."--Danny Meyer, owner of NYC restaurants Union Square Cafe,  The Modern, and Maialino.



FEATURED LINKS: I am happy to  report that the Virtual Gourmet is  linked to four excellent travel sites:

Everett Potter's Travel  Report

I consider this the best and savviest blog of its kind on the  web. Potter is a columnist for USA Weekend, Diversion, Laptop and Luxury  Spa Finder, a contributing editor for Ski and  a frequent contributor to National  Geographic Traveler,  and Elle Decor. "I’ve designed this site is for people who take their  travel seriously," says Potter. "For travelers who want to learn about special  places but don’t necessarily want to pay through the nose for the privilege of  staying there. Because at the end of the day, it’s not so much about five-star  places as five-star experiences." 

Eating Las Vegas JOHN CURTAS has been covering the Las Vegas food and restaurant scene since 1995. He is the co-author of EATING LAS VEGAS – The 50 Essential Restaurants (as well as the author of the Eating Las Vegas web site: www.eatinglasvegas. He can also be seen every Friday morning as the “resident foodie” for Wake Up With the Wagners on KSNV TV (NBC) Channel 3  in Las Vegas.


MARIANI'S VIRTUAL GOURMET NEWSLETTER is published weekly.  Publisher: John Mariani. Editor: Walter Bagley. Contributing Writers: Christopher Mariani,  Misha Mariani, John A. Curtas, Gerry Dawes, Geoff Kalish. Contributing Photographer: Galina Dargery. Technical Advisor: Gerry McLoughlin.


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