Research and development

The catch of the day for the Tangled column of the week.
Patrick L. Sullivan

The catch of the day for the Tangled column of the week.
Fishing trips are rarely straightforward propositions. Over 52 years of flicking the baited hook, I have learned not to make plans with rigid schedules, because something always goes awry.
Last week I traveled deep into the wilds of Greene County, N.Y., for some research and development with my fishing guru Gary.
This meant remembering where his house is.
In that part of the world, there is a Route 23, a Route 23A, and a Route 23C.
I have often wondered why the geniuses that assign numbers to roads couldn’t just call them Route 23, Route 24, and Route 25.
Maybe a sequential clump of numbers is too easily confused. How about Routes 23, 47 and 59?
Luckily Gary’s neighbor has hung a gigantic American flag a couple doors down.
Whoops, there’s the flag, turn around.
R&D project A was a town reservoir. I’m not going to name the town because everything about this adventure was highly irregular.
Acting on intelligence gleaned from unusually reliable sources, we drove past a series of increasingly unpromising signs.
First we were warned to keep out. Then it was no hunting, fishing, trapping or trespassing for any reason. Then the signs returned to the general “keep out” theme.
We finally got to a gate. It was open. There were two men talking about something.
Gary went over to them. He conversed with one. He returned.
“We’re good,” he said. He had been talking to the water supply boss, who said it was fine if we parked outside the gate, out of the way, and walked up.
“It’s only about a quarter mile,” said Gary.
Of course it was mostly uphill, and not a gentle grade, either.
At the midway point, we heard yelping and hollering from the deep woods.
Two men emerged. They did not look outdoorsy. They looked out of shape and frustrated. (I am, after all, a highly trained observer.)
They had lost two chihuahuas. The dogs had been in the woods all night. The plan seemed to be to stumble around the woods in haphazard fashion yelling variations on “Here doggy!”
There didn’t seem to be anything we could do so we soldiered on, eventually reaching a large pond of sorts which was the reservoir that supposedly held big rainbow trout.
We tried, but it was windy and squishy and I was wearing a pair of boat shoes, handy enough in the right context but next to useless here.
I caught two bluegills. Gary caught a shiner.
On the way back the rescue team had located one dog. The other one had gone silent. I suggested opening a can of the ripest dog food available, on the theory the rich scent might overcome the dog’s terror.
The R&D continued at Lake Colgate, which is really more of a pond, created by damming up the East Kill. There is another impoundment about a mile upstream, and in between is a nice-looking bit of stream that should contain brook trout.
There is another impoundment about a mile upstream, and in between is a nice-looking bit of stream that should contain brook trout.
On this day it contained shiners and nothing else.
We tracked it down to where it merges into the lake, and I caught another bluegill which was sitting in about three inches of water making faces at me.
I showed him.

The good thing about riding around with Gary is his catalog of amusing anecdotes and vivid character sketches. Also cigar smoking is allowed.
This time I learned about Cowboy George. A Brooklynite, George found himself in New Mexico, where he developed a taste for garish, stage cowboy attire.
Upon his return to Brooklyn, he developed the theme, with a twist.
George was also a cross-dresser. And a cocaine dealer, with a sideline in illegal guns.
Gary once asked him why he liked dressing like Dale Evans.
“When that buckskin hits my thighs, the years just melt away,” George replied.
Back in Phoenicia, I convened with my nomadic attorney, Thos., who was ensconced at the Woodland Valley Campground nearby.
I’m not sure how we got on the subject, but he explained his “layered defense” for personal protection that does not involve a firearm. His travels take him all over the place, and carrying a gun just isn’t practical for legal reasons.
The first item is pepper spray.
The second is a gas mask. “One of those World War One things, I want it to be terrifying.”
And the third is a spear.
He explained he had returned a custom made spear to the Japanese maker. It wasn’t pointy enough.
“I’d do more damage hitting someone with the handle.”
Thos. further explained that sometimes he finds himself bivouacking in less than ideal circumstances.
Thos. saw “The Texas Chainsaw Massacre” at a tender age, and it left a lasting impression.
One Florida campground reminded him of the film enough that after talking with his new neighbors for five minutes, he got back in the car and left, without unhitching the camper or even stopping at the office to get his 15 bucks back.
Some fishing did get done on this trip.
Woodland Valley Creek is a major Esopus tributary and for 60 years or so, the Woodland Trout Fund (which sports the easily misconstrued acronym WTF), has planted brown and brook trout on Memorial Day weekend with a smaller stocking in July.
There is excellent access to public water downstream, and the WTF has a long-standing arrangement with the homeowners in the valley that trespassing for the purpose of fly-fishing is allowed.
The years have not been kind to the stream. Hurricanes and floods have reconfigured the streambed several times and left exposed clay banks. Forests of knotweed have eliminated cherished pools and runs.
And the new generation of homeowners are not as accommodating as their predecessors.
Nonetheless, it is where I learned to fish, and I always chip in. I try to catch my first Catskill trout of any given year in Woodland, with a bamboo rod and a dry fly.
That didn’t happen this year. I was unfaithful and hit the Beaverkill, Schoharie and a couple of others first.
But I did chuck a Chubby Chernobyl into the pool where my late father caught his last trout, and a feisty brown obliged by smacking it hard.
I used a Phillipson bamboo rod, seven feet for five weight, which my father gave me as a college graduation present.
Other kids got fancy cars, or a seat on the board, or a months-long trip to Europe.
But I’m still using the rod.
So who got the better deal?
When longtime arts administrator Amy Wynn became the first executive director of the American Mural Project (AMP) in 2018, the nonprofit was part visionary art endeavor, part construction site and part experiment in collaboration.
Today, AMP stands as a fully realized arts destination, home to the world’s largest indoor collaborative artwork and a thriving hub for community engagement. Wynn’s departure, marked by her final day Oct. 31, closes a significant chapter in the organization’s evolution. Staff and supporters gathered the afternoon before to celebrate her tenure with stories, laughter and warm tributes.
“We had such a fun party for her,” said AMP founder and artistic director Ellen Griesedieck. “I am excited for what is next for Amy and grateful for every moment she has invested in her work at AMP.”
Wynn, who previously led the Northwest Connecticut Arts Council, said her decision to step down came after careful reflection.
“It’s time for me to shift into the next phase of my career, which will call upon my 40-plus years of nonprofit experience to do project work,” she said. “I’ve absolutely loved my time at AMP.”

Under Wynn’s leadership, AMP expanded education programs, deepened community partnerships and oversaw key milestones in the creation of its monumental centerpiece — a three-dimensional mural stretching 120 feet long and five stories high — celebrating American ingenuity, industry and collaboration.
“Through all these years, Amy has worked with tireless enthusiasm for AMP, running day-to-day operations and guiding the overall direction of our mission,” Griesedieck said.
During Wynn’s tenure, AMP evolved from a concept into a dynamic cultural campus. She helped professionalize its structure, solidify its funding base and develop programs that drew visitors from across the state and beyond.
“The work she has accomplished, the hours of overtime she has logged, the mountains we have climbed together since that moment are many and miraculous,” Griesedieck said.
AMP also weathered challenging times, including the pandemic, which forced arts organizations to rethink audience engagement. Wynn guided the team during that uncertain period with a steady hand.
To ensure a smooth transition, AMP has brought on Renee Chatelain of RMCreative Solutions, LLC, an experienced consultant, attorney and arts administrator who previously worked with AMP on its capital expansion planning.
Chatelain will serve as interim executive director while a national search is conducted for AMP’s next leader.
“A longtime friend, Renee comes to us with a depth of knowledge on executive transition,” said Griesedieck. “As an attorney, a leader of several arts organizations and a classically trained dancer, she is particularly well-suited for this interim role.”
Though stepping down, Wynn said she will continue her work in the nonprofit field in a more flexible, project-based capacity.
“I’ll be seeking consulting projects with other nonprofits, assisting with grant work and strategic planning,” she said. “What I enjoy most is leading a collaborative effort and finding solutions to challenging problems.”

Even as AMP bids farewell to Wynn, its focus remains on the future. The next phase of development will focus on converting a second mill building into expanded programming and community space.
“The next step has got to happen,” Griesedieck said. “It’s absolutely what the Northwest Corner needs — a place for the community to congregate.”
The proposed expansion would create flexible areas for performances, workshops and public events, further establishing AMP as a cornerstone of the regional arts scene.
With community support and grants, AMP hopes to carry forward Wynn’s momentum into a new era.
“She is not leaving,” Griesedieck said. “Amy will always be here for us.”
Founded in 2001, the American Mural Project was conceived as a tribute to the American worker — a celebration of skill, creativity and perseverance. The mural, the largest indoor collaborative artwork in the world, was created with contributions from thousands of children, artists, teachers, tradespeople and volunteers nationwide.
Today, AMP offers tours, workshops, lectures and performances, all rooted in its mission: to inspire, invite collaboration and reveal the contributions people of all ages can make to American culture.
As Wynn turns the page, her legacy — from her calm, strategic leadership to the collaborative spirit she fostered — remains woven into the fabric of AMP’s story.
The Norfolk Library will screen the acclaimed documentary “Kings of Pastry” on Friday, Nov. 14, at 7 p.m. The film will be introduced by its producer, Salisbury resident Flora Lazar, who will also take part in a Q&A following the screening.
Directed by legendary documentarians D.A. Pennebaker (“Don’t Look Back,” “Monterey Pop”) and Chris Hegedus (“The War Room”), “Kings of Pastry” offers a rare, behind-the-scenes look at the prestigious Meilleurs Ouvriers de France (Best Craftsmen of France) competition, a prestigious national award recognizing mastery across dozens of trades, from pastry to high technology. Pennebaker, who attended The Salisbury School, was a pioneer of cinéma vérité and received an honorary Academy Award for lifetime achievement.
Established in 1924 and overseen by the French Ministry of Labor, the competition challenges professionals to create a “masterpiece” that demonstrates skill, precision and artistry. Winners receive a lifelong title and medal, presented at a ceremony in Paris attended by the president of France.
In this documentary, 16 pastry chefs spend three grueling days in Lyon crafting delicate chocolates, towering sugar sculptures and exquisite pastries, all in pursuit of perfection — and the honor of being recognized by then-President Nicolas Sarkozy, as one of France’s best craftsmen. The filmmakers were granted exclusive access to capture this intense, emotional and visually stunning event.
Producer Flora Lazar came to filmmaking via an unexpected route. Trained as a historian and psychotherapist, she has had a lifelong love of French pastry, a passion she eventually pursued through formal training at a pastry school in Chicago.
“It was run like a military operation,” she recalled of the school. “You could eat off the floor. Everything had to be meticulous, precise.”
Lazar’s father, a first-generation Harvard graduate who grew up in the Borscht Belt, pushed his children toward high achievements in academia and “looked down on the trades,” Lazar admitted. “I loved French pastry my whole life,” she said. “But my dad wasn’t going to send me to pastry school.”
After her father’s passing — with her children grown and financial responsibilities eased — Lazar finally returned to that early passion.
At the pastry school in Chicago, Lazar met two chefs, one who had won and one competing for the Meilleurs Ouvriers title. Lazar set out to write an article about the competition and what it could mean for American education and industry.
Lazar, who knew Pennebaker and Hegedus from her years in New York, invited them to Chicago to meet the chefs. That meeting sparked the idea of “Kings of Pastry,” which was born.
For Lazar, though, the meaning has always been personal.
“The purpose of the film wasn’t just to show the high level of craftsmanship in French pastry but to illuminate a larger political, economic and educational issue.”
The screening will also serve as a promotion for the Norfolk Historical Society’s 11th Annual Cake Auction, to be held Dec. 6 at 5:30 p.m. Historical Society president Barry Webber will give a brief introduction to the auction before the film.
And yes, there will be cake.
Register for the event at norfolklibrary.org/events/documentary-
film-kings-of-pastry.
On Saturday, Nov. 15, the Stissing Center in Pine Plains will be host to the Hudson Valley premiere of the award-winning music documentary “Coming Home: The Guggenheim Grotto Back in Ireland.” The screening will be followed by an intimate acoustic set from Mick Lynch, one half of the beloved Irish folk duo The Guggenheim Grotto.
The film’s director, Will Chase, is an accomplished and recognizable actor with leading and supporting roles in “Law & Order,” “The Good Wife,” “Rescue Me,” “Nashville,” “The Deuce,” “Stranger Things” and “Dopesick.” After decades of acting on television and on Broadway, Chase decided to take the plunge into directing his own short films and documentaries.
In “Coming Home,” Chase follows one of his favorite bands, The Guggenheim Grotto, on a reunion tour in Ireland. Founding members Mick Lynch and Kevin May have not played together in more than a decade, and the reunion may also serve as a farewell tour for the band. The film captures not just the music, but the friendship and shared history between Lynch and May, set against the homeland that shaped their songs.
“I’m just a huge fan,” Chase said. “It’s a big 45-minute love letter to the guys. They really dive into why they didn’t make it as a band, whatever that means,” noting that many acclaimed musicians struggle to find mainstream recognition. “I look at them and they’re very successful. They were on television shows, they won some awards, but it also makes people go ‘Oh, right. There are other bands out there other than the ones that I just read about.’ There are all these wonderful artists that we don’t necessarily know about.”
Over the years, The Guggenheim Grotto earned major critical acclaim. Their 2005 debut album “Waltzing Alone” was hailed as “one of the most beautiful records of the year” by LA’s KCRW. An Independent Music Award followed in 2007 for best folk song/songwriting. The band grew quite popular in their native Ireland, but Lynch eventually moved to New York while May remained in Ireland. Though the band’s future seemed uncertain, there was always hope for a reunion of some kind.
Reflecting on his collaboration with the band, Chase said, “I was very fortunate and thanked them profusely for being so open and honest in the documentary. No one had done this with them before, and thank God they’re just affable, funny, great guys. They really love the piece. I think it touched them in very different ways.”
Immediately following the screening, Mick Lynch — one half of The Guggenheim Grotto and current Hudson Valley resident — will take the stage for an intimate acoustic set. The documentary, coupled with the live performance, offers a rare chance to see and hear what goes into the making of great music, art, and film.
Tickets are available at thestissingcenter.org