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Who's Afraid of Virginia Woolf? — Theatre Exile at Plays & Players
The answer to Edward Albee's facilely provocative question is: Anyone who isn't tops at the game being played.
At its finest, Albee's marvelous journey down a realistic rabbit hole, made entertaining by drink-fueled wit, interesting with its microscopic look at gossip and hierarchy in a small college town, and bitterly piercing by its forays into truth, fiction, privacy and the candor and thoroughness with which each is explored, is every bit the party to which Albee's experienced players George and Martha invite the uninitiated Nick and Honey.
Happy it is to say that Joe Canuso's production of "Who's Afraid of Virgnia Woolf?" for Philadelphia's Theatre Exile is Albee at his finest. With surgical precision, Catharine Slusar and Pearce Bunting take you for the ride of your theatrical life, never missing the chance to sharpen a barb, land an injuring salvo, escalate stakes, claim moral victory, or conspire in delicious advantage to overwhelm their unwitting guests, and each other, in a fierce contest to see who can insult or embarrass whom under the table. What else is there to do to alleviate boredom, self-loathing, and general loathing is a stodgy, routine university town, especially after musical beds has been played out?
Jake Blouch, in his second consecutive groundbreakingly magnificent performance — The previous one was a comic turn in Act II's "Unnecessary Farce." — is smart, urbane, educated, and competitiveness enough as Nick to keep pace, verbal punch for verbal punch, with the taunting George and helps to make Canuso's "Virginia Woolf" even more taut and stunning than the opening Slusar and Bunting's opening "Walpurgisnacht" scene promise it will be. Emilie Krause's Honey is the picture of a young person out of her depth but trying gamely, if unpreparedly, to hold her own, or at least make some points in conversation, as a fledgling minnow in a nest of particularly motivated, highly skilled, voracious barracudas. Krause's Honey, schnockered on brandy, doesn't quite realize propriety never existed long enough in George and Martha's abode to be thrown out of a closed, shaded window, and tries to be ladylike and sociable until knocked into reality by a truth she didn't want told coming to full and predatory light, truth being the equivalent of fresh trailing blood to George and Martha.
Canuso and cast excel at keeping things lively,and natural, until parlays, first between George and Martha, spreading next to the younger couple, intensify to the point of being shocking, perhaps self-consciously shocking, as they elevate into being unbearable in a way that fascinates you and compels you to witness the harrowing decimation with a combination of revulsion and glee. Slusar, Bunting, Blouch, and Krause are as up for any acting challenge as George, Martha, and Nick are ready for any assault or chink in an adversary's armor on which they can seize. "Who's Afraid of Virginia Woolf?" is rife with symbolism and social commentary that Canuso uses and makes clear, but above all and most admirably, the Exile production is a grand, fulfilling entertainment that thrills, delights, and amuses for every second of its three-hour running time. Slusar, Bunting, Blouch, and Krause amaze with their ability to hold you and make you wonder at their characters' behavior at the same time you're marveling at their realism and naturalness. Out of the 100 or so productions that have opened in Philadelphia this calendar year, or even this theater season, Canuso's "Who's Afraid of Virginia Woolf?" is, so far, the best, surpassing even Blanka Zizka's expansive yet intimate staging of Shakespeare's "Hamlet" for that accolade.
Intimacy is one of the keys to the power of Canuso's production. In the tiny Plays&Players theater, you feel like silent guests at George and Martha's venom fest. You can have the furthest seat from the stage, and Slusar's large, loud Martha will invade your personal space. While Bunting's George can make your jaw drop with his insights and droller, yet more poisonous, remarks, it's Martha, a bit in her cups and taking advantage of having company, who triggers the skein of skirmishes by her unveiled comments about George's potency and lack of ambition. Though laughing and seeming affably jocular, Martha lands the first blows, Slusar being blousily pleased with herself and entertained by her gibes while Bunting's George accepts her abuse benignly, yet with a twinkle in his eye of his angled head and a wry smirk that says, "I'm taking this for now, but you're going to get it, and when you do, ouch, baby, ouch, ouch!" Blouch, meanwhile, is a curious auditor, half amused, half dismayed, totally wondering if he has stepped in one of those situations in which one spouse takes advantage of a third party's presence to lodge complaints and broach subjects he or she avoids or ignores when the couple is alone. Of course, one gets the impression Slusar's Martha would be relentless on any and all occasions, but it's possible she and George barely speak when they are caught home together with no one to hear their gripes, with no one to "entertain."
I keep mentioning realism and naturalness. That's because they're the elements Canuso's production feeds on and which makes it so great. While "Who's Afraid of Virginia Woolf?" can be played for bombast or shock value, or even as a fantasy of a 2 a.m. after-party nightcap spiraling out of control, Canuso's cast endow their characters with ineluctable human traits, sensitivities, talents, and foibles. You always feels as if you're the witness to a verbal massacre conducted by two masterful generals who are palpable, accessible, and so concretely present, it's their flesh-and-blood mass that arrests and enthralls you. These are not outsized characters exaggerated for stage effect. These are genuine people who summon all of their well-stocked arsenal to attack and defend, one with gusto, the other with guile, one with bayonet thrusting, the other with a psychological weapons on slow release to cause more pointed, painful havoc. This is how George and Martha live, perhaps why they live. Nick and Honey can only watch, in horror or observational interest, until Nick, a sportsman in his own right and in possession of an intellect that allows him to impose some forceful licks, enters the fray as a tentative, relative amateur but with an eye towards the jugular and a taste for wounding, and wounding deep.
Honey is always the bystander who cannot quite wrestle with the champs, but Krause makes her just as authentic as Honey acts conventionally, makes sincere but lame defenses that George, Martha, or even Nick, can overcome with one tongue tied behind their backs, but who conveys the reactions, in sickness and in health, the everyday, decently comported, unexposed person would have to such intentionally vicious verbal violence. Honey tries to retain her best party manners in a way Krause makes deliciously absurd in its authenticity, When even Honey's dam must burst, and she tries to hurl abuse of her own, she is unequal to the task of holding back Martha or George or seriously shaming Nick. But Krause is simultaneously comic and pathetic, so she entertains while eliciting some pity. Not empathy. Not sympathy. Pity.
Which is a great deal more than George, Martha, or Nick earn. They may engender respect for their gamesmanship. They may garner fleeting moments of concern, possibly even mild sympathy, but no one among that trio, not even Nick, is a victim, and we relish seeing fur pulled and flying as Albee's story evolves from inebriated taunts, more embarrassing to the taunter than to the taunted, to all-out emotional war destined to weed out all but the most-steeled and calloused fittest.
For all its intensity, "Who's Afraid of Virginia Woolf?" is not a cavalcade of bitchiness and scarring retorts. Albee subtitles it "Fun and Games with George and Martha," and he laces his play with his acid, urbane, patrician wit that make its first scenes and several later passages archly funny, especially in Canuso's produciton. Slusar's Martha enters George's and her home laughing repeatedly, mostly because someone sang "Who's Afraid of Virginia Woolf?" to the tune of "The Three Little Pigs's" "Who's Afraid of the Big, Bad Wolf?" at a party thrown by her father, the president of a small New England liberal arts college, to welcome new faculty. Nick, from the biology department (although Martha always says he's from the math department), among them.
Slusar's infectious laughter runs the gamut from a full, unrestrained belly laugh to a breathlessly punctuating bray that says she, if no one else, appreciates her latest joke on bon mot, usually at George's or some absent faculty member's expense. The chuckling bray is heard several times in the Exile production.
Slusar's Martha is in a merry mood that contrasts which Bunting's dry indifference as George. Perhaps because she knows, ad George doesn't, that company is coming, and a game is afoot. When we meet them, George and Martha can share a moment of mutual fun and even conspire to offer a volley of jokes that are not directed at anyone and that both can enjoy. Albee establishes early that George and Martha each have ready, facile, literate wits and can brighten any room with their repartee. It's when their barbs have a purpose that one must beware.
To Canuso, Slusar, and Bunting's credit an mood of simultaneous intensity and humor is created from "lights up." Already drunk, but not addled or stumbling — Drinks are mother's milk to Albee characters and cannot touch George or Martha for bottles and bottles. — they seem to be having a decent after-party time in their dowdy '50s-style living room with mismatched sofa, chairs, tables, and stereo, none of it pretty or attractive although redeemed by numerous scattered built-in bookcases, most of which seem to be filled the green-and-cream bound volumes of The World Book encyclopedia circa 1960.
Martha is fulsome. She is festive, loud, chatty, and chattering as she recalls her favorite moments from Daddy's party and lets it drop casually that a young couple Daddy asked Martha to look after socially, is stopping by for one last middle-of-the-night drink.
George groans at the news. He is not as talkative as Martha. Yet. He just stands there, drinking one of two whiskeys, while Martha natters on, and he observes her, that sparking, waiting-to-pounce glint in Bunting's catlike eye beaming with intent, perhaps intent to kill..
Slusar is entertaining. Even when Martha's being abusive to George, the audience laughs with her and revels in her robust spirit and the indefatigable zest with which she amuses herself, dance records taking humor's place when Martha momentarily exhausts her verbal resources..
Though George would rather go to sleep, his curiosity as much as his impulses as a host/bartender persuade him to stay on hand and abet Martha in entertaining the neophytes.
Martha and George have been married for several years. It has not been a happy marriage, but each has ameliorated his or her lot, and the union persists intact. They have an intellectual as well as a social relationship. Each gets the other's references, no matter how arcane, and each can enjoy a good riposte or witticism.
The couple also has games they play, Beyond the obvious bout of one-upmanship that runs as a leitmotif through their marriage, they have fantasies. Martha doesn't quite dress up as a saucy French maid and lure George to conjugal ecstasy, but she does team with him to create fictions that each, in his or her authorial way, add to as time passes. Expanding or editing these fantasies involve rules George and Martha have agreed upon and which they alone know.
The fictions and fantasies and safer and more peaceful than the truth. They entertain. They soothe. They fill voids and relieve emptiness. They offer an outlet for narrative creativity, for artistry in crafting a life that is fuller than teaching history, being the wife of a professor and daughter to the dean, and whiling away nights reading, arguing, and fighting crushingly discernable boredom.
Martha and George are a couple by habit, and their partnering rituals include making up stories and building on them as if they were real.
Nick and Honey, it turns out, are also a couple by habit. Although 20 years younger than George and Martha, they are childhood friends who became high school sweethearts and were promised to each other in their teens, almost as if they lived in an age when marriages were arranged, and troths were committed at birth.
While Nick and Honey have a capacity to be friends with each other, Nick has outgrown Honey as his wife. He is ambitious. He eagerly accepts Martha's 2 a.m. invitation for drinks at their dump because he sees courting, or at least indulging, the university president's daughter, as a good career move.
Neither he nor Honey is quite ready for George and Martha's baiting style of badinage. Each grins wanly at they see George and Martha make sport of each other, Martha going for the vulnerable, George being more subtle and building up for a potent "gaslighting" that will work on Martha's mind and strike her to the quick. George isn't as possible to hurt, although he knows when he's being disparaged and notes when revenge will be most penetrating and morally lethal.
Nick is content to take in all of the cynical sourness. Even if George and Martha are appalling, he will have a great story to tell friends in the Midwest when he encounters them. George and Martha are, on a literal level, amusing, and Slusar and Bunting make their sparring hilarious with their alternating blatancy and coolness, Then a line is crossed. Honey is criticized. George knows another of Martha's games, "Seduce the Pretty Male Guest," which leads inevitably to what George jokingly but bitingly calls "Hump the Hostess." He informs Nick, more for his preparation that out of disdain or warning, he is the chosen contestant for these games. He more gravely shows signs of jealousy at Nick's ambition, virility, and sangfroid, and goes on the attack sensing the areas where Nick is most vulnerable.
Revealed confidences from Nick to George, and from Martha to Honey, set up the major conflagration that turns the party from a series of smart, smarting assaults to an ego-strewn battlefield that leaves no one unscathed and brooks no prisoner. One of the beauties of Canuso's production is this sad sequence is as realistic as earlier, more jovial passages, and leaves you a drained and awestruck as Albee's characters, only is more satisfying, more admiring way.
The genius of Canuso's staging, and his cast's performances, individually at as an ensemble, is everything looks as if it's roiling sequentially on the surface while Canuso and company have been simmering their effects and using all the ammunition Albee gives them in realizing this remarkably edgy and entertaining production.
All that is inherent in "Who's Afraid of Virginia Woolf?" emerges on the Exile stage, but you have the impression all you're seeing a stormy, emotional night unfold. It isn't so much that anyone acts with subtlety. Slusar's in particular is an all-out bravura performance. It goes back to that naturalness. Canuso and company are sly enough to ply their theatrical tricks without you seeing the seams. Slusar, Bunting, Blouch, and Krause are so real, and all in Albee's play moves so logically and inexorably to its conclusion, you accept all and watch in complete absorption and acceptance. You don't see a mere shoutfest unfold. You see life as one couple lives it. You see the eroding caused by a provincial college town that has an almost feudal hierarchy. You see the contempt familiarity breeds, whether it's from 20 years of marriage or 20 years of acquaintance that ends in ill-considered wedlock.
Intellect stays in the classroom at this school. The home is not an ivy-covered sanctuary. It's a den for vipers than descends into the dump Martha calls her domicile in imitation of Bette Davis in a 1949 movie, "Beyond the Forest."
Albee makes use of a lot of idea and symbols as he plots "Virginia Woolf." George and Martha are self-consciously named for the father and mother of our country. The university town is called New Carthage and shares the name of a city the Romans destroyed after its general, Hannibal, had the temerity to be a threat to the Roman emperors. It bodes doom and destruction for its denizens. Virginia Woolf lived and was successful and respected in a literary world that never slaked her depression. She died a suicide. Bunting takes great advantage of Albee facetiously calling his most benign character Honey. When he intones it, simply to address his guest by name, Bunting's George sound as if he's being familiar and flirtatious. His pronunciation drips the contempt George honestly feels and extends the game to Honey's court, one from which the serve will not be returned. It won't even be noticed.
Albee and Harold Pinter are the great games players of their generation. Games always figure in some way in Albee's texts. In "Virginia Woolf," the games are advanced but private. It is their revelation that exponentially escalates George's tactically nuanced siege on Martha and makes Canuso's production and Albee's play so thrillingly devastating.
As I've mentioned, it is Canuso's use of Albee's elements without emphasizing any of them but letting them work within a natural, ongoing, believable, well-paced, and well-measured framework that makes his production for Exile so brilliant and so delectable.
Artists are at work on the Plays&Players stage. Catharine Slusar is remarkable in the feline way she attacks at Martha. She is half sophisticate, half slattern, totally confident in the ability to joke or slash, totally free to say or express whatever she pleases, and totally tasteless in her choice of furniture and in her lack of self-censorship. Slusar always maintains Martha's spunk even as you see her worn down and reeling from some of the skirmishes she endures. Once she gets some claws into Nick and gleans some confidences from Honey, she can include them in her every-man-for-himself brand of parrying.
Slusar's laughter is infectious. She is adept at making you laugh at Martha while the character would assume you're laughing with her. Slusar's performance is all-encompassing and is one more hallmark in a distinguished career. Her Martha shows she can handle characters of size and scope and give them their full due while being entertaining and heartbreaking in turns.
Pearce Bunting is a master of control and manipulation as George. "Virginia Woolf" is a game, and he is its moderator and ringmaster. George may have bricks thrown at his head and have to retreat for bandaging and other repairs, but he is the fox, and Bunting shows him always on a vulpine watch ready to strike, testing that breech in one's defenses, finding that sore point and making one wish salt was the worst that was rubbed into it.
Bunting opens the production feeling a little weary, a tad partied out from the "do" at Martha's father's house. He will definitely have a whiskey or two, but he is not up for company. Nor does he particularly want to field Martha's gibes about how he's done nothing to take advantage of being the president's son-in-law or rising in academic ranks. George is happy with New Carthage as a sinecure, his salary and Martha's money being enough to suit him.
He looks like a man who lets Martha's hardballs roll right off his armadillo skin. But look at Bunting's eyes. Observe his posture. This is not a fox. That would be much too tame. This is a powerful giant, a polar bear or shark taking in all it must and then defending itself in a way that will make one sorry he or she came across or, worse, disturbed this lurking, hulking beast.
Bunting is subtle. He is disarming. Of course, Martha knows his talent for scathing, but her game is to invite his enmity. She wants to play and, as long as she stays within some bounds, she's survive while getting her denigration off her chest.
Bunting's George can wait to strike. He is not beyond planning, of staging a charade to hide his coup de guerre and take the day. Bunting's George doesn't have to be afraid of Virginia Woolf because he is impregnable. Whether dallying with Nick's self-esteem or showing Martha who is boss, Bunting's George can endure anything because he has the assurance to know he is the best at his skill. He may not rise up the academic chairs. He may remain a professor instead of a vice president, but when and where it counts to George, he will be victorious and reign supreme.
Children, and the begetting of them, is a major throughline of "Who's Afraid of Virginia Woolf?" It's the pretext upon which the ultimate and most destructive games are played. Bunting, Slusar, Blouch, and Krause are all keen in the sequences involving children. Watch them all as they realize the stakes, or not as in Honey's case, and play their hands.
Jake Blouch has had a remarkable 2015. He was such a riot as the bag-pipe playing Scottish assassin in "Unnecessary Farce," he opened your eyes to how deftly and subtly he could play comedy. In "Virginia Woolf," his usual dark auburn locks shorn to a 60s businessman's cut and his facial hair gone, Blouch is the personification of Joe College, Except in this case Nick is a wunderkind who has his Ph.D. and a secure tenure track faculty appointment at age 28.
Nothing is callow or boyish about Blouch's Nick. He looks young and youthful but has the carriage and poise of a man of experience. There's swagger in his step and a genuine honesty in his eye. He may be starting his career, but he's nobody's fool, and while he may seem conventional and one of a dozen of his type, Blouch's Nick conveys impressive self-possession that will translate to presence of mind when he spars with George.
Nick's maturity and unwillingness to be sucked into George's game is a key to Blouch's performance. You would bank on him to withstand the worst George and can dish out and brush off any battle debris in the morning. More than the aware Martha, the discovering Nick is George's toughest adversary because he can meet him on his terms, do a little damage, and walk away to go about his business as if nothing has happened.
Blouch's solidity and strength are amazing. He makes "Virginia Woolf" more of a three-hander rather than being a war between George and Martha that features some younger characters as collateral damage.
Blouch's Nick is an able player of the game, and his scenes with Bunting's George never make you miss Slusar's Martha and her comic relief.
Emilie Krause's Honey never quite catches on to all that is happening around her, but she gleans when Honey is being ridiculed and is appropriately distraught when Honey's two biggest shames are exposed. Krause is so unaware of everything transpiring around her, she enhances Holly's reality.
Interestingly, though Honey may be the most lastingly affected of the partygoers, she does not elicit any special sympathy. Krause is so genuinely, you look at Honey as an underling, an amateur who barely matters even as she's played so splendidly in your presence.
Meghan Jones's set is appropriately dull and dumpy. The bar area seems to be the hub of activity and the one part of the set that looks bright and dusted. It is telling that George's reading chair, in a stage left nook bordered by bookcases, looks away from other seating area and exists as a sign he usually ignores Martha or shrugs her off.
Katherine Fritz's costume design is wittiest when Martha goes off in her party dress and comes back in something more comfortable, a sexier party dress, black, seductive, and used by Slusar to lure Nick. It was telling that Blouch's Nick never removes or even lowers his tie. He barely takes off his jacket. Everyone looks his or her part in terms of wardrobe.
Alice Yorke comes through with some interesting props. A cleaver is particularly amusing. Thom Weaver's lighting lets you chart time at 2 a.m. wends it way to dawn, as you see the changes in light through windows adjacent to George and Martha's particularly ugly front door. Mark Valenzuela's sound design makes you think of the 60s when "Who's Afraid of Virginia Woolf?" is set.
"Who's Afraid of Virginia Woolf?" runs through Sunday, May 17, under the auspices of Theatre Exile, at Plays & Players, 1714 Delancey Street, in Philadelphia. Showtimes are 7 p.m. Tuesday and Thursday, 8 pm. Wednesday, Friday, and Saturday, 2 p.m. Saturday, and 3 p.m. Sunday. Tickets range from $40 to $37 and can be obtained by calling 215-218-4022 or by visiting www.theatreexile.org.
This entry was posted on May 5, 2015 by nzoren in Theater Reviews and tagged Catharine Slusar, Comedy, drama, Edward Albee, Emilie Krause, Jake Blouch, Joe Canuso, Katherine Fritz, Meghan Jones, Modern Classic', Pearce Bunting, Philadelphia Theater, Plays & Players, Theatre Exile, Thom Weaver, Who's Afraid of Virginia Woolf.
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Stamford Harbor (Chatham Rocks) Light – Jeremy D'Entremont
The city of Stamford, located in Fairfield County at the southwestern tip of the state, is the fourth-largest city in Connecticut and is considered a part of the Greater New York metropolitan area. Settled by families from Wethersfield, Stamford incorporated as a borough in 1830, and later as a city in 1893. By the 18th century, Stamford was a successful commercial center—attributed largely to its canal and harbor which shipped and received goods with New York and the West Indies. Today, Stamford is known primarily as a suburb of New York City and home to the headquarters of numerous corporations.
"The Hoyt Barnum House - Virtual Tour." The Stamford Historical Society, 2016. Link.
"Jackie Robinson Park of Fame." Connecticut Freedom Trail, 2016. Link.
"Stamford Historical Society," 2016. Link.
Schick, Jacob. Patent Number 1,721,530 - Shaving Implement. 1,721,530. Stamford, CT, issued July 23, 1929. Link.
Blickensderfer, George C. Patent Number 472,692 - Type Writing Machine. 472,692. Stamford, issued April 12, 1892. Link.
Burleigh, Lucien R. "View of Stamford, Conn. 1883." Bird's-eye Map. Milwaukee: Beck & Pauli Lithography, 1883. University of Connecticut Libraries, Map and Geographic Information Center - MAGIC. Link.
Blodgett, Edwin S. "WWI Pamphlet - How Stamford Is Meeting Her War Labor Problems," 1918. Link.
Jewell, Karen. A Maritime History of the Stamford Waterfront: Cove Island, Shippan Point and the Stamford Harbor Shoreline. Charleston, SC: History Press, 2010.
Pavia, Tony, and Matt Pavia. An American Town and the Vietnam War: Stories of Service from Stamford, Connecticut. McFarland & Company, 2016.
McCain, Diana. Connecticut Coast: A Town-by-Town Illustrated History. Guilford, CT: Globe Pequot Press, 2009.
Hurd, D. Hamilton, ed. History of Fairfield County, Connecticut with Illustrations and Biographical Sketches of Its Prominent Men and Pioneers. Philadelphia, PA: J.W. Lewis & Company, 1881. Link.
Huntington, E. B. History of Stamford, Connecticut from Its Settlement in 1641, to the Present Time, Including Darien, Which Was One of Its Parishes Until 1820. Stamford, CT: E. B. Huntington, 1868. Link.
Lambert, Edward. History of the Colony of New Haven, Before and After the Union with Connecticut. Containing a Particular Description of the Towns Which Composed That Government, Viz., New Haven, Milford, Guilford, Branford, Stamford, & Southold, L.i. with a Notice of the Towns Which Have Been Set Off from "the Original Six." New Haven, CT: Hitchcock & Stafford, 1838. Link.
Bull, Bonnie. Stamford. Charleston, SC: Arcadia, 1997.
Stamford Historical Society, Estelle Feinstein, and Joyce S. Pendery. Stamford: An Illustrated History. Woodland Hills, CA: Windsor Publications, 1984.
Majdalany, Jeanne. The Early Settlement of Stamford, Connecticut, 1641-1700. Bowie, MD: Heritage Books, 1990.
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Entertainment News, Turkish Dizis
Medcezir Is Back!
North America TEN 2691 April 17, 2020 September 16, 2020
On Friday April 17, StarTV is starting reruns of Medcezir, an internationally award winning romantic drama led by the talented young actors Cagatay Ulusoy and Serenay Sarikaya. Loosely based on Fox Network's The O.C., Medcezir is a stylish, modern series that deviated significantly from the original, giving it a life and rhythm of its own.
Yaman (Cagatay Ulusoy) is a boy who was born on the wrong side of the tracks with one hand always on the door, having never learnt the true meaning of love. After he's adopted by the Serez family and welcomed into the wealthy enclave of fictitious Altinkoy, Yaman becomes the anchor that pulls a core group of friends together. Mira Beylice (Serenay Sarikaya) falls in love with the handsome Yaman, while Mert Serez (Taner Olmez) finds love with his childhood crush and Mira's best friend, Eylul (Hazar Erguclu). What might seem like a light teen romance is masterfully transformed under the talented producers of Medcezir, which captures many adult themes concerning loyalty, love, acceptance, ambition and integrity.
Originally on air 2013 – 2015 with a stunning production featuring an all-star cast, airtight script from a team led by Ece Yorenc, and an astounding soundtrack from Toygar Isikli (here), Medcezir became the 5th most successful Turkish TV series in terms of net sales. In addition, Cagatay and Serenay revealed their formidable musical talents by lending their voices for many of the songs on the show. We also see many young stars in the show who have gone on to make a bigger name for themselves since such as Aybuke Pusat, Ozge Gurel, Miray Daner and more.
Check out the extended trailer for the show below and find out more about Cagatay Ulusoy on any of the social platforms for Cagatay Ulusoy North America listed at the bottom. Medcezir will air on StarTV on Fridays at 8 pm Turkish time.
You can find more information about Cagatay Ulusoy on any of these following platforms:
Instagram: @cagataynorthamerica
Twitter: @cagataynorth
Facebook: Cagatay Ulusoy North America public page and forum
YouTube: Cagatay Ulusoy North America
Website: www.cagatayulusoynorthamerica.com
Tags: Cagatay Ulusoy, Medcezir
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Evaluation, German Science Council
Prof. Dr. Joachim Wosnitza
j.wosnitza hzdr.de
Julia Blöcker
Secretary/ Administration
j.bloecker hzdr.de
Fax: +49 351 260 13527
Publication: Extremely high conductivity observed in the triple point topological metal MoP
N. Kumar et al., Nature Communications (2019)
Publication: Microscopic Nature of the First-Order Field-Induced Phase Transition in the Strongly Anisotropic Ferrimagnet HoFe5Al7
D. I. Gorbunov et al., Phys. Rev. Lett. 122 (2019), 127205
Publication: Phonon Magnetochiral Effect
T. Nomura et al., Phys. Rev. Lett. 122 (2019), 145901
Newsletter: Read the latest news from the four leading high field labs in Europe on the EMFL website.
Video: EMFL - Science in High Magnetic Fields
"Magnificent Magnets"
The HDL on Wikipedia
World of Physics
Videos of the lab
Dr. Charles Swenson, National High Magnetic Field Lab, Tallahassee, USA
Prof. G. Kido, Tsukuba Magnet Lab, Tsukuba, Japan
Prof. Mitsuhiro Motokawa, Tohoku University, Japan
Prof. Fritz Herlach, Leuven, Belgien
Dr. Peng, Huazhong University of Science and Technology, HUST, Wuhan, China
Prof. T. Maniv, Technion-Israel Institute of Technology, Haifa, Israel
Dr. Zhuravlev, Technion-Israel Institute of Technology, Haifa, Israel
Dr. T. Papageorgiou, University of Athens, Athens, Greece
Delegation of the Huazhong University of Science and Technology, HUST, Wuhan, China
Prof. Noboru Miura, University of Tokyo, ISSP, Tokyo, Japan
Dr. C. Mielke, National High Magnetic Field Lab, Los Alamos, USA
Prof. A. Zvyagin, B.I. Verkin Inst. for Low Temp. Physics & Engineering, Kharkov, Ukraine


AML360 Outsource enables businesses to manage their legislative requirements with the guidance of a full time AML professional and access to an end-to-end regulatory dashboard. The dashboard is accessible by your business on a 24/7 basis. Your AML360 dedicated specialist maintains your compliance dashboard on an ongoing basis, allowing businesses to retain the role of AMLCO and still concentrate on their core business objectives. As a specialist consulting firm with investment in leading regulatory technology, we deliver to you a first class service.
Dr Nicholas Gilmour has worked with global and national AML/CFT stakeholders in New Zealand, the Middle East, Australia and the United Kingdom to improve understanding and successfully incorporate international best practice associated with the prevention of money laundering and terrorism financing.
In 2017, Nicholas was directly involved in the development of the New Zealand 'Phase 2' AML/CFT legislation – providing guidance and advice on various issues relating to its development and implementation.
With a background as senior advisor to various governments and a former lecturer at Massey University in New Zealand and Charles Sturt University in Australia, Nicholas is also able to provide insightful and unique evidenced based consultancy services across the entire AML/CFT landscape.
Kerry has worked with several government agencies across three jurisdictions in roles linked to anti-money laundering.
She was formerly the Assistant Vice President and Deputy Money Laundering Reporting Officer for the Bank of New York based in London. In this role she was responsible for auditing of the bank's Corporate Trust and Alternative Investment divisions.
She later held the position of AML Compliance Manager for the Premium Business Services at the Commonwealth Bank of Australia. In this role she contributed to the policy and procedural framework that supported the AML/CTF Group Policy .
Returning to New Zealand in 2009 she was employed at the Reserve Bank of New Zealand as AML Adviser. Working closely with the Ministry of Justice she had input into the drafting of NZ's anti-money laundering laws.
In 2010 she established Anti-Money Laundering Consultants Limited where she provides specialist advisory services to assist businesses manage their regulatory obligations.


Choose a dining room chairs and table that really stands out as the Up Chair, from Tonon. Which with its sculptural and quirky design appears unique. No matter what angle you see it from. The chair is design in 'Freeform advanced' foam. Its provides good seating comfort and stability as well as a non-scratchable surface. The chair is available in 16 colors and with steel legs in chrome or matte look.
The first thing you think when you look at Ex 1 Eg – the dining table chair from Ethnicraft is 'good, solid carpentry'. And that's exactly what you get: a sturdy chair made of solid, untreated oak, which you can enjoy for many years. The raw wood has a very special place in many Nordic homes. Where the natural, organic and timeless look has gained a great deal of attention.
Get great seating comfort in the classic Prime Conform armchair with adjustable backrest and headrest. So you can find the seating position where you can relax. The chair is available in several leather colors and can be combine with external armrests in either oak, walnut or leather. There is just something cozy and retro over this beautiful Greta armchair , a seat chair from Sits.


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AI developer MaxQ AI files papers for $8M public offering
By Brian Casey, AuntMinnie.com staff writer
August 14, 2018 -- Artificial intelligence (AI) software developer MaxQ AI has filed papers with the U.S. Securities and Exchange Commission (SEC) for an initial public offering of just over $8 million. The company plans to use the funds to commercialize its Accipio family of AI algorithms for analyzing head CT scans to rule out stroke.
Formerly known as MedyMatch Technology, MaxQ AI filed an 8-K registration statement with the SEC on August 9 to sell shares of stock worth $8.1 million. In the 8-K filing, the firm describes its initial focus as the development of applications for the emergency room and acute care environments based on its proprietary AI platform.
The company's initial family of products, called Accipio, uses machine vision and deep-learning technologies to analyze noncontrast CT scans and help physicians rule out intracranial hemorrhage (ICH) caused by stroke or head trauma.
The company has three main product lines in the Accipio family:
AccipioDx, designed to support physicians in ruling out intracranial hemorrhage in acute care settings
AccipioIx, which prioritizes cases of ICH for faster interpretation by readers
AccipioAx, designed to help clinicians interpret head CT scans by creating a duplicate annotated set of images and a full 3D brain rendering to supplement original, unaltered CT scans
The filing noted that the company so far has not generated any revenue. While its AccipioIx product received the CE Mark in Europe in May 2018, none of the company's other products have been approved for sale yet, and the firm will not be able to generate revenue until it receives those approvals. What's more, MaxQ AI had a $9.2 million loss in fiscal 2017 and a $1.9 million loss in the first quarter of fiscal 2018, and its auditors have expressed doubt about the company's ability to continue as a going concern unless it raises debt or equity financing.
On the positive side, the company has agreements with two major radiology vendors, GE Healthcare and IBM Watson, to integrate its products into their software. It also has a deal with Samsung NeuroLogica to integrate its applications with the company's portable CereTom CT scanners for use in intensive care units, as well as an agreement with Intel to optimize its artificial intelligence technology.
Another recent milestone was the designation of AccipioDx as a breakthrough device by the U.S. Food and Drug Administration (FDA). The breakthrough program is designed to reduce time to market for products by promoting earlier and more interactive engagement with FDA staff during the development and review of medical devices. While no Accipio products have been submitted for FDA approval yet, the company expects to do so in the third quarter of 2018.
MaxQ AI's competitive strengths include its proprietary AI technology that can analyze a wide range of complex 3D medical images, its breakthrough device designation, and its access to market via relationships with OEMs. Other advantages include its access to large, nonpublic catalogs of clinical exams for verifying its technology, as well as an experienced management team led by former GE Healthcare and Philips Healthcare executive Gene Saragnese, who serves as chairman and CEO of the company.
Based in Tel Aviv, Israel, MaxQ AI plans to list its shares on the Nasdaq Capital Market under the symbol MQAI.
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At the top of the lane within walking distance is "Trevaskis Restaurant", a well known licensed farmhouse restaurant, open daily for lunch, afternoon tea and dinner throughout the year.
There is a farm shop selling local produce. Strawberries, raspberries and loganberries are available to pick in season.
The famous "Gwithian Beach" with 3 miles of sandy beach nearby, popular for all beach sports.
The market town of Hayle is close by for all your shopping requirements. The quaint town of St Ives with its cobbled streets, award winning restaurants and the Tate Gallery is only a short drive away as well as Penzance and the fishing villages of Newlyn and Mousehole. Attractions such as Land's End, St Michael's Mount, the Minack Open Air Theatre, the Eden Project and the cathedral city of Truro are also an easy drive away.
The 2011 'switch-on' will be held on 17th December at 7.30 pm.
until Tuesday 3rd January 2012.
Tate St Ives, art gallery.
Cornwall's theatre under the stars.
includes nature trails for children and play areas.
where you can explore the magnificent gardens, grounds and Woodland walks.
See the seals and other marine wildlife.
created for adults and children alike For a fun and enjoyable day out.
offering a fun packed day for all ages.


August 2014 – Capstone Turbine Corporation (www.capstoneturbine.com) (Nasdaq:CPST), the world's leading clean technology manufacturer of microturbine energy systems, announced today that it received an order for seventy five C65 microturbines, scheduled for shipment through December 2014, from Horizon Power Systems for several U.S. Oil and Gas Customers.
The order was placed by Horizon Power Systems, Capstone's distributor for the Eagle Ford, Permian, Barnett, Mancos, San Juan, and Wattenberg shale plays. Recognizing Capstone's demonstrated success in oil and gas operations, multiple customers are again choosing clean and green microturbine technology to power their production and compression operations.
This order will expand Horizon's fleet to approximately 700 Capstone microturbines, the majority of which serve the demanding oil and gas market. The microturbines will provide prime power and serve all stages of oil and gas production including central processing station power, wellhead operation, transmission, and flare reduction.
The U.S. shale plays continue to see consistent growth with no slowdown in sight. According to the latest government data as cited in an October 2013 article in Investors Daily, the Permian Basin oil production is quickly approaching one million barrels per day. Estimates suggest there is still $3 trillion worth of oil and more than $300 billion of natural gas yet to be extracted from this shale play alone.
Furthermore, the U.S. Energy Information Administration (EIA) states that the Eagle Ford shale play produces over one million barrels of oil per day with a total estimate of over three billion barrels yet untapped. Additionally, according to the EIA, the Barnett Shale play has the largest producible reserves of any onshore natural gas field in the U.S. with a current output of over four billion cubic feet per day, and Wattenberg shale play has more than 22,000 active wells extracting more than 100,000 barrels of oil and 740 million cubic feet of gas per day according to the EIA. These shale plays alone demonstrate how robust and rich the oil and gas market continues to be in the U.S.
Capstone's proven track record of producing ultra-low emission, low maintenance, and extremely reliable microturbines is exemplified by the repeat business from our customers, especially in the oil and gas sector. Successful operation of microturbines in this sector strengthens Capstone's position in the market as the preferred option for many producers.
Capstone microturbines do not require lubricants or coolants and have only one moving part thanks to a patented air bearing. This ensures around the clock availability and uptime, which maximizes oil and gas production. Also, the microturbines are very clean with extremely low emissions, meeting Tier 4 emission standards without a requirement for after treatment unlike many reciprocating engine manufacturers.


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Softball Splits with Concordia Clippers
Concordia (N.Y.) (7-18, 5-14) 0 0 5 0 0 0 0 5 7 1
Nyack (10-29, 5-18) 0 0 1 3 0 0 0 4 10 1
Nyack (11-29, 6-18) 0 0 1 3 2 1 X 7 6 0
2B: Shayla Peterson
2B: Aferdita Sinanaj; Katalina Padilla; Kayleigh VanDover
HR: Morgan Hans
2B: Katie Lupinacci
The Nyack College softball team hosted the Concordia Clippers on Friday, as the Warriors lost a close first game 5-4 but came back to win the next one 7-4 to end the day in a split.
In the first game, the Clippers solidified their lead early, scoring five runs in the top of the third inning. Nyack answered with a run in the bottom of the third, as Katalina Padilla doubled and advanced to third on Tia Celano's following single, and then came home on Celano's steal attempt. After the Warriors retired the Clippers' side in the top of the fourth, Alissa Brugnoli singled and then advanced to third on Aferdita Sinanaj's double to put two players in scoring position for Nyack. On the next at-bat, Morgan Hans stepped up and crushed a 3-run homer to clear the bases and put the Warriors within one run of the Clippers. In the bottom of the fifth, the Warriors threatened again with a single from Kayleigh VanDover, a single from Erin O'Brien, and a walk from Aferdita Sinanaj to load the bases with two outs, but the next play was a groundout to end the inning. Nyack had one last chance in the bottom of the seventh with two on base, but were unable to score, and ended the game in a 5-4 loss.
In the next game, Concordia again jumped out to a lead with a run in the top of the first and another in the top of the third to go up 2-0 over the Warriors. In the bottom of the third, Tia Celano reached base and then stole second to set up in scoring position, and was brought home on Erin O'Brien's RBI single. The Warriors tied it up in the bottom of the fourth with an unearned run as Aferdita Sinanaj walked, advanced on an error, and then scored on another error. Morgan Hans walked and then advanced to third on Nicole Wisser's single. Tia Celano followed with another single, bringing in two RBIs as both Hans and Wisser scored. Nyack built on their lead in the bottom of the fifth as Morgan Hans reached on a fielder's choice with the bases loaded to bring in Katie Lupinacci for an unearned run on a Concordia error. Nicole Wisser followed with a sacrifice fly to bring in another run for the inning. Concordia fought back with two runs in the top of the sixth, but Nyack cemented their lead and the victory in the bottom of the sixth as Erin O'Brien walked and then was brought home on Katie Lupinacci's RBI single that led to the Warriors' 7-4 victory.
Morgan Hans led the Warriors with 3 RBIs, and Erin O'Brien added 4 combined hits for the day. Brittany Blair pitched the entire first game for Nyack, and Nicole Wisser pitched the entire second game to earn the win.


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Molten glass fire at South Yorkshire factory
Firefighters worked around the clock at a South Yorkshire factory when molten glass began leaking from a furnace.
At the height of the incident at Ardagh Glass in Monk Bretton, Barnsley, there were 50 firefighters inolved.
Crews were faced with molten glass leaking from a furnace, some of which had spilled out and reached an electrical switch room, which caught fire.
Up to 280 tons of molten glass was at risk of escaping, firefighters said.
The crews used 12 water jets to stop the leak and to solidify the liquid glass.
Incident commander Steve Green, of South Yorkshire Fire & Rescue, said: "It was like lava from a volcano.
"The temperature in the furnace was 1,300C."
An Ardagh Glass spokeswoman said: "We would like to thank South Yorkshire Fire & Rescue for their support in bringing this incident quickly and safely under control."
Crews were first called to the incident on Sunday, at about 10.30pm.
via Molten glass fire at South Yorkshire factory – The Star.


The ancient history of the name Duggan was found in the allfamilycrests.com archives.
include Dougan, Dugan and Duggin. These names are derived from the Gaelic O'Dubhagain sept name. The name O'Duggan is now almost entirely confined to Munster , especially Counties Cork , Tipperary, and Waterford. In the seventeenth century the name was very numerous in County Tipperary. This is as might be expected, because the principal sept of the name originated in the area around the modern town of Fermoy, where in pre-Norman times its Chief was Lord of the territory later known as Roche's Country. One other sept of the name was notable, that belonging to the Ui Maine, though not of the same origin as the O'Kellys. This sept has left its mark with some very distinguished descendants. To that sept belonged John O'Dugan who died in 1372, and who was co-author of the celebrated 'Topographical Poems'. Of the Hy Many sept too, was the Rev. Patrick Duggan, 1813-1896.
The Duggan coat of arms came into existence centuries ago. The process of creating coats of arms (also often called family crests) began in the eleventh century although a form of Proto-Heraldry may have existed in some countries prior to this. The new art of Heraldry made it possible for families and even individual family members to have their very own coat of arms, including all Duggan descendants.


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FAR EASTERN FEDERAL
Striving For Success
远东联邦大学外籍学生升学信息
Registration/Visa
About School of Education
The Way We Live
Master's Degree Program «Cultural Diversity in Education» for international students
Courses and Descriptions
Topics for Entrance Exam
Preparatory Courses
Foundations of Culture Studies and research methods.
Antique Culture: main forms and periods of development.
The concept of symbol in culture. Its functions.
Religious Reformation in European Culture. Social and cultural outcomes of Reformation.
What are Cultural Studies focused on? General challenges of this science.
First historical forms of culture. Myth and its place in primitive culture.
Research methods in Cultural Studies.
A person and a world in Romantism.
Culture and its interpretation in antique and medieval philosophy, religion and mythology.
Peculiarities of European medieval culture.
The place of Culture Studies in the system of other sciences.
Soviet Culture and its role for the contemporary world civilized society.
Communication as a condition for social life, individual development and cultural continuity.
Greek Culture as a source of culture in West Europe.
The role of social institutions in cultural creation and distribution.
Unique features of culture in Antique Rome.
Traditional industrial and postindustrial types of culture.
The peculiarities of culture in Russia of 17-19 centuries
The opposition West-East, its typical features and typical characteristics of Russian culture.
Humanism as the main principle of culture in the epoch of Renaissance.
Different languages of different cultures as different world vision. Multiple cultural images of the world.
Infromatization and forming "informational society" – a strategical line of the development of the contemporary culture.
Western and Eastern models of cultural identity. Contrast of value systems (different concepts of world, environment, society, power, personality, truth, etc.)
Foundations of new forms of culture in XX century.
Specific features and contents of cultural text. The problem of text interpretation.
The main dangers for culture in XXI century
Cultural symbols and their typology.
Emperor and reign as the frame of Ancient Oriental culture.
Dynamic process of cultural changes: theories and models (Neoevolutionism, Rhizome, social and cultural Synergetics, etc.)
The concepts of cultural crisis in the ideas of West European and Russian thinkers in XX century.
The conceptual foundations of historical evolution of culture (Evolutionism, cultural diffusion, theory of historical-cultural types and of eternal return, the theory of an Axial Age).
Peculiarities of not-western societies transition to a new type of civilization and culture. The problem of cultural modernization in Russia.
Value as the factor for differentiation of natural science and social science. The structure of value.
An image of God, human being and World in Medieval religious culture.
Evolution of culture. Variant of cultural state changes and their motive power.
An image of God, human being and World Ancient Oriental culture.
Values and specific nature of their manifestation in main fields of human activity.
Modern and postmodern culture.
Culture as the system of «rules of the game» and social interaction models.
Rise of culture and a cultured person. Labor, play, symbolic activity as the origin of culture.
Cultural studies in today's global age.
The main cultural trends in economics, politics, ethics, way of life, art and religion in Early Modern Period.
Sociocultural system as the unity of society and culture.
The problem of identity in Russian culture in Westerners', Slavophils', and Eurasians discourse.
The essence of "culture" vs "civilization" opposition. The place and part of culture in civilizing process.
Adoption of Christianity in Russia and peculiarities of Old Russian medieval culture.
The evolution of communication in culture-historical human evolution. Marshall McLuhan's communication theory.
The principles of all things (nature, space and world) in Classical antiquity.
The influence of world religions on labour ethnicity, political and culture of different people.
Features and peculiarities of European culture in Early Modern Period.


Learn about the Italian composer, Muzio Clementi, and his works & life.
Mutius Philippus Vincentius Franciscus Xaverius Clementi or Muzio Clementi, as he is better known, was an Italian composer and pianist born in Rome in 1752. Touted as the "father of the piano" by those who had witnessed his prodigal skills with the instrument, Clementi led a long life of developing early piano techniques and compositional works of genius. Best known for his Gradus ad Parnassum, his work influenced many, some of whom are the likes of Wolfgang Amadeus Mozart and Joseph Haydn. He passed away in England in 1832.
Clementi's incredible musical talents were evident from a rather early age, as when he became an organist at age 9 and by another 2-3 years, had written an oratorio. Peter Beckford, the relative of William Beckford, persuaded Clementi's father to send the young boy to England with him. In England, Clementi grew up through a disciplined musical study routine.
Clementi's first public appearance as a pianist happened in 1770, where he performed the B-Flat Major Sonata. The story goes that Mozart was immensely touched by this and he added it as the overture for his opera Die Zauberflöte. This naturally frustrated Clementi and he made sure, that with every publication of his sonata, a note was attached that it preceded Mozart's work by about 10 years. He visited London in 1773 and was recognized as a successful musician.
The composer's popularity had increased by leaps and bounds through his near-perfect use of the piano in his composition. England was where the instrument gained the most renown, especially through Clementi's efforts and between 1777-1780, he became a harpsichordist at London's Italian Opera. He journeyed extensively in 1780 through Paris, Munich, Vienna, and Strasbourg, and was involved in a friendly musical competition against Wolfgang Amadeus Mozart. This was, of course, at the request of the Holy Roman Emperor, Joseph II. Their respective abilities were so impeccable that the Emperor declared a tie.
Throughout 1779 and 1780, Clementi saw his fame skyrocket, primarily due to his Opus 2 Sonatas. He was being considered as the greatest piano master who ever lived. The composer also started making pianos, but, unfortunately, his factory was destroyed by a fire in 1807. That year, Clementi came to an agreement with Ludwig van Beethoven, who was his admirer, to license Beethoven's music and publish them. The Italian's popularity in editing and publishing Beethoven's pieces was immense, although it was still a topic of criticism from some sections of scholarly circles.
The year 1810 saw Clementi refrain from any further public performances to concentrate entirely on composition. In 1813, Clementi, then in London, founded the Philharmonic Society of London with a few other musicians. Clementi's contributions to the rise of the 'pianoforte' or the modern piano were irrevocably huge. He started making pianos again from 1800 onwards. He ultimately assumed London to be his home and opened the publishing firm - Clementi and Co. as well.
Clementi's Sonatas, Op. 36 or Sonatinas are today assumed as the bedrock of all piano lessons. Found in the curriculum of students as a regular, these were published in the year 1797. The original purpose was as an advanced teaching method, where the difficulty would be in ascending order, that is, the next piece would always be harder than the last. This helped and still helps in the development of skills on a primary level and the influence has been unbelievable.
Clementi set off on a journey in 1802 across Europe that spanned for 8 long years. During this time, he sold pianos and made efforts to collect as many manuscript pieces of music as possible to publish. Stage and public performances were also something that he did along with teaching exceptional future talents like Ludwig Berger, John Field, among others. Some of these students went on to teach legendary composers. Clementi was responsible for about 110 piano sonatas in all.
Clementi's crowning glory was undoubtedly the Gradus ad Parnassum (1826), which was composed of studies in piano learning. Claude Debussy, in his piece, Doctor Gradus ad Parnassum, refers to Clementi's preceding work. Despite all his achievements, Clementi's sonatas are hardly ever performed in public performances today because they are considered to lack challenge and complexity. On the contrary, it is also acknowledged by many experts that certain of his pieces are actually harder to play than even those of Mozart. Mozart himself characterized Clementi's work in a letter to his sister as somewhat stretched with expanded chords which make his work quite challenging to play.
Clementi wrote 4 new symphonies between 1802 and 1810, which were staged starting from 1813 at the Philharmonic Society in London. However, these never saw as much popularity as did his sonatas. As a result, the symphonies were never published, but a significant number of piano music were printed between 1817 and 1826. The 'Memoir of Clementi', published in 1820, narrate his time and achievements at the King's Theatre in London in his early years.
Clementi lived in Baden for a while and after a short visit to Italy, the virtuoso returned to London in 1827. Here, he lived till his passing at the age of 80 in 1832 and was subsequently put to rest at Westminster Abbey. His funeral was attended by stalwarts such as Cramer and Field. The tombstone was replaced in 1877 with the words 'father of the pianoforte'.
Muzio Clementi devoted his life and career to the advent, consolidation, and development of piano- both instrument and music. It is because of his pioneering work that we see many future masters who were able to compose brilliant pieces. Although stated by various experts that his pieces are mostly educational, which is true, he was indeed the father of piano in his achievements and drive. He deserves every bit of respect that a composer of the caliber of a Beethoven or a Mozart would.


Coffee, sandwiches, pastries, dessert—Colada shop has it all. The Cuban cafe, located off of 14th Street, is one of DC's newest treasures. The empanadas and croquetas are under $3, and the breakfast, including sandwiches and avocado toast, is all under $5. We recommend the spinach empanadas and churros with dipping chocolate. Although many people love Cuban coffee, it was too sweet for our taste. Nevertheless, this cute cafe tops our list for a light bite to eat on the weekend. In warmer weather, Colada has plenty of seating outside and on their rooftop patio.
Amsterdam Falafelshop is one of the best bargains in DC. For just $7.75, the falafel sandwich comes with pita bread, freshly fried falafel, and the best part: unlimited toppings. You can even go back and re-top your sandwich. The restaurant is open until 4:00 a.m. Friday and Saturday nights, so it is perfect if you're looking for a late-night snack.
When you think pretzels, malls, and sports games normally come to mind, not the Philadelphia style hand-rolled pretzels from The Pretzel Bakery. The small window shop bakes pretzels multiple times every day and tops them three different ways: the original salted, everything, and sweet, which is glazed with cinnamon. The soft and pillowy pretzels are an amazing $2 breakfast; our personal favorite is the pretzel bomb, which is a pretzel roll filled with Nutella and topped with glaze. The bakery also has bacon, egg, and cheese sandwiches for $3.50, and pretzel dogs for $5.50.
You can never go wrong with tacos, and Chinatown's Taco Bamba is here to satisfy everyone's cravings. Their traditional tacos are $3 each and their signature tacos are $4, and both are stuffed with perfectly grilled meat. Two tacos here makes a great $6 meal. The restaurant's loud music and strong flavors make the experience even more memorable. We recommend the grilled beef taco and the "Taco Bamba," which is steak topped with grilled guacamole, onions, cilantro, and chicharron.


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Robert Beal
Robert Beal brings over 35 years of experience in maintenance and production systems to his role as Shop Supervisor. He is responsible for shop and equipment maintenance as well as shipping, receiving, inventory control, and logistic scheduling. In addition, Robert reviews and certifies all test data before submission to the customer. Prior to joining our company, Robert served as Shop Supervisor for ProEnergy Services, Maintenance Manager for a plastics packaging company in Houston, and in both production and maintenance roles during the 28 years he was employed by GKN Driveline in North Carolina. He held a NC electrical contractors license and had the title of maintenance manager when the GKN plant closed in 2008.
Pearland, TX 77581
3519 E. Walnut St., #1279
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24 Aug Sweetwater in Wyoming
Posted at 16:33h in Feature Stories, Fly Fishing 2014	| Written by JEFF ERICKSON 0 Comments
ROAMING FLY ANGLER SOMETIMES UNCOVER extraordinary places where history, geography and flowing water intertwine and illuminate each other. I've found a few such locales in my wanderings; Central Wyoming's Independence Rock is among them, a granitic temple of profound convergences.
In sun-bleached August air I clambered up the steep incline. Once on top, my trip up the trout-rich Sweetwater River came into focus. The lower Sweetwater created a sinuous oasis in the broad desert valley, punctuated by isolated canyons. Sheltering the headwaters in the distant west, the 12,000-foot high, snow-blasted fangs of the Wind River Range appeared as impenetrable and forbidding as they did to 19th-century pioneers bumping along the Sweetwater in their covered wagons. North of the river, the jade and uranium-rich Granite Mountains framed a stark panorama that still excites prospectors. And along the south rim, the obscure and mysterious Green, Ferris and Seminoe mountains swept east toward the North Platte Valley, where the Sweetwater ends.
Thousands of travelers along the interlaced Oregon, California, Mormon and Pony Express trails etched their tracks in the earth and their names in Independence Rock, layered palimpsests for posterity. Known as the "Great Register of the Desert," the rock served as both an enormous trailside cairn and a pre-Twitter bulletin board for prairie schooner pioneers, sometimes confirming that loved ones ahead of them had survived. One journeyman, William Anderson, recalled: "On the side of the rock names, dates and messages … are read and re-read with as much eagerness as if they were letters … from long absent friends … " Similarly, sojourner Lydia Allen Rudd wrote, "July 5, 1852 — came to Independence Rock about ten o'clock this morning … I saw my husband's name that he put on in 1849 … "
To stay on schedule ahead of winter's deadly bite, emigrants attempted to cover the 815 miles from St. Joseph, Mo., to the monolith by Independence Day, when well-deserved celebrations often erupted. Once they resumed their journey — averaging 15 miles a day and often more than 2,000 miles in total — migrants were soon greeted by two other iconic features I spotted upstream.
In the distance loomed Split Rock, visible for more than 50 miles, its gun sight-like prongs directed travelers toward the critical Continental Divide crossing at South Pass. Much closer was the dramatic Devil's Gate, where the Sweetwater implausibly squeezes through a 30-foot wide abyss. While geologists have their own explanation, Shoshone and Arapahoe Indians believed that Devil's Gate was created by an evil beast that prevented them from hunting and camping in the area. When warriors were finally able to impale the creature with a flurry of arrows, the enraged monster tore a mighty cleft in the rocks with his tusks and escaped.
As I sat daydreaming atop the whale-shaped dome, images from the great frontier artist William Henry Jackson flashed through my mind. Jackson had worked part of the Oregon Trail as a bullwhacker in 1866 and later passed Independence Rock as part of the Hayden Geological Survey. Because the panorama had changed so little since Jackson sketched, painted and photographed it, I felt like I had stepped into his work as a 21st-century extra. I visualized glittering stars hung over dozens of smoky campfires, illuminating white-canvassed Conestoga wagons circled next to the Sweetwater. Voices floated up from the past — with tones of hope and heartbreak — mixed with the moans of anxious livestock and barking dogs. Pondering the actual and imagined scenes, I recalled a line from William Faulkner's Requiem for a Nun: "The past is never dead. It's not even past."
As I was discovering, there's something about the Sweetwater's expansive landscape that's long attracted intrepid vagabonds. Generations of Native Americans, pioneers, miners, trappers, traders, hermits, hippies, hunters and fly-fishing nomads have been doing this for ages. In an era when we seek authorities to guide us through every tidbit of life's minutia, I like the idea of studying the topography, taking measured risks and then — like those early pioneers — cutting the cords and taking flight, like an untethered balloon released to the Wyoming wind.
Sweetwater, the Ultimate Sleeper
Shortly after hiking down Independence Rock, I was ambling up a Sweetwater canyon, working perfect iterations of riffles, runs and pools. Upstream, the river did a dramatic U-turn below a sheer escarpment. No one was around for miles.
I bounced a hopper pattern off the bank; a white maw immediately engulfed it. The trout streaked toward an undercut bank. If the miscreant disappeared into its root-encrusted lair — like one of his brothers just had — the chances of extracting it were slight. Pressure from my severely bowed rod barely kept the fish in play and, after several more blistering runs, a gleaming, golden-bellied 18-inch brown surrendered. And so it went as I wandered upstream — more pugilistic browns, mixed with rainbow missiles.
The Snake, Yellowstone, North Platte and Wind/Bighorn rank among Wyoming's queen rivers, attracting fly anglers from around the globe. Beneath their glittering tiaras, however, lies a galaxy of worthy, lesser-known trout water. The Sweetwater River — a classic sleeper — falls into this category, like a whip-smart, overachieving kid no one seems to notice until she gradually blossoms into a cutting-edge artist or scientist. In The Wyoming Angling Guide, Chuck Fothergill and Bob Sterling aptly summed it up:
The Sweetwater, from its headwaters to Sweetwater Station, offers excellent fishing for browns and rainbows in a pristine environment. Difficult access causes it to be underrated as a fishery, but anglers seeking a primitive, wilderness experience will put it at the top of their list.
The Sweetwater sounds like it was named by a fly angler who discovered trout nirvana, but that's not the case. One story is that a mule team spilled a load of sugar in the river. An alternative is that it was christened in 1823 by General William Ashley. Its relative purity and sweet taste compared favorably to the bitter, highly alkaline water from the nearby Red Desert and the more turbid North Platte downstream. Even though pioneers had the chore of crossing the winding, 238-mile long Sweetwater nine times, they greatly appreciated the reliable drinking water and riparian grazing areas for their stock.
A biogeographical curiosity of the Sweetwater and entire North Platte watershed is that pioneers reported no native trout. To the south, Colorado's South Platte harbored indigenous greenback cutthroats; northward, the Wind/Big Horn basin sheltered Yellowstone cutthroats; and over the Continental Divide, the Colorado River drainage held its namesake cutts. Inherent coldwater habitat notwithstanding, the Sweetwater and other North Platte tributaries — like the Encampment, Laramie and Medicine Bow rivers — apparently lacked sufficient connectivity with surrounding trout water following the last Ice Age to naturally stock them.
According to local legend, the North Platte basin's void was filled in the early 1870s, when a Union Pacific train transporting trout across Wyoming was delayed and the fish began dying. The crew reputedly backed the train over a North Platte bridge and dumped the surviving rainbows and brookies. However they arrived, the river swarmed with trout by the 1890s, when thrilled anglers reported landing 10-pound rainbows and 5-pound brookies. Brown trout were also successfully stocked, and they too grew prodigiously. All three species eventually took hold in the Sweetwater and other North Platte nooks and crannies, where they continue to flourish.
Unlike the larger North Platte, the Sweetwater is mainly approached by walking. At high water, paddlers attempt some reaches, but these expeditions require a good knowledge of the river. During normal flows, the Sweetwater is a pleasant stream to wade — approximately 20 to 30 feet across — large enough for good holding areas, yet small enough to readily read and cover the water.
One choice facing anglers — aside from which jeep track or animal trail will get you near the river — is whether to fish the faster mountain and canyon reaches, or slower desert stretches. The former present a diversity of water types, suitable for various surface and subsurface approaches, including pocket water nymphing. Alternatively, the latter holds long, deep pools separated by short riffles. During low-light conditions when hungry bruisers prowl for minnows, this more lethargic water is perfect for stripping streamers, leech patterns, and dragon and damsel fly nymphs along the banks.
Buoyant, boat-like attractors are Sweetwater trout treats on swifter reaches. Stimulators, Turck's Tarantulas, Humpys, Wullfs, Trudes and PMXs are all solid menu choices. Parades of common Western hatches also spark surface action on the Sweetwater: mayflies (Blue-Wing Olives, Pale Morning Duns and Drakes), levitating Trico clouds (Golden and Little Yellow Stoneflies) caddis and midges.
The delicate challenge of presenting a minute Griffith's Gnat or Trico Spinner notwithstanding, I maintain an abiding affection for the large, leggy stuff — the crawling, hopping, twitching terrestrials which infest the Sweetwater's grassy banks from late summer to early fall. While bumbling, ravenous creatures like Mormon crickets are a godsend for fly anglers equipped with Chernobyl Ant-like monstrosities, their hordes periodically drove pioneers — desperate for green grazing pastures — to the brink of madness. An 1846 account from Oregon Trail trekker, Joel Palmer, described this creepy scene:
The ground for a strip of about four miles, was covered with black crickets of a large size. I saw some that were about three inches in length … our teams made great havoc among them; so numerous were they that we crushed them at every step.
In the Footprints of Manifest Destiny
eyond opportunities for lobbing bushy terrestrials, part of what's compelling about the region's streams is what divides and follows them. On the empty, 7,526-foot high Continental Divide separating the Sweetwater and Green River drainages, for example, lies one of the most historic geographic features in the West — South Pass. Long used by migrating wildlife and Native Americans, the pass was subsequently navigated by fur trader Robert Stuart in 1812. In the 1820s and 1830s, it became an important route for shipping supplies west to trappers and shipping fortunes in beaver pelts back East.
Pinched between the impassible Wind River Range and the punishing Red Desert, South Pass offered the most gradual incline over the northern Rocky Mountains. As explained by David Lageson and Darwin Spearing in Roadside Geology of Wyoming, "the basins of Wyoming provided a natural avenue across the Rockies," while South Pass was the 'hump' of the Oregon Trail, the open door to the West — here the Continental Divide is easily crossed. … This was the critical moment in American history — knowledge of this pass opened up the West and the flood of emigration began.
Between 1840 and the 1869 completion of the first transcontinental railroad, approximately 500,000 emigrants struggled up the Sweetwater and over South Pass, seismically shifting the shape and character of the country. The pioneers were headed mainly for Oregon, California and Utah, drawn to adventure, fresh lives, free land, religious freedom and El Dorado gold fever.
For 19 months beginning in 1860, mail moved swiftly along the Sweetwater between St. Joseph, Mo., and San Francisco via galloping Pony Express riders. In March 1861, riders carried President Abraham Lincoln's inaugural address up the Sweetwater to California in record time — more than 1,800 miles in seven days and 17 hours. But such heroic mail relays quickly became outdated once the first cross-continental telegraph was finished seven months later, using the same route along the Sweetwater.
Improved communication and the joy of reaching Independence Rock notwithstanding, the trail was a tough, sometimes heartbreaking trip, with thousands of wayfarers succumbing to cholera, accidents and weather. According to the Oregon-California Trails Association, nearly a tenth of the travelers perished: "The Oregon Trail is this nation's longest graveyard … If evenly spaced along the length … there would be a grave every 50 yards from Missouri to Oregon City."
As a growing tide of humanity swept westward — most surviving to new lives or even being born on the trail — gold was discovered around Sweetwater tributaries near South Pass in 1842, triggering a major rush in 1867. Thousands of eager adventurers flocked to mining camps at South Pass City, Atlantic City and Miner's Delight, temporary home to the tempestuous Calamity Jane. South Pass City swelled to 3,000 people to briefly become the largest city in Wyoming Territory. By the 1870s, most of the lively bars and brothels closed as the boom ended, though periodic revivals followed. Today, South Pass City has been partially restored as one of Wyoming's most compelling historical sites, Atlantic City maintains a faint pulse, while Miner's Delight is deathly silent.
After a day of fishing and exploring South Pass, I rambled down the road to the 1893 Atlantic City Mercantile, a quirky saloon and estimable steakhouse with tin ceilings, an ancient bar and cornucopia of historical memorabilia. A retired Navy SEAL regaled visitors with tales about his mountain bike trip from Canada to Mexico, while a local played furious ragtime on the bar's piano. Meanwhile, a menagerie of vintage deer and elk mounts impassively observed the proceedings from the walls; the stories they could tell … like why there's a bullet hole in the back bar mirror.
Contemplating Life and the Cosmos from the Oregon Trail
ollowing the "Merc" steak feast, I gazed at an ineffable density of stars illuminating the Sweetwater riffle murmuring past my camp, the same celestial glitter pioneers had hung their hopes on. After a pull of bourbon, I pondered those people, this Sweetwater trip and an earlier youthful excursion. When I finally stumbled across the college graduation finish line, unemployed, I celebrated and bought a good backpack, cheap around-the-world air ticket and the adventure of a lifetime.
On my own sojourn, I wandered unguided, sleeping on riverbanks, magical Aegean beaches and in buck-a-night, cockroach-infested Asian hovels. I didn't know how long I'd be gone. It turned out to be 15 months.
I felt, then, like I was living those Bob Dylan lyrics that have always grabbed me hard and thrown me up against the wall: "When you got nothing, you got nothing to lose/ You're invisible now, you got no secrets to conceal." And of course, the chorus: "How does it feel/How does it feel/To be on your own/With no direction home/Like a complete unknown/Like a rolling stone?"
Looking back at my hegira — easy by 19th-century standards — I'm astonished I'm still alive, but don't regret a day. "We are here to laugh at the odds and live our lives so well that Death will tremble to take us," advised poet Charles Bukowski. As best I can, I still try to recapture ghost-like shimmers of that feeling on Wyoming's back roads, a country mile from careless, "carefree" youth.
Along the Sweetwater you can slip away from contemporary nonsense: No relentless texting, intrusive cell phone chatter, bloviating political buffoons, or TV updates on the Kardashians. It's just the fierce Winds rip-sawing into blue sky; curious pronghorn families amidst rollercoaster sagebrush hills; a dust tornado trailing a rancher's truck way up the road; and beyond, a lonely chasm of trout water. I'm off the radar screen and into terra incognita, a walk on the Wyoming wild side.
Those wagon train parties winding up the Sweetwater often carried popular handbooks, benefited from word-of-mouth experience, and relied heavily on social cohesion and the kindness of strangers. But after a certain amount of researching, planning and assistance, they just had to pull the stakes and go — or they never would.
Likewise, when it comes to traveling or fly fishing, I have nothing against help, expertise or good guides. Of the latter, I've benefited handsomely from them in Mexico and Costa Rica. It pays to recognize one's bounds — I had no more chance of catching a permit or tarpon on my own than teaching a chimp to double-haul. But here's my modest Sweetwater trout tip: Go now. Fill the tank and check the tires; study maps, road mazes and weather reports. Stock up with microbrews and tempeh; grab your 5 weight and boxes of attractors and terrestrials; and then follow the sage advice of David James Duncan in My Story as Told by Water: GO FISHING YOURSELF! We are a nation plagued with self-anointed experts, pundits, middle-persons. Away with them! Dare to be the bumbling hero of your very own fishing story … Anyone who teaches that solo experience is not the best teacher is not the best teacher. Solo experience now and then teaches the hard way, but the hard way is the unforgettable way … go catch a beautiful fish all by yourself!
If You Go: Navigating the Sweetwater
The Sweetwater drainage is remote, rugged and labyrinthine. A high-clearance, four-wheel drive vehicle helps, as will enthusiasm for hiking through hot, dry, rattlesnake-infested landscapes. On some back roads, rain will maroon you until things dry out. Anglers should come equipped with water, adequate maps and supplies. Visiting with local Bureau of Land Management (BLM), Bridger-Teton National Forest or Wyoming Game and Fish Department (WGFD) staff in advance is prudent. While small, the Sweetwater is one of Wyoming's longest rivers: Where to start, from top to bottom?
Headwaters:
In its upper reaches, the Sweetwater courses through the Bridger-Teton National Forest, accessible via unpaved roads and trails. The headwaters rush down from Sweetwater Gap through the Bridger Wilderness Area, traversed by a trail for hikers and equestrians, who will mainly find pan-sized brookies and rainbows.
Downstream from the national forest, the stream gathers trout tributaries like the Little and East Sweetwater. Between the forest boundary and State Highway 28, the Sweetwater etches its way through land mainly managed by the BLM, including a primitive campground. Further down, the Lander Cutoff Road (County 446) follows the river east to Highway 28; it hugs the canyon top, with unmaintained spurs dropping toward a beautiful reach holding larger fish than above.
Below Highway 28, the Sweetwater exits its mountainous source, twining through willows, sage-covered desert and craggy gorges. Land ownership continues to be BLM and private, with scattered state pieces. Due to its secluded character, visitors are encouraged to order the BLM 1:100,000 maps titled South Pass, Lander and Rattlesnake Hills; the first two cover the best trout water.
Between Atlantic City and Sweetwater Station, the Hudson-Atlantic City and Three Forks-Atlantic City Roads (BLM 2302 and County 22) provide access to the north side of the Sweetwater, via rough roads and trails twisting into the valley. On the south side, the Oregon Buttes Road (County 445) near South Pass City affords access through a puzzle of jeep tracks.
For the adventurous, a highlight of this middle section is the BLM's Sweetwater Canyon Wilderness Study Area (WSA). Explore this water by parking on the rim and hiking into the chasm. The reward: solitude and a chance to tag browns that might make your reel scream like an osprey. Another wonderful place to slip away is The Nature Conservancy's (TNC) Sweetwater Preserve — a sprawling high desert riparian area rich with wildlife and rare plants — with units above and below the WSA. Accessed by an old ranch road west of Sweetwater Station, the lower reach has two rustic, streamside cabins available by reservation. Fishing is catch-and-release only. Visitors must obtain prior written permission from TNC's Lander office, 307.332.2971.
Lower:
The lower Sweetwater loops for many miles below the TNC preserve before its rendezvous with Pathfinder Reservoir, gradually becoming more of a warm, silty desert stream around Jeffrey City. On this bottom stretch, the WDGF has negotiated a series of leased walk-in accesses with private landowners (locations are posted on the agency website). Languid water and lower trout numbers notwithstanding, this is still a scenic, historic area to investigate.
Mixed with large ranches, there is an abundance of public land in the Sweetwater basin, offering plenty of remote camping opportunities. Photo by Jeff Erickson
The author works a hopper pattern in Sweetwater canyon. Photo by Jeff Erickson
Along the middle section, especially, anglers can tangle with decent-sized browns (pictured) and rainbows. Photo by Jeff Erickson
Devil's Gate is an iconic geological feature along the Oregon Trail; a glimpse into the narrow chasm was eagerly anticipated by pioneers. Photo by Jeff Erickson
The Sweetwater presents a variety of faces for anglers: tumbling mountain stretches; lonely, boulder-strewn canyons; and serpentine desert reaches. Photo by Jeff Erickson
The Sweetwater rises clear and cold, high in the sprawling Wind River Range. Photo by Jeff Erickson
Independence Rock was a pre-social media information board for pioneers, who used it to communicate with friends and family following them. Photo by Jeff Erickson
The Nature Conservancy (TNC) owns a prime piece of the Sweetwater, preserving some of the best high desert riparian habitat in Wyoming. The Lander TNC offers stays at a rustic cabin, 307.332.2971. Photo by Jeff Erickson
A maze of primitive roads — some following pioneer trails — provide access to the isolated Sweetwater country. Photo by Jeff Erickson
The heartbeat of an old mining town, the Atlantic City Mercantile offers juicy steaks, cold micro-brews and a old West ambiance. Photo by Jeff Erickson