Marcello Mastroianni in
"Divorce Italian Style" (1961)
❖❖❖
IN THIS ISSUE TOURIST
RESTAURANTS AND TOURIST
TRAPS By John Mariani
NEW YORK CORNER
LOVE AND PIZZA
CHAPTER TWELVE
By John Mariani
NOTES
FROM THE WINE CELLAR
AN INTERVIEW WITH
FRANCIS FORD COPPOLA,
Part Two
By John Mariani
❖❖❖
To
hear an interview with yours truly by Tom Farley
on his show "What Matters Most" about the
future of restaurant after the pandemic ends,
click the picture to the left.
❖❖❖
TOURIST
RESTAURANTS
AND TOURIST TRAPS By John Mariani
It is a constant
and annoying balk by people who have never eaten
at a well-known restaurant that the reason they
avoid it is because “it’s full of tourists.”
Which
is fine with me, because it leaves more room in the
restaurant without sitting next to someone whose
snobbery is based on ignorance. Such people insist
that the appearance of a large number of
tourists—which implies vast hordes of loud, badly
dressed people just off a tour bus with pre-arranged
meals—is reason enough to avoid such places. The
further assumption is that such people lack taste or
discernment and only go to such restaurants as
curiosity seekers or to say they’ve been to them.
Which may well be true of many people. But the same might be said
about the Louvre, the Vatican, the Statue of
Liberty, the Grand Canyon and the Parthenon. Of
course, they’re overrun with tourists, because they
are some of the most important monuments in the
world. Who would take a trip to Venice and not cross
over the Bridge of Sighs or go to China without
trekking over the Great Wall? Has anyone been to New
Orleans and not eaten beignets at the ever-packed
Café du Monde?
The same snobs—who I guarantee
miss out on a lot of the world’s wonders, as well as
great food—flippantly say that restaurants that
cater to tourists dumb down their food and service
in order to get as many people in and out the door
as possible. This is certainly true of what is
called a “tourist trap,” about which I shall say
more in a moment, but the virtues of a great
restaurant with a critical reputation, be it from
the Michelin
Guide or the local newspaper critic (or even
me), are manifested in the consistency of the food
and service. It does not vary, certainly not from
guest to guest, although there are some
misguided restaurant critics who insist some
restaurants have cooks who make better food for
critics than for the 99.9% of the people who eat
there day and night. For the record, some chefs,
upon realizing a critic is in the dining room, will
make sure the kitchen takes a little extra care with
Table 14 that night, but to suggest that the other
120 meals served that evening are in any way
inferior is sheer nonsense.
The reason the world’s most
celebrated restaurants in terms of cuisine and
service are consistently at the top of the 10 Best
lists is because they are, not
because they attract tourists. On any given evening,
I would guess that the clientele at Le Bernardin in
New York, Da Fiore in Venice, Le Grand Véfour in
Paris, Noma in Copenhagen, Mugaritz in San
Sebastián, Steiereck in Vienna, Benu in San
Francisco and others is always 85% tourists, perhaps
higher. So eliminating those restaurants from
consideration for that simple fact is keeping snobs
from enjoying some pretty wonderful meals and
experiences. What, then, is a “tourist
trap,” as opposed to a restaurant that has a large
tourist clientele? The operative word is, does this
restaurant cater
to a tourist crowd? Obviously places like Guy
Fieri’s and Giada de Laurentiis’s restaurants,
national steakhouse chains and Cinderella’s Royal
Table at Disneyworld plan everything down to the
last detail to appeal to long lines of tourists, who
may or may not expect the food and service to be
first-rate but instead go for the experience and
maybe even a sighting of a celebrity, or at least a
Disney character. Traffic
flow alone is a science at such places. To each his
own. In years past, many European countries had
laws that required restaurants to post a “tourist
menu” on their windows that was a set meal at a
special set price, with service and tax included.
Often that meant smaller portions and a carafe of
house wine or dishes made from less costly
ingredients. Believe me, when I was a traveling
student such menus were revelations to me, opening
up my palate to everything from blanquette de
veau in a Paris train station to a delightful
pasta dish down an alleyway in Rome.
Las Vegas restaurants are
something of an anomaly, for while the city is home
to some of the finest restaurants in America, with
famous chefs’ names on the door, those chefs are so
rarely there to oversee the food and service that
they may not show the same consistency as the
originals on which they are based.A few
thrive only because high rollers are given full
comps by the casinos to dine there. Of course,
this is also true of celebrity chef restaurants
around the world when the chef in question has ten
or more branches as far away as Singapore and Dubai,
where the ingredients will always be different. Then
there’s Rao’s, a branch of the original twelve-table
Italian-American eatery in Harlem that’s impossible
to get into without knowing someone who knows
someone; no one goes there solely for the
run-of-the-mill Italian fare. In Las Vegas, however,
those twelve tables have been increased to 200
seats—open seven days a week, with happy hour—so
it’s no big freakin’ deal to say you’ve eaten there.
It is also true that some
restaurants with legitimate reputations have been
overwhelmed by tourist crowds, causing the kitchen
and service staff to get the food out of the kitchen
with as much dispatch as possible. The famous
restaurant Botin in Madrid—which Hemingway called
the “best restaurant in the world” —has had 400
years to perfect its roast pig and baby lamb, but
much of the rest of the food
is mediocre and you may be rushed in and out, if you can
secure a reservation at all. Such a
less-than-convivial experience can also be the case
at very popular places like Henne in Berlin, Tadich
Grill in San Francisco, Antoine’s in New Orleans,
Peter Lüger’s in Brooklyn and other places around
the world.Still,
the food can be very good.
Then there are the snobs who
decry famous restaurants’ seating policies, whereby
it is assumed there are “A” tables, then all the
others, with tourists shunted off to imagined
Siberias, not least the dreaded room upstairs. Such
snobs would prefer never to go at all to Galatoire’s
in New Orleans (right)
rather than risk not getting a table in the front
for Friday lunch; or be led upstairs, past the
regulars, at Brasserie Lipp in Paris (left), Babbo in
New York or Harry’s Bar in Venice. Which means that
the food never really has anything to do with their
decision to stay away. Given the
prejudices of those who eschew restaurants
frequented by tourists—and don’t for a minute think
there’s not a racist tinge in remarks like, “Oh, the
place is full of Chinese and Japanese tourists”—one
wonders if they get hoist with their own petard by
recommending those “secret places” the critics don’t
write about. I can assure you, there are no such
places: it is a critic’s job to review every
restaurant of note, and, increasingly, the food
media have been assiduously covering eateries and
holes-in-the-wall with increasing fervor. But is the
food snob not helping to ruin his favorite place by
telling all his friends how fabulous it is? If you
want to keep it free from tourists, then you better
damn well not tell your out-of-town friends about
it.
❖❖❖
NEW
YORK CORNER
By John Mariani
LOVE
AND PIZZA
Since, for
the time being, I am unable to write about or
review New York City restaurants, I have decided instead to
print a serialized version of my (unpublished)
novel Love
and Pizza,
which takes place in New York and Italy
and involves a young, beautiful Bronx
woman named Nicola Santini from an Italian
family impassioned about food. As the
story goes on, Nicola, who is a student at
Columbia University, struggles to maintain her
roots while seeing a future that could lead her
far from them—a future that involves a career
and a love affair
that would change her life forever. So, while
New York’s restaurants remain closed, I will run
a chapter of the Love and Pizza each
week until the crisis is over. Afterwards I
shall be offering the entire book
digitally. I hope you like the
idea and even more that you will love Nicola,
her family and her friends. I’d love to know
what you think. Contact me at loveandpizza123@gmail.com
—John Mariani
To read previous
chapters go to archive
(beginning with March 29, 2020, issue.
LOVE
AND PIZZA
By
John Mariani
Cover
Art By Galina Dargery
CHAPTER
TWELVE
“I got passes!” Catherine screamed, bursting
into her dorm room, where Nicola was napping
one early spring afternoon.
“To what?” “Duh! To
Fashion Week! Middle rows, but we’re in, two each
day for two days.”Catherine did a ridiculous strut around the
room shouting “Yes!”
then said to the air, “Thank you, thank you, thank you,
Mommy!”
Then Nicola remembered what
she’d promised to do. “Shit,” she said, “I forgot
to ask my father for passes!
Damnit!”
Catherine, still ecstatic, said, “No problem. We
won't need them. We’ve got these.”
“Yes, but what about Jenny,
Suzanne and Mercédes?You only have four passes.”
“Oh, Jenny won’t really care,
and I guess we’ll have to draw straws or flip a
coin.”
“Jeez, I’d feel terrible if one
of them missed it," knowing that Jenny said she'd
no interest in the shows. "Look, I
screwed up. I won't go.”
A look of mock horror came over
Catherine’s face. “Oh, no-no, Nick, I love those
girls but you’re by far the most fashion
conscious, with your background and everything.I
really want to be with you at those shows.”
“Well, if I go to one show one
day, Mercédes or Suzanne can go with you the other
day.”
Catherine pouted like a child
for a moment but said, “Che sera
sera,” recalling the title of an old hit
song by Doris Day.“Whatever will be, will be.” Catherine
seemed resigned to somehow fix the arrangements
but the shows were coming up the following week,
so she forced herself to think about the critical
question of what she would wear.
She wasn’t quite sure whether
it was tacky to wear the clothes of the designer
whose show she was attending, and, although the
models would be showing fall fashions, it was now
March, one of those ridiculous in-between seasons
when you can’t really wear spring clothes and
don’t want to show up in that winter’s clothes.
“Nick,” Catherine said,
standing up and sticking her chin out.“We
have obviously not taken Italian fashion seriously
enough since we got here. It’s time
to fix that. Tomorrow we go shopping for things to
wear at the shows.”
Nicola did not put up a battle.
Tomorrow was Friday, when no one had classes, and
there were a few sales in the better stores.
“I guess I have to tell the
other girls right now, then,” said Catherine,
wondering why something so wonderful had to be
such a bummer.But, as it turned out, Suzanne had two
overdue mid-term papers to bang out and couldn’t
possibly break away to attend a show.Catherine
tried seeming to be very sorry but was actually
glad it would be Mercédes, who, being Argentinean,
showed considerable Latin style in the way she
dressed.
The next day, as soon as the
stores rolled up their corrugated metal doors, the
three American women went prowling, first to some
of the moderately priced stores like Max Mara and
Benetton, both near the Duomo, then, emboldened by
having each bought outfits by one o’clock, decided
to cruise through the high fashion shops along the
Via Montenapoleone and Via della Spiga—Ungaro,
Armani, Pucci, Versace, Gucci, Loro Piano, Roberto
Cavallo and the brand new Mariella Burani—skipping
entirely the French designers on those same
streets.
The girls went without lunch,
already fearful they had gained weight since
arriving in Milan, and by four o’clock were
exhausted.Catherine
overbought and Nicola and Mercédes had to carry a
couple of her packages. “None of it will go to
waste,” said Catherine, trying not to seem too
ridiculous after purchasing three pairs of shoes,
two handbags, and one Versace outfit she hadn’t a
clue as to where she would wear it back home.
Mercédes
went for bright colors and came away with a
beautiful fuchsia blazer and striped slacks.Nicola,
without the money to buy what she’d seen on Via
Montenapoleone, had purchased items she knew she
would wear again and again, even if they seemed a
bit too high fashion for Belmont.Like
her grandmother, she eschewed anything black,
instead buying a gorgeous white and navy blue
dress cut on the bias—a style that she could see
took expert tailoring—which she matched with a
small handbag in a lighter blue with a gold chain
strap.She
also bought a couple of headbands—she loved headbands—and
a pair of striped espadrilles she’d get good
mileage out of.None of the shoes she liked could she
afford.
Back at the dorm the women
showed off their new clothes to the other
students, then Catherine offered to take Jenny,
Suzanne, Mercédes and Nicola for drinks at the bar
of the Grand Sforza Hotel, recently opened in a
renovated 15th century palazzo.
“It’ll give us a chance to
break in the new duds,” said Catherine, headed for
the shower. “Let’s meet in one hour.” An hour and a
half later, the women, dressed to be devastating
and with somewhat more make-up than was usual for
them, sat in the swank bar lounge at the hotel,
sipping perfectly made negronis, martinis and
Camparis—the fact that none of them was twenty-one
made no difference in Italy—and nibbling on the
salted nuts, potato crisps and olives set on the
table and frequently replenished by a succession
of young waiters in white jackets, who were eager
to get a closer look at the five attractive Americani. There
was no nebbia
that evening, but there was a scent in the
city air that promised spring was finally on its
way.The
women raised their glasses and said, with fluent
authority, “Salute!”
to which Nicola added, “Cent’anni!
May we all live to be a hundred and come back here
for an anniversary dinner!”
“Even if we’re on walkers or in
wheelchairs!” added Jenny.
By this point in their Italian
sojourn, nearly every wistful moment of
homesickness had left them, and they’d all come to
feel the marvelous contentment of knowing a
foreign city well enough always to recall it with
insight and con
amore, knowing they would return to renew
those feelings in the years ahead, perhaps with
husbands or children along. Each had acquired
enough Italian to cope nicely in most
situations—Jenny and Suzanne had taken a basic
Italian class back at Columbia—and the feeling of
being foreigners regarded as alien by the Milanese
had by now evaporated into a cordial affection for
these smart young women from I Stati
Uniti who were so truly eager to absorb the
best the city had to offer them. In
the
piazza, the majestic Duomo, encrusted with spires
and buttresses and hundreds of statues offering
their stony benedictions to the great city, glowed
in the anchored lights from below and from a full
moon overhead that signaled the official arrival
of spring that very day. “Let’s drink to the best idea
we ever had,” said Suzanne, “to Italia!” and they
did, proud of what they’d accomplished in their
lives back home, in their studies, and in their
embrace of the rich culture of Milan.And
at that moment, Suzanne, who’d always thought of
going into politics now began to consider pursuing
a career as an ambassador, perhaps to Italy
someday. Jenny,
too, who’d always had an interest in the somewhat
narrow study of archeology in the Midwest, now saw
the opportunities for such research in Italy to be
immeasurable.Mercédes, in pre-med, gave no thought to
someday practicing in Italy, but in visits with
doctors and to hospitals in Milan she had come
away impressed with the tender degree of caring
and time the staff spent with their patients, an
approach she found so often lacking in United
States and South American medicine, where the
profit motive and insurance seemed to drive every
decision about a patient’s care. Catherine,
even more than the others that night, seemed
blissfully adrift, giddy to be away from the life
of privilege that she’d found stifling and empty
of any purpose other than sustaining itself.For the
time being Catherine was keeping the future at
bay. Nicola, enjoying the last sip of her
Campari and soda, was smiling, though more silent
than usual that evening. “What’s with you tonight?” asked Catherine. “Oh, nothing, really.I was
just thinking that in so many ways everything here
is so beautiful—the art, the clothes, the food,
the people. Look at this room, this glassware,
these waiters!I guess I’m feeling a little detached from
where I came from, and that bothers me.I owe
my family so much, but sometimes I think that
I’ve, oh, I don’t know, outgrown them.The
Bronx is not anything
like it is here, Catherine, and I’m beginning to
realize just how different it is.I mean,
I’ve always thought of myself as an Italian girl
and have been very proud to also be an American.While
I’m here, though, I feel somehow closer to”—she
waved her hand in front of her—“all this.I never
thought I’d feel this way.” Catherine
hugged her friend and said, “Hey, Nick, you just
promised we’d all live a hundred years. You’ve got
plenty of life to live on both sides of the
Atlantic.Don’t
look so deeply into everything. Come on: la dolce vita!
And what is it? Il
dolce far niente? She took a sip of her negroni and looked
directly at Nicola. “You know what you need?” she asked. “What doI need, Catherine?” “You need to have a fling with one of these
Italian guys. A big, juicy, hot fling.It’ll
clear your mind.” “That’s
really what you think I need?” asked Nicola,
wondering how her friend could be so simplistic.“I
haven’t seen you have your big fling yet.” “Hey, I’m coasting here,” said Catherine.
“I had enough to last me a while back in New York.My head
is as clear as it’s going to get, at least for
this semester.Not that I’m against having a fling over
here.Shit,
I’m surprised it hasn’t happened yet.” Nicola shook her head and said, “I love
you, Catherine, especially when you’re being
completely carefree.” “Well, then, here’s to being carefree!” They
clinked glasses and Catherine called for the bill,
which she paid, leaving a huge tip.
AN INTERVIEW WITH
FRANCIS FORD COPPOLA,
Part Two By John Mariani
(To read Part One, click)
Was
there a time when the running of the winery
took precedence over your activity in
filmmaking?
Well, a big
part of filmmaking is the writing, and later
the editorial phases, which are performed
alone, so in the natural rhythm of the work
it was possible to do both.
On your movie sets
did you ever have the kind of lunch breaks
that the “spaghetti westerns” director Sergio
Leone was famous for—the full Italian meal
with wine?
Yes, we did turn to
the European tradition of serving wine during
lunch of our film crews.
Eli Wallach, Sergio
Leone, Clint Eastwood and Lee van Cleef dining
at Al Moro in Rome during the filming of The
Good, The Bad and The Ugly (1966).
Since the winery was
funded by profits from The Godfather movies,
did the winery become a major profit maker for
you and help fund the next films?
When I was young, I
was very poor and realized that if I wanted the
independence to make the moves I dreamt of, I’d
need to be able to finance them myself. However,
everything I did to try to make money,
investments and such, tended to lose money, so
at one point I just decided not to worry so much
about it and just do the things I loved. It
turned out those were storytelling, writing and
publishing, adventure and travel, and so quite
naturally I found myself in the magazine
business, film business, hotel and resort
business and food and wine business. All areas
where the most important criteria are
authenticity, quality and pleasure; those three
ideals guide us in everything we make today.
Why do you make such
a wide array of wines rather than concentrate,
as do Italian wine producers like Angelo Gaja
and Piero Antinori?
It has to do with the
way my company evolved, and unlike Gaja and
Antinori, who are part of great historical wine
families, I just kept following my instincts and
they led me to make certain decisions, which
later, when I revised or incorporated, blossomed
into new variations on the theme. Marchesi Piero
Antinori (right)
famously says, “My family has been making wine
for 500 years.” However, in answer, I say, “The
Coppola family has been drinking wine for 1,000
years!”
Do you think your
wines are closer to Italian models and
traditions than to California models?
I think the goal of
Italian models was set more with their eye on
the great wines (and prices) of the Bordeaux and
Burgundy models. That’s where the idea of the
so-called “Super Tuscan” wines was born. I’d say
that for our wines with characteristics similar
to Tuscany the answer would be “yes,” and in
other great Italian regions such as Salento or
Sicily or Veneto our wines would be more similar
to those. California is a huge agricultural area
and has many areas similar to different regions
of the world. And the wines tend to follow the
terroir. In winemaking, everything follows the
quality and characteristics of the grapes.
How did the resort businesses
come about? As an adjunct of the wine
business?
Film directors tend to
fall in love with the locales they shoot in.
David Lean found it difficult to leave the
desert after filming Lawrence of
Arabia, and I felt the same about the
jungle after making Apocalypse
Now (left).
That led me to rush to Belize in the year it was
founded as an independent nation. I was
nostalgic about those fascinating jungle
locations and searched for something similar. I
found such a place, totally remote, and bought
it, thinking I’d found a place to write in. But
once I had fixed it up and made it comfortable,
of course I needed someone to watch and care for
it, and one thing led to another with me saying
“yes,” as I do more often than I should. And if
you say “yes” a lot, you’ll find yourself in the
hotel business.
In springtime grapes don’t need
that much tending, but, if this pandemic
continues, who will pick them in the fall?
We qualify as essential activity
and our very valued vineyard workers work
throughout the year. Grapes are like people; you
want to have different phases: new babies,
mature, elderly. There’s constant tending and
re-planting. Francis Coppola Wines have had
long-term contracts with the growers and
families over the years. There’s always been in
California a mutual respect, and the state is
blessed with great nations on either side. It
would be inconceivable not to take care of
people and antagonize Canada and Mexico.
You seem to have deliberately
kept your prices on the moderate side.
There are a couple of
new wine releases in the Gia line (below)—a
Sangria and an orange wine. Of the seven or
eight companies larger than us, Kendall-Jackson
underprices us somewhat. But there have been so many changes in the business and
distribution has become very regulated by the
government. The distributors and retailers grow
larger and larger, so profits get squeezed.
How do you think the buying and
selling of wine will change in the future.Wine sales seem to be going off the
charts, but wineries are struggling.
We live in a house up a mountain
and I’m bringing only my fine wines up there.
Everybody in the country must be doing
that—buying expensive wines and storing them
away, or drinking them at home. The normal drill
of going out to dinner at
restaurants is temporarily suspended, so that a
glass of wonderful premium wine is a treat and
something you can do at home, so the whole
country is moving to higher premium wines. I
think that will continue into the future as wine
with meals becomes a more wonderful experience.
There is so much to know about wine and the
regions of the world and the best owners won’t
compromise on the excellence of their wines.
So have you retired from the
motion picture business?
I’m sort of retired. I feel blessed
to be with my family. Everyone wants to go home,
so we have to take care of our home. Every day I
sit and look at this beauty in the valley and
imagine what a film it might be. Remember,
Bacchus was the god of both wine and drama to
the Romans. [Vittorio] De Sica’s 1951] Miracle in
Milan is a good movie to watch right now
during the pandemic, about oppressed and poor
people in Milan victimized by the rich and the
police for their land but miraculously fly away
on broomsticks. So, here we sit, have dinner
together, watch movies and prize the stars in
the sky.
❖❖❖
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Modesty forbids me to praise my own new book, but
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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,
thedailybeast.com
"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
Meal.com.
"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:
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, ForbesTraveler.com
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." THIS WEEK:
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,
Robert Mariani,Misha Mariani, John A. Curtas, Gerry Dawes, Geoff Kalish,
and Brian Freedman. Contributing
Photographer: Galina Dargery. Technical
Advisor: Gerry
McLoughlin.