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This week, Maria is joined by her sister, Matchmaker Chrisoula! before we get into it, Maria's new book, Matchmaker Maria's No-Nonsense Guide to Finding Love, is out! Go buy it! Now tune in for a special Hotline Episode of the podcast! The two take calls from listeners looking for real-time dating advice, from situationships to second date confusion. Also we dive into a callers life sharing about how she is a caretaker and struggling with her parner and trust. Maria and Chrisoula don't hold back as they offer tough love, tactical tips, and a few laughs along the way. Whether you're dating with intention or feeling stuck in a cycle, this episode is packed with the kind of honest insight only a matchmaker (or two!) can deliver! ✨ Don't forget to order Maria's book, follow us on social, and leave a review if you're feeling lovable and likable.
In the aftermath of October 7, Jews around the world experienced a surge of emotion and identity—an outpouring of Jewish adrenaline. But as the energy fades, the real question emerges: what does it actually mean to live a meaningful Jewish life?Rabbi Bernath draws from Dan Senor's "State of World Jewry" Speech and 92Y last week, A.B. Yehoshua's challenge to diaspora Jews, and the timeless answers offered by our prophets and sages—from King David to the Rebbe. He reminds us that Jewish life isn't about where you live, but how you live: with integrity, with mitzvos, with visible Jewish pride.Rooted in this week's Parshah, the sermon invites us to reclaim the mitzvos that affirm who we are in a world trying to forget us—and reminds us that the most radical act of Jewish survival is living Jewish every single day.Key Takeaways:October 8th Jews Need More than Adrenaline: Emotional response to tragedy must evolve into sustainable Jewish living—rooted in action, not just feeling.Geography Isn't Identity: Living in Israel doesn't automatically make one Jewish in practice. Living Jewishly—through mitzvot and moral clarity—does.Our Prophets Knew the Secret: King David, Isaiah, Micah, and Chavakuk each distilled Judaism to its ethical essence, but only because ritual was then a given. In exile, the inverse is true—we must rebuild our ritual identity.The Rebbe's Mitzvah Campaign Echoes the Prophets: Strategic mitzvot like tefillin, Shabbat candles, and kosher aren't just practices—they are declarations of identity.We Must Lead Jewish Lives—Loudly and Proudly: In today's world, being visibly Jewish is an act of courage and continuity. This is our generation's mission.#JewishIdentity #Jewish #Judaism #October7 #October7th #DanSenor #mitzvah #mitzvahcampaign #ABYehoshua #LivingJewish #KingDavid #TorahLessons #BibleStudy #Bible #Exile #JewishResiliance Join us for a special evening exploring:• The rise and trials of David HaMelech as told in Tanach• What Kabbalah and classical commentaries reveal behind the scenesRSVP HERE https://ndg.chabadsuite.net/civicrm/event/register?reset=1&id=77Support the showGot your own question for Rabbi Bernath? He can be reached at rabbi@jewishndg.com or http://www.theloverabbi.comSingle? You can make a profile on www.JMontreal.com and Rabbi Bernath will help you find that special someone.Donate and support Rabbi Bernath's work http://www.jewishndg.com/donateFollow Rabbi Bernath's YouTube Channel https://www.youtube.com/user/ybernathAccess Rabbi Bernath's Articles on Relationships https://medium.com/@loverabbi
Send us a textIn the aftermath of October 7, Jews around the world experienced a surge of emotion and identity—an outpouring of Jewish adrenaline. But as the energy fades, the real question emerges: what does it actually mean to live a meaningful Jewish life?Rabbi Bernath draws from Dan Senor's "State of World Jewry" Speech and 92Y last week, A.B. Yehoshua's challenge to diaspora Jews, and the timeless answers offered by our prophets and sages—from King David to the Rebbe. He reminds us that Jewish life isn't about where you live, but how you live: with integrity, with mitzvos, with visible Jewish pride.Rooted in this week's Parshah, the sermon invites us to reclaim the mitzvos that affirm who we are in a world trying to forget us—and reminds us that the most radical act of Jewish survival is living Jewish every single day.Key Takeaways:October 8th Jews Need More than Adrenaline: Emotional response to tragedy must evolve into sustainable Jewish living—rooted in action, not just feeling.Geography Isn't Identity: Living in Israel doesn't automatically make one Jewish in practice. Living Jewishly—through mitzvot and moral clarity—does.Our Prophets Knew the Secret: King David, Isaiah, Micah, and Chavakuk each distilled Judaism to its ethical essence, but only because ritual was then a given. In exile, the inverse is true—we must rebuild our ritual identity.The Rebbe's Mitzvah Campaign Echoes the Prophets: Strategic mitzvot like tefillin, Shabbat candles, and kosher aren't just practices—they are declarations of identity.We Must Lead Jewish Lives—Loudly and Proudly: In today's world, being visibly Jewish is an act of courage and continuity. This is our generation's mission.#JewishIdentity #Jewish #Judaism #October7 #October7th #DanSenor #mitzvah #mitzvahcampaign #ABYehoshua #LivingJewish #KingDavid #TorahLessons #BibleStudy #Bible #Exile #JewishResiliance While Hollywood may offer drama the real story more profound. A shepherd boy who became a king, a warrior who wrote Psalms, and a flawed soul who never stopped seeking G-d.RSVP HERE https://ndg.chabadsuite.net/civicrm/event/register?reset=1&id=77Support the showGot your own question for Rabbi Bernath? He can be reached at rabbi@jewishndg.com or http://www.theloverabbi.comSingle? You can make a profile on www.JMontreal.com and Rabbi Bernath will help you find that special someone.Donate and support Rabbi Bernath's work http://www.jewishndg.com/donateFollow Rabbi Bernath's YouTube Channel https://www.youtube.com/user/ybernathAccess Rabbi Bernath's Articles on Relationships https://medium.com/@loverabbi
In Matchmaker Maria's No-Nonsense Guide to Finding Love, celebrity matchmaker Maria Avgitidis blends heartfelt storytelling with decades of experience to offer a refreshingly honest guide to modern dating. Written as a “prescriptive memoir,” this isn't just a dating manual it's a candid, deeply personal conversation over coffee with a trusted friend. From her upbringing straddling Greek and American cultures to her revelations on how pop culture shaped our romantic expectations, Maria explores how our environments, past relationships, and cultural conditioning influence the way we love. She weaves in moments of vulnerability, like holding onto heartbreak for years or struggling to find connection abroad, offering readers perspective and healing. Whether you're single, dating, in a relationship, or trying to understand your past, this book provides a compassionate, practical lens on compatibility and emotional growth. With humor, direct advice, and a dose of Greek wisdom, Maria gives you tools to date more intentionally and to stop being so hard on your younger self. Backed by years of coaching both men and women, the book resonates across all demographics, proving that the journey to better love starts with self-awareness. It's not filled with fluff or formulas it's a moving, relatable narrative wrapped in dating advice you'll actually use. This is the dating book you'll start and finish! ✨ Don't forget to order Maria's book, follow us on social, and leave a review if you're feeling lovable and likable.
Matchmaker Maria is just one week away from the release of her new book Ask a Matchmaker, and she's calling on all her listeners to support it! Whether you're a page-turner or an audiobook addict, now's the time to preorder and get ready to transform your dating life. Then it's time to open the hotline! Maria is joined by her sister and fellow matchmaker, Ursula, as they dive into listener questions, starting with Brianna, who's navigating the tricky post-hookup headspace after a sudden change of plans led her to her date's house. Is he being consistent… or was that the beginning of the end? Plus, an unexpected connection to a friend of his raises a few eyebrows. We also hear from Beth, a 61-year-old listener in Denver who's wondering if a man she's been dating is truly interested or just not into texting. And finally, a third caller wants to know more about the 12-date rule how it helps you clarify your values and figure out long-term compatibility before getting swept up too soon. This week is all about trusting your instincts, breaking your own rules, and finding clarity in the chaos of modern dating. ✨ Don't forget to pre-order Maria's upcoming book, follow us on social, and leave a review if you're feeling lovable and likable.
This week on Ask a Matchmaker, Matchmaker Maria is joined by a fellow matchmaker, her sister and May's cohost, Chrisoula! The two are diving into the matchmaking world! What it takes, how it works, and why it's not all candlelit dinners and perfect matches. From surprising client obstacles to touching success stories, Maria and Chrisoula pull back the curtain on their day-to-day process, including how they vet matches, spot red flags, and determine compatibility. They reflect on the importance of empathy, professionalism, and the collaborative work of their full team at Agape Match. Plus, the duo reacts to the trailer for A24's upcoming film The Materialists where they wonder, will Pedro Pascal be picked? These two matchmakers have got a lot to say about how far the industry has come! Whether you're matchmaking-curious or just here for the chaos, this episode delivers a heartfelt and hilarious deep dive into the real work of finding love. ✨ Don't forget to pre-order Maria's upcoming book, follow us on social, and leave a review if you're feeling lovable and likable.
In her new book, The Atlantic writer Sophie Gilbert argues that early 2000s pop culture presented toxic views of women, and was a backlash regression from the progress made in the 1990s. She discusses the book, titled Girl on Girl: How Pop Culture Turned a Generation of Women Against Themselves. Plus, listeners share their thoughts on how early 2000s culture shaped them. Gilbert will be speaking at the 92Y on April 30 at 7:30 pm.
As our centennial series continues, David Levering Lewis, Pulitzer Prize-winning historian and the author of The Stained Glass Window: A Family History as the American Story, 1790-1958 (Penguin, 2025), discusses his new book, which turns the historian's lens on his own family tree.EVENT: David Levering Lewis will be in conversation with fellow historian Annette Gordon Reed at 92Y on Thursday, March 13th at 7 PM. Details can be found here: www.92ny.org/events.
Michelle Yeoh leads a ragtag group of misfits in the STAR TREK film SECTION 31 and joins Josh on the stage of the 92Y to discuss her approach to fight scenes, why she stayed with Star Trek, and why she's in every big genre property nowadays. Also featured Rob Kazinsky, Omari Hardwick, and Olatunde Osunsanmi SUPPORT OUR SPONSORS! Quince -- Go to Quince.com/happysadco for 365 day returns and free shipping! Check out the Happy Sad Confused patreon here! We've got discount codes to live events, merch, early access, exclusive episodes, video versions of the podcast, and more! To watch episodes of Happy Sad Confused, subscribe to Josh's youtube channel here! Learn more about your ad choices. Visit podcastchoices.com/adchoices
Pamela Anderson is having a career revival thanks to much lauded performance in THE LAST SHOWGIRL. Here she joins the film's director, Gia Coppola, to chat about this major moment in her career and how she's met the moment. Recorded at the 92nd Street Y. SUPPORT OUR SPONSORS! Quince -- Go to Quince.com/happysadco for 365 day returns and free shipping! UPCOMING LIVE EVENTS 1/20 -- Adam Scott at 92Y in NY -- Tickets here Check out the Happy Sad Confused patreon here! We've got discount codes to live events, merch, early access, exclusive episodes, video versions of the podcast, and more! To watch episodes of Happy Sad Confused, subscribe to Josh's youtube channel here! Learn more about your ad choices. Visit podcastchoices.com/adchoices
NOSFERATU will forever mark a turning point for Lily-Rose Depp and she's on the podcast to mark the moment, talking about not only this extraordinary performance, but her beginnings, expectations because of her parents, THE IDOL, and more. SUPPORT OUR SPONSORS! Uncommon Goods – Visit UncommonGoods.com/podcast/HappySad for 15% off BetterHelp -- Go to BetterHelp.com/HSC for 10% off UPCOMING LIVE EVENTS 1/20 -- Adam Scott at 92Y in NY -- Tickets here Check out the Happy Sad Confused patreon here! We've got discount codes to live events, merch, early access, exclusive episodes, video versions of the podcast, and more! To watch episodes of Happy Sad Confused, subscribe to Josh's youtube channel here! Learn more about your ad choices. Visit podcastchoices.com/adchoices
Bill Skarsgard already has an iconic villain on his resume (Pennywise) but it doesn't get any more iconic than his latest role as the titular character in NOSFERATU. Bill returns to the podcast to talk about why he gravitates towards dark characters, his love of LORD OF THE RINGS and Batman, and why he's a cat person. SUPPORT OUR SPONSORS! Uncommon Goods – Visit UncommonGoods.com/podcast/HappySad for 15% off BetterHelp -- Go to BetterHelp.com/HSC for 10% off UPCOMING LIVE EVENTS 1/20 -- Adam Scott at 92Y in NY -- Tickets here Check out the Happy Sad Confused patreon here! We've got discount codes to live events, merch, early access, exclusive episodes, video versions of the podcast, and more! To watch episodes of Happy Sad Confused, subscribe to Josh's youtube channel here! Learn more about your ad choices. Visit podcastchoices.com/adchoices
If you've seen ANORA, you know what all the fuss is about. Mikey Madison is what's next. She stole scenes in ONCE UPON A TIME IN HOLLYWOOD, definitely made an impression in SCREAM, but it is as the titular Anora that she's made a mark and changed her career forever. She joins Josh here to talk about all of it and the wild ride she's on now. SUPPORT OUR SPONSORS! BetterHelp -- Go to BetterHelp.com/HSC for 10% off Uncommon Goods – Visit UncommonGoods.com/podcast/HappySad for 15% off UPCOMING LIVE EVENTS 12/18 – Billy Eichner at 92Y in NY – Tickets here 12/19 -- Ben Schwartz at 92Y in NY -- Tickets here Check out the Happy Sad Confused patreon here! We've got discount codes to live events, merch, early access, exclusive episodes, video versions of the podcast, and more! To watch episodes of Happy Sad Confused, subscribe to Josh's youtube channel here! Learn more about your ad choices. Visit podcastchoices.com/adchoices
James Gunn takes a break from being one of the busiest men in showbiz (running the creative for the DCU!) to chat with Josh about CREATURE COMMANDOS, SUPERMAN, BATMAN, and so much more. SUPPORT OUR SPONSORS! Uncommon Goods – Visit UncommonGoods.com/podcast/HappySad for 15% off BetterHelp -- Go to BetterHelp.com/HSC for 10% off UPCOMING LIVE EVENTS 12/18 – Billy Eichner at 92Y in NY – Tickets here 12/19 -- Ben Schwartz at 92Y in NY -- Tickets here Check out the Happy Sad Confused patreon here! We've got discount codes to live events, merch, early access, exclusive episodes, video versions of the podcast, and more! To watch episodes of Happy Sad Confused, subscribe to Josh's youtube channel here! Learn more about your ad choices. Visit podcastchoices.com/adchoices
Author and socialite Truman Capote would have turned 100 this year. To celebrate and discuss Capote's literary legacy, authors Jay McInerney and John Burnham Schwartz join us, and take your calls. McInerney and Burnham Schwartz will be speaking at an event at the 92Y this evening, alongside Sloane Crosley.
Natasha Lyonne! Truly there is no one like her. The multi-talented actor, writer, producer, director, and all around fascinating human joins Josh in this live episode taped at the 92nd Street Y. SUPPORT OUR SPONSORS! Uncommon Goods – Visit UncommonGoods.com/podcast/HappySad for 15% off BetterHelp -- Go to BetterHelp.com/HSC for 10% off UPCOMING LIVE EVENTS 12/3 -- John David Washington at 92Y in NY -- Tickets here 12/18 – Billy Eichner at 92Y in NY – Tickets here 12/19 -- Ben Schwartz at 92Y in NY -- Tickets here Check out the Happy Sad Confused patreon here! We've got discount codes to live events, merch, early access, exclusive episodes, video versions of the podcast, and more! To watch episodes of Happy Sad Confused, subscribe to Josh's youtube channel here! Learn more about your ad choices. Visit podcastchoices.com/adchoices
Three of the key actors leading HOUSE OF THE DRAGON assemble for this fun live chat taped at New York Comic Con. Matt Smith, Tom Glynn-Carney, and Fabien Frankel chat with Josh about their HOUSE OF THE DRAGON origin stories, the fandom, the future, and who hasn't seen STAR WARS and LORD OR THE RINGS! SUPPORT OUR SPONSORS! Uncommon Goods – Visit UncommonGoods.com/podcast/HappySad for 15% off BetterHelp -- Go to BetterHelp.com/HSC for 10% off UPCOMING LIVE EVENTS 12/1 -- Natasha Lyonne at 92Y in NY -- Tickets here 12/3 -- John David Washington at 92Y in NY -- Tickets here 12/18 – Billy Eichner at 92Y in NY – Tickets here 12/19 -- Ben Schwartz at 92Y in NY -- Tickets here Check out the Happy Sad Confused patreon here! We've got discount codes to live events, merch, early access, exclusive episodes, video versions of the podcast, and more! To watch episodes of Happy Sad Confused, subscribe to Josh's youtube channel here! Learn more about your ad choices. Visit podcastchoices.com/adchoices
Josh is catching up with Paul Mescal at a very interesting time. He's only a few years into his film career but with an Oscar nomination under his belt thanks to AFTERSUN and much loved projects like NORMAL PEOPLE and ALL OF US STRANGERS, he's being tested as a major movie star in GLADIATOR II. In this candid chat, Paul talks about dealing with so much attention and what he's prioritizing with so many opportunities at his feet. SUPPORT OUR SPONSORS! Uncommon Goods – Visit UncommonGoods.com/podcast/HappySad for 15% off BetterHelp -- Go to BetterHelp.com/HSC for 10% off UPCOMING LIVE EVENTS 12/1 -- Natasha Lyonne at 92Y in NY -- Tickets here 12/3 -- John David Washington at 92Y in NY -- Tickets here 12/18 – Billy Eichner at 92Y in NY – Tickets here 12/19 -- Ben Schwartz at 92Y in NY -- Tickets here Check out the Happy Sad Confused patreon here! We've got discount codes to live events, merch, early access, exclusive episodes, video versions of the podcast, and more! To watch episodes of Happy Sad Confused, subscribe to Josh's youtube channel here! Learn more about your ad choices. Visit podcastchoices.com/adchoices
It's a big moment to check in with Zoey Deutch! Broadway debut? Check. Being directed by the iconic Clint Eastwood? Check. Turning 30? Check! Zoey and Josh cover it all hear plus when are she and Glen Powell going to team up again and what's up with Zoey and scallops?! SUPPORT OUR SPONSORS! BetterHelp -- Go to BetterHelp.com/HSC for 10% off Uncommon Goods – Visit UncommonGoods.com/podcast/HappySad for 15% off UPCOMING LIVE EVENTS 12/1 -- Natasha Lyonne at 92Y in NY -- Tickets here 12/3 -- John David Washington at 92Y in NY -- Tickets here 12/18 – Billy Eichner at 92Y in NY – Tickets here 12/19 -- Ben Schwartz at 92Y in NY -- Tickets here Check out the Happy Sad Confused patreon here! We've got discount codes to live events, merch, early access, exclusive episodes, video versions of the podcast, and more! To watch episodes of Happy Sad Confused, subscribe to Josh's youtube channel here! Learn more about your ad choices. Visit podcastchoices.com/adchoices
Much has changed for Barry Keoghan since his last appearance on the podcast. An Oscar nomination, a remarkable turn in SALTBURN, and a quick appearance as the Joker in THE BATMAN, and that's just the tip of the iceberg! Barry joins Josh at the 92nd Street Y to chat about it all and his new film, BIRD. SUPPORT OUR SPONSORS! BetterHelp -- Go to BetterHelp.com/HSC for 10% off Uncommon Goods – Visit UncommonGoods.com/podcast/HappySad for 15% off UPCOMING LIVE EVENTS 12/3 -- John David Washington at 92Y in NY -- Tickets here 12/18 – Billy Eichner at 92Y in NY – Tickets here 12/19 -- Ben Schwartz at 92Y in NY -- Tickets here Check out the Happy Sad Confused patreon here! We've got discount codes to live events, merch, early access, exclusive episodes, video versions of the podcast, and more! To watch episodes of Happy Sad Confused, subscribe to Josh's youtube channel here! Learn more about your ad choices. Visit podcastchoices.com/adchoices
Richard Rankin is no stranger to Josh but usually it's part of his OUTLANDER group. Now he's finally front and center just as he is in his new series, REBUS! Richard and Josh chat about REBUS, the end of OUTLANDER, and decide once and for all who Sam Heughan loves more. SUPPORT OUR SPONSORS! BetterHelp -- Go to BetterHelp.com/HSC for 10% off UPCOMING LIVE EVENTS 12/3 -- John David Washington at 92Y in NY -- Tickets here 12/19 -- Ben Schwartz at 92Y in NY -- Tickets here Check out the Happy Sad Confused patreon here! We've got discount codes to live events, merch, early access, exclusive episodes, video versions of the podcast, and more! To watch episodes of Happy Sad Confused, subscribe to Josh's youtube channel here! Learn more about your ad choices. Visit podcastchoices.com/adchoices
Director Mike Flanagan has cultivated an amazing group of actors recurring in all of his projects from MIDNIGHT MASS and THE HAUNTING OF HILL HOUSE to THE FALL OF THE HOUSE OF USHER. Here they come together again for a talk about their first meetings, horror, future projects like THE LIFE OF CHUCK, THE EXORCIST, THE DARK TOWER, & more. SUPPORT OUR SPONSORS! BetterHelp -- Go to BetterHelp.com/HSC for 10% off UPCOMING LIVE EVENTS 11/12 -- Pamela Anderson and Gia Coppola at 92NY in NY -- Tickets here 12/3 -- John David Washington at 92Y in NY -- Tickets here 12/19 -- Ben Schwartz at 92Y in NY -- Tickets here Check out the Happy Sad Confused patreon here! We've got discount codes to live events, merch, early access, exclusive episodes, video versions of the podcast, and more! To watch episodes of Happy Sad Confused, subscribe to Josh's youtube channel here! Learn more about your ad choices. Visit podcastchoices.com/adchoices
Joy Behar, Sara Haines, Ana Navarro, Sunny Hostin and Alyssa Farah Griffin join executive producer Brian Teta for a live episode from 92Y taped on Tuesday, October 8 in New York City. The co-hosts react to the biggest headlines they've made from getting candid on the podcast, reflect on the best advice they've received “View” creator Barbara Walters and answer live audience questions. Have a question or want advice from Brian or a co-host? Call or text us at (917) 960-3037 or leave us a message here: https://woobox.com/kaoojs. Messages may be used on a future podcast. Learn more about your ad choices. Visit podcastchoices.com/adchoices
Joy Behar, Sara Haines, Ana Navarro, Sunny Hostin and Alyssa Farah Griffin join executive producer Brian Teta for a live episode from 92Y taped on Tuesday, October 8 in New York City, following Vice Pres. Kamala Harris' appearance on "The View." Teta and the co-hosts discuss the legacy of "The View," its lasting impact on politics, what each co-host brings to the table and what it was like to produce the show during the COVID-19 pandemic. Have a question or want advice from Brian or a co-host? Call or text us at (917) 960-3037 or leave us a message here: https://woobox.com/kaoojs. Messages may be used on a future podcast. Learn more about your ad choices. Visit podcastchoices.com/adchoices
Send us a Text Message.Grammy award winning pianist Bill Charlap has performed with many of the leading artists of our time including Phil Woods, Tony Bennett, Gerry Mulligan, Wynton Marsalis, Freddy Cole and Houston Person. Born in New York City, Charlap began playing the piano at age three. His father was Broadway composer Moose Charlap, whose credits include Peter Pan, and his mother is singer Sandy Stewart, who toured with Benny Goodman, and was a regular on the Perry Como show. She earned a 1963 Grammy nomination for her recording of “My Coloring Book." In 2005, Charlap and Stewart released the acclaimed CD, Love Is Here To Stay (Blue Note).In 1997, Charlap formed his trio with bassist Peter Washington and drummer Kenny Washington, now recognized as one of the leading groups in jazz. In 2000, he was signed to Blue Note Records and received two Grammy Award nominations, for Somewhere: The Songs of Leonard Bernstein and The Bill Charlap Trio: Live at the Village Vanguard. He is known for his interpretations of American popular song.. Time magazine wrote, “Bill Charlap approaches a song the way a lover approaches his beloved…no matter how imaginative or surprising his take on a song is, he invariably zeroes in on its essence.” In 2016, Tony Bennett & Bill Charlap: The Silver Lining, The Songs of Jerome Kern, was awarded a Grammy for Best Traditional Pop Album. In April, the Bill Charlap Trio released, Notes from New York, their debut recording for the Impulse label. Alan Morrison's five-star review in Down Beat stated that the new recording is "a masterclass in class." In 2019, Charlap will be celebrating his 15th year as Artistic Director of New York City's Jazz in July Festival at 92Y. He has produced concerts for Jazz at Lincoln Center, New Jersey Performing Arts Center, Chicago Symphony Center and the Hollywood Bowl. Charlap is married to renowned jazz pianist and composer Renee Rosnes, and the two artists often collaborate in a duo piano setting. In 2010 Charlap and Rosnes released Double Portrait (Blue Note). Bill Charlap is currently the Director of Jazz Studies at William Paterson University in Wayne, New Jersey. https://www.billcharlap.com/ This Summer, Edna Golandsky, renowned pedagogue and leading expert on the Taubman Approach will release her first book with Amplify Publishing Group. Entitled ‘The Taubman Approach To Piano Technique: A Comprehensive Guide To Overcome Physical Limitations and Unlock Your Full Pianistic Potential.' Visit: www.ednagolandsky.com to learn more.The Golandsky Institute's mission is to provide cutting-edge instruction to pianists based on the groundbreaking work of Dorothy Taubman. This knowledge can help them overcome technical and musical challenges, cure and prevent playing-related injuries, and lead them to achieve their highest level of artistic excellence.Please visit our website at: www.golandskyinstitute.org.
A. J. Jacobs, NPR contributor, essayist, host of the podcast "The Puzzler" and the author of The Year of Living Biblically, It's All Relative and his latest, The Year of Living Constitutionally: One Man's Humble Quest to Follow the Constitution's Original Meaning (Crown, 2024), offers his take on "originalism" by living like a "founding father"—tricorn hat and all. →EVENT: A. J. Jacobs talks to NYS Lieutenant Gov. Antonio Delgado at 92Y on Thursday, May 9 at 8pm. Register here.
This weekend at Columbia and Yale, student demonstrators told Jewish students to “go back to Poland.” A Jewish woman at Yale was assaulted with a Palestinian flag. And an Orthodox rabbi at Columbia told students to go home for their safety. Demonstrators on these campuses shouted: “Say it loud and say it clear, we don't want no Zionists here.” In one chant at Columbia, the protesters were heard saying “Go Hamas, we love you. We support your rockets, too.” and “We say justice, you say how? Burn Tel Aviv to the ground.” These campus activists are not simply “pro-Palestine” protesters. They are people who are openly celebrating Hamas and physically intimidating identifiably Jewish students who came near. We published the accounts of two of those students—Sahar Tartak and Jonathan Lederer—today. Students—all of us—have a right to protest. We have a right to protest for dumb causes and horrible causes. At The Free Press, we will always defend that right. (See here and here, for example.) It is not, however, a First Amendment right to physically attack another person. It is not a First Amendment right to detain another person as part of your protest. The institutions that are supposed to be dedicated to the pursuit of truth have not only abandoned their mission—they have stood by and done nothing meaningful to condemn students who support terrorism, or to stop the horrific scenes of the past 48 hours. In fact, at Columbia they have done quite the opposite: on Monday morning the president announced that she is moving classes online. If that's not cowering to the mob, I don't know what is. Meanwhile, the NYPD has offered to help secure the safety of Jews on campus, but so far the president of Columbia has refused to let them on campus. Since the very founding of America, this country has been a unique place for the Jewish people. That is because of America's exceptional ideals and our willingness to defend them. But in the past six months these core American beliefs, once deemed immutable, have been challenged in ways that were previously unimaginable, as a rising wave of antisemitism and illiberalism have swept the country—a wave that was put on full display over the last few days, at the country's most elite and prestigious universities. Jews around the world are about to celebrate the holiday of Passover—otherwise known as the festival of freedom. But what does it mean this year to commemorate our freedom, when our freedom feels like it is contracting before our eyes? How can we defend the original principles that underpin our society? How can we find the courage to do so? A few months ago, I gave a speech at the 92Y called “The State of World Jewry,” where I addressed these very questions. I argued that the state of world Jewry depends on the state of the free world. Right now, its condition is in jeopardy. Our holiday from history is over. For those celebrating Passover, Chag Sameach. And as we say at the Passover seder, “Next year, may we all be free.” Learn more about your ad choices. Visit megaphone.fm/adchoices
Live at The New York Studio school with Ukrainian born artist, Alla Broeksmit, and sister and poet, Stella Hayes. “The New York Studio School was founded in 1964 by Mercedes Matter, in collaboration with a group of students and faculty, during a time of cultural ferment. To this day, it is bound by a sense of mission, one that has often stood in counterpoint to the prevailing tastes of the art world. During the heyday of Pop, conceptual art, and minimalism, the School emphasized drawing, working from life, and a sustained studio practice. To delve into the history, however, is to become aware of the contradictions inherent in a school run by some of the most passionate minds of the New York art world.“ Jennifer Sachs Samet Closely held memories of childhood in Kyiv and deeply rooted remembrances of family and beloved places fuel the dreamlike imagery of Alla Broeksmit's art. Gestural brushwork and the tactility of hand-mixed pigments in the muted palette of faded frescoes lend texture and atmosphere to her expressively rendered paintings, evoking a sense of time past, recalled to the present. Broeksmit has pursued painting since the 1990s, studying at Parsons School of Design in New York City, then co-founding the Lots Road Group with fellow artists from the Heatherly School of Fine Art after moving to London in 1997. During this period, her paintings were primarily figurative and focused on portraiture, taking inspiration from the heavily impastoed, psychological portraits of Lucian Freud. In 2017, Broeksmit received her MFA from the New York Studio School, where Dean Graham Nickson encouraged her to work on a larger scale and to take “a more instinctual, visceral approach” to painting. Instructors Judy Glantzman, Kyle Staver, and Elisa Jensen were also instrumental in her development of an individualized visual language and in exposing her to the descriptive and emotional expression of color, as seen in her work. Stella Hayes is the author of a poetry collection, One Strange Country (What Books Press, November 2020). Hayes earned a creative writing degree at University of Southern California. Her work has been nominated for the Best of the Net and for the Pushcart Prize, as well as appeared in Prelude, The Poetry Project's The Recluse, The Lake and Spillway, among others, and is forthcoming from Stanford's Mantis and Poet Lore. She began her life in a book-filled home in an agricultural town an hour outside of Kiev, then part of the Soviet Union. In 1977, her family of five — her father excluded — left for the U.S., settling first in Chicago. At USC, she studied creative writing with a focus on poetry with celebrated poet David St. John, chancellor of the Academy of American Poets. More recently, she has taken advanced classes in poetry and fiction at 92Y and was asked to do a reading there in the spring of 2018. She is a graduate student at NYU M.F.A in poetry and is assistant fiction editor at Washington Square Review. theartcareer.com Jane South: @janesouth New York Studio School: @ny_studioschool Alla Broeksmit: @artallastudio Stella Hayes: stellahayes.com Follow us: @theartcareer Podcast host: @emilymcelwreath_art Editing: @benjamin.galloway
In this episode of Money Tales, our guest is Nancy Colier. Growing up, Nancy's love for equestrian sports clashed with her father's belief that it was reserved for the privileged. But Nancy's determination prevailed; she became a top-level equestrian and rode on the national circuit. She tells us that when she finally won, she realized the success wasn't about the winning; it was about the strength and resilience it revealed within her. No matter what obstacles Nancy would face in life, she now knew she could conquer the most challenging paths. A longtime practitioner of mindfulness and eastern spirituality, Nancy Colier is a psychotherapist, interfaith minister, and author of “The Emotionally Exhausted Woman: Why You're Feeling Depleted and How to Get What You Need” (New Harbinger, 2022), “Can't Stop Thinking” (New Harbinger 2021), as well as numerous other books. She is a thought leader and national speaker on mindfulness, women's empowerment, wellbeing and ethical technology, and has been featured on Good Morning America, The New York Times and countless other media. She is also a regular blogger for Psychology Today. She teaches workshops at Kripalu, Omega Institute, and 92Y (and many other venues). In addition, Nancy spent 25 years as a nationally top-ranked equestrian and serves as a performance consultant to professional athletes and artists.
Gina is a licensed psychotherapist, mental health educator, and media consultant in New York City. In practice for nearly two decades, she has helped thousands of people seeking treatment for trauma, grief, as well as challenging life experiences and transitions. This includes work with Holocaust survivors at 92Y, as well as being a clinical director for a Mt. Sinai Hospital Outpatient Program specializing in addictions.She received her master's degree in social work with a specialty in trauma from New York University. Gina is the author of “Moving On Doesn't Mean Letting Go: A Modern Guide to Navigating Loss” (August 2023, HachetteUSA).In This EpisodeGina's websiteMoving On Doesn't Mean Letting Go: A Modern Guide to Navigating Loss---What's new with The Trauma Therapist Project!The Trauma 5: gold nuggets from my 700+ interviewsThe Trauma Therapist Newsletter: a monthly resource of information and inspiration dedicated to trauma therapists.This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5739761/advertisement
As we absorb the atrocities and losses coming out of the unspeakable terrorist attacks in Israel on October 7th, how do we deal with our tremendous individual and community shock, trauma and grief … at this moment and in the long term? Rabbi David Ingber, Senior Director for Jewish Life at 92Y, Founding Rabbi at […] The post After the Attack on Israel … Dealing with our Shock, Grief and Loss appeared first on Plaza Jewish Community Chapel.
We're live at the 92nd Street Y in NYC! MSNBC host Nicolle Wallace sits down with Andrew Weissmann and Mary McCord to talk about all of the latest legal developments in Trumpworld. She also asks Andrew and Mary some personal questions about their time at the DOJ, including what it was like to be there for the transition between the Obama and Trump administrations -- and we take questions from the audience in this very special live episode.Note: Some parts of the conversation have been edited
In today's episode, we'll be diving deep into the topic of grief and loss. We'll explore the different types of losses people are facing, both death and non-death related, and shed light on the often overlooked aspects of grief. We'll learn how to be authentic in providing comfort, avoiding cliches or platitudes, and instead, validating the love and connection shared in the relationship with the person who has passed. Meet Gina: Gina Moffa, LCSW, MA, is a licensed psychotherapist, mental health educator, and media consultant in New York City. In practice for nearly two decades, she has helped thousands of people seeking treatment for trauma, grief, as well as challenging life experiences and transitions. This includes work with Holocaust survivors at 92Y, as well as being a clinical director for a Mt. Sinai Hospital Outpatient Program specializing in addictions. She received her master's degree in social work with a specialty in trauma from New York University. In this episode we discuss: The importance of self-care during the grieving process The need for parents to be honest with their children about their struggles The value of prioritizing love and authenticity over material possessions Being present and acknowledging the often unpleasant nature of grief The importance of always learning and connecting with others Visit the Show Notes: https://drsabrinanichole.com/episode26 Resources: Brain Tap Free Webinar: 5 Steps to Mastering Chronic Pain Connect with Gina: Instagram @ginamoffalcsw Website - www.ginamoffa.com Book - Moving On Doesn't Mean Letting Go Connect with Dr. Sabrina Nichole: Follow on Instagram @drsabrinanichole Website - drsabrinanichole.com Follow on Facebook - Sabrina Crouch Learn more about the F**k Being Stuck Masterclass Free Webinar: 5 Steps to Mastering Chronic Pain Custom Music by Takenya Battle Follow on Instagram @kenyakeys Mentioned in this episode:Anatomy of Abundance BookGet your copy of Anatomy of Abundance using the link below & scroll down to claim some free bonus gifts from the authors! https://go.patrinawisdom.com/abundance
In today's episode we talk with Gina Moffa, LCSW. Gina is a licensed psychotherapist, mental health educator, and media consultant in New York City. In practice for nearly two decades, she has helped thousands of people seeking treatment for trauma, grief, as well as challenging life experiences and transitions. This includes work with Holocaust survivors at 92Y, as well as being a clinical director for a Mt. Sinai Hospital Outpatient Program specializing in addictions. She received her master's degree in social work with a specialty in trauma from New York University. And her first book is coming out on August 22 called Moving On Doesn't Mean Letting Go: A Modern Guide to Navigating Loss. She shares with us ideas on navigating the loss of connections, long-held coping mechanisms, and our identity that can come about when we work on cutting back on or cutting out alcohol from our lives.You can connect with her at:IG: @ginamoffalcswWebsite: https://ginamoffa.com/Get the Book: https://ginamoffa.com/the-bookThe Reframeable podcast is brought to you by the Reframe app. Reframe is the number one iOS app to help you cut back or quit drinking alcohol. It uses neuroscience to reframe your relationship with alcohol and unlock the healthiest, happiest you.If you're enjoying this podcast, please like, subscribe, and share with those that you feel may benefit from it. If you have a topic you'd like us to cover on the podcast, send an email to podcast@reframeapp.com. or, if you're on the Reframe app, give it a shake and let us know what you want to hear.
On this episode of The Power of Love Show we welcome special guest, Gina Moffa, LCSW, MA. Gina is a licensed psychotherapist, mental health educator, and media consultant in New York City. In practice for nearly two decades, she has helped thousands of people seeking treatment for trauma, grief, as well as challenging life experiences and transitions. This includes work with Holocaust survivors at 92Y, as well as being a clinical director for a Mt. Sinai Hospital Outpatient Program specializing in addictions. She received her master's degree in social work with a specialty in trauma from New York University. Gina is the author of ‘Moving On Doesn't Mean Letting Go: A Modern Guide to Navigating Loss', that gives a compassionate, honest perspective on many types of loss and a sense of agency over what is an very unpredictable experience. Education: Fordham University May 2015 Seminar in Field Instruction (SIFI) Certification New York University May 2010 Master of Arts, International Education (Career Counseling) New York University May 2005 Certification in International Trauma Studies New York University May 2004 Master of Social Work Learn More About Gina: Website: GinaMoffa.com Book: ‘Moving On Doesn't Mean Letting Go: A Modern Guide to Navigating Loss' • Available for Pre-Order at Target, Amazon, Barnes & Noble, Bookshop, Books•A•Million, Kindle and Audible (Release Date: August 22, 2023) Email: Gina@GinaMoffa.com Instagram: @GinaMoffaLCSW Facebook: Gina Moffa, LCSW Facebook Group: Facebook Group: Moving On Doesn't Mean Letting Go: A Group for Navigating Loss Learn More About DDJF: Website: DDJF.org Instagram: @DeeDeeJacksonFoundation Facebook: Dee Dee Jackson Foundation LinkedIn: Dee Dee Jackson Foundation Twitter: @DDJFoundation Leave a podcast review: Apple Podcasts: https://podcasts.apple.com/us/podcast/the-power-of-love-show/id1282931846 Spotify Podcasts: https://open.spotify.com/show/6X6zGAPmdReRrlLO0NW4n6?si=koXehESfSrSwA-zWi2vf-w Can't make the live-stream? You can always watch our syndicated interviews later on YouTube or Facebook! Subscribe to our YouTube channel: https://www.youtube.com/watch?v=2-Nd1HTnbaI Like Our Facebook Page: https://www.facebook.com/884355188308946/ Join our Official Facebook Group full of supportive community members: https://www.facebook.com/groups/1500933326745571/?ref=share_group_link Visit the DDJF official website: http://www.ddjf.org/ Follow us on Instagram: @DeeDeeJacksonFoundation --- Support this podcast: https://podcasters.spotify.com/pod/show/thepowerofloveshow/support
The acclaimed author joins Alicia to talk about her newest novel, Las Madres, how a stroke changed her writing and her life, and the cruelest feedback she has ever received. Find ways to order Las Madres here.If you liked this episode, listen to How Living Icon Sandra Cisneros Became a Woman Without Shame and Isabel Allende x Alicia Menendez LIVE at the 92Y.
On June 6, 2023, the iconic author and advocate joined our host on stage before a live audience at NYC's 92Y. Their conversation touched on everything from her new novel, The Wind Knows My Name, to her experiences of love and loss, and her reflections on love and sex in her eighties. Find The Wind Knows My Name here. Follow Isabel on Instagram @allendeisabel. If you liked this episode, listen to How Living Icon Sandra Cisneros Became a Woman Without Shame and Why Olga Merediz Is Ready to Let It All Hang Out.LTL is coming to a city near you! Subscribe to our email list and let us know where we should record next.
Jonathan and Rachel interview fashion icon and former Executive Director of the CFDA, Fern Mallis.We talk about her serendipitous start in fashion by way of the famous Mademoiselle Guest Editor Program, growing up in the garment district in a family of fashion business-owners, inspiring the next generation and paying it forward, what it was like to create New York Fashion Week (originally 7th on 6th) and the lessons learned through her interview series Fashion Icons at 92Y which is now a two volume set published by Rizzoli and sponsored by Nordstrom. Hosted on Acast. See acast.com/privacy for more information.
Get your ears and hearts ready for this one! Not only does Nyla grace us with her beautiful gloryyyyy filled voice with several songs, we get a backstage look into her start as an artist who now brings the powerful story of HADESTOWN to life every night. From fear to faith, from risks to perseverance, from surgery to healing, from trust to dreams - we cover a lot. I'm really grateful for this conversation. We hope you're encouraged. Please give us a follow, rate and review so that A TIME TO LIVE finds its way to even more listeners. Thanks for being here! Giving all glory to God, Nyla Watson is a dedicated Cleveland-born NYC-based actor, concert artist, voice teacher, voice and acting coach and competition singer in the New York City community. She is currently starting as Fate 2 in the Hadestown national tour and has the honor of understudying her dream role of Persephone. She is also a recent grad of New York University (NYU) where she received her Masters in Music Theater Voice. After graduating she had the privilege of starting a voice and acting studio that has adapted to doing virtual voice and acting lessons and coachings. She is a proud graduate of Baldwin Wallace University's Conservatory of Music (BW) as well! Notable performances include Broadway: Waitress the Musical with Sara Bareilles, PBS' ShowBoat: Live at Lincoln Center with Norm Lewis, Vanessa Williams and Fred Willard, Gigantic the Musical and Black No More off-Broadway, the touring companies of Wicked the musical and The Color Purple the musical. Nyla had the privilege of celebrating the 75th Anniversary of the musical Oklahoma! with the Rodgers and Hammerstein estate as a feature soloist in their concert at the 92Y. Nyla was also blessed to have played the roles of Mama Rose in Gypsy and Reno Sweeney in Anything Goes during her time at NYU. She attributes her success to her Christian faith, her parents, her education and her professional and personal influences. For all things Nyla Watson, you can keep up with her at www.queennyla.com or connect personally on Instagram at @brandnewnyla. Acts 4:7-12. TO DONATE & CONTRIBUTE TO NYLA'S MARATHON CHARITY: https://www.givengain.com/ap/nyla-watson-raising-funds-for-girls-on-the-run-greater-boston/ Produced by @OnairwithQ
Deborah Grace Winer is a theatrical writer, creator of theatrical revues and concerts, and she's a leading expert on the American Songbook. Her new collaboration with Jazz at Lincoln Center--the Songbook Sundays Series at Dizzy's Club--has been an instant sold out music destination. Deborah's previous collaborations include Feinstein's/54 Below, Birdland, and a decade as Artistic Director of the 92Y's Lyrics & Lyricists™ concert series, steering the venerable series back to audience and critical acclaim. She collaborates with top-tier artists from Broadway and the music world and works with leading institutions. Among Deborah's various books, On the Sunny Side of the Street: The Life and Lyrics of Dorothy Fields, was named by the Wall Street Journal one of the five best books on American Songwriters. Her articles have appeared in The New York Times and numerous other publications. And her plays have been produced off-Broadway and regionally. Deborah's been featured on PBS' American Masters, as well as NPR's Fresh Air and “Morning Edition.” Deborah's newest project, the audio adventure podcast series Flash Force: Middle Aged Women Superheroes Save Democracy, with an all-star Broadway cast, launches in 2023.
Bill Charlap, one of the premiere pianists of his generation, joins us today for a very special episode of JAZZIZ Travel. Late last year, Charlap released his new record with his acclaimed trio, featuring Peter Washington on bass and Kenny Washington on drums. Street of Dreams is a reflection of the literal and metaphorical road traveled together, during the nearly 25 years since the trio's formation. It's also a loving tribute to Charlap's very own New York City and marks the pianist's return to Blue Note Records. We talk about this album and more, including the great composer Leonard Bernstein, whose musical theatre legacy Charlap will be celebrating at a special event at the New Jersey Performing Arts Center on June 17, and the upcoming edition of Jazz in July, which is under his artistic director, and that will run over the course of four nights during the last two weeks of July at New York's 92Y. --- Support this podcast: https://anchor.fm/jazziz/support
Annette Insdorf is a renowned film historian, professor, and moderator of the Reel Pieces series at New York City's 92nd Street Y, where she talks with the biggest names in Hollywood from Meryl Streep to Andrew Garfield to Jason Reitman and beyond.Learn how she prepares to interview these masters of their craft in front of a live audience, which star has actually audited her film classes at Columbia University, and many more priceless stories in this exciting conversation.-Follow Alex on Instagram
“Anyone who loves music can karaoke.” So declares Raina Lee, Karaoke Queen and author of Hit Me With Your Best Shot: The Ultimate Guide to Karaoke Domination. In celebration of National Karaoke Week, our new favorite niche holiday, we're devoting a whole episode to karaoke. We'll hear tips for picking the perfect song and what it takes to rule the karaoke stage from Raina and 2020 World Karaoke Champion Garvaundo Hamilton. Plus, listeners from across the country call in to perform some of their karaoke favorites. Marianne Chan closes out the episode with a reading of her poem, ‘In Defense of Karaoke.' For the playlist of songs curated for this episode head over to www.mixcloud.com/sonos. / Music In This Week's Episode: /I Wanna Dance With Somebody - Whitney HoustonUnwritten - Natasha BedingfieldU Remind Me - UsherNo Scrubs - TLCDon't Stop Believin' - Journey Show Notes: National Karaoke Week is the fourth week of April. Check your local karaoke venues for special events to celebrate the occasion.Raina Lee is a visual artist and the author of Hit Me With Your Best Shot: The Ultimate Guide To Karaoke Domination. If you're in the LA area and looking for a local karaoke spot, she recommends the San Franciscan. Garvaundo Hamilton is the 2020 World Karaoke Champion. He is also the Washington State Director for the 2022 Karaoke World Championships. Qualifying competitions have already begun. Check out the Karaoke World Championship website to find an event near you!Marianne Chan is the author of In Defense of Karaoke, which is available in her book, All Heathens. Hanif often opens his own readings with the poem, and has previously read it for the 92Y. Credits:This show is produced by work by work: Scott Newman, Jemma Rose Brown, Kathleen Ottinger, Rhiannon Corby, and by Hanif Abdurraqib. The show is mixed by Sam Bair. Extra gratitude to Joe Dawson and Saidah Blount at Sonos.
What you'll learn in this episode: How Jonathan moved from sculpture to jewelry to drawing, and why he explores different ideas with each medium How the relationship between craft and fine art has evolved over the years Why people became more interested in jewelry during the pandemic Why jewelers working in any style benefit from strong technical skills How you can take advantage of the 92nd Street Y's jewelry programming and virtual talks About Jonathan Wahl Jonathan Wahl joined 92nd Street Y in July 1999 as director of the jewelry and metalsmithing program in 92Y's School of the Arts, the largest program of its kind in the nation. He is responsible for developing and overseeing the curriculum, which offers more than 60 classes weekly and 15 visiting artists annually. Jonathan is also responsible for hiring and supervising 25 faculty members, maintaining four state-of-the-art jewelry and metalsmithing studios, and promoting the department locally and nationally as a jewelry resource center. Named one of the top 10 jewelers to watch by W Jewelry in 2006, Jonathan is an accomplished artist who, from 1994 to 1995, served as artist-in-residence at Hochschule Der Kunst in Berlin, Germany. He has shown his work in the exhibitions Day Job (The Drawing Center), Liquid Lines (Museum of Fine Arts Houston), The Jet Drawings (Sienna Gallery, Lenox MA, and SOFA New York), Formed to Function (John Michael Kohler Arts Center), Defining Craft (American Craft Museum), Markers in Contemporary Metal (Samuel Dorsky Museum of Art), Transfigurations: 9 Contemporary Metalsmiths (University of Akron and tour), and Contemporary Craft (New York State Museum). Jonathan was awarded the Louis Comfort Tiffany Emerging Artist Fellowship from the Louis Comfort Tiffany Foundation, two New York Foundation for the Arts Fellowships in recognition of "Outstanding Artwork," and the Pennsylvania Society of Goldsmiths Award for "Outstanding Achievement." As part of the permanent collections of The Metropolitan Museum of Art in New York, The Museum of Fine Arts in Houston, TX, and The Museum of Arts and Design in New York, his work has been reviewed by Art in America (June, 2000), The New York Times (June 2005), and Metalsmith Magazine (1996, 1999, 2000 2002, 2005, 2009); his work was also featured in Metalsmith Magazine's prestigious "Exhibition in Print" (1994 and 1999). Jonathan's art work can be seen at Sienna Gallery in Lenox, Massachusetts, which specializes in contemporary American and European art work, and De Vera in Soho, New York. His work can also be seen in the publications The Jet Drawings (Sienna Press, 2008), and in three collections by Lark Books: 1,000 Rings, 500 Enameled Objects and 500 Metal Vessels. Before joining 92Y, Jonathan was, first, director of the jewelry and metalsmithing department at the YMCA's Craft Students League, and later assistant director of the League itself. Mr. Wahl holds a B.F.A. in jewelry and metalsmithing from Temple University's Tyler School of Art and an M.F.A. in metalsmithing and fine arts from the State University of New York at New Paltz. He is a member of the Society of North America Goldsmiths. Additional Resources: Website: www.jonathanwahl.com Website: www.92y.org/jewelry LinkedIn: www.linkedin.com/in/jonathancwahl Instagram: @jonathancwahl/ Photos: Available at TheJewelryJourney.com Transcript: With more than 60 jewelry classes offered weekly, the 92nd Street Y's Jewelry Center is by far the largest program of its kind in the country—and it's all run by award-winning sculptor, jeweler and artist Jonathan Wahl. He joined the Jewelry Journey Podcast to talk about the different relationships he has with jewelry and sculpture; why craftsmanship should be embraced by the art world; and what he has planned for 92Y in 2022. Read the episode transcript here. Interview with Jonathan Wahl 4/3/22 Sharon: Welcome to the Jewelry Journey Podcast. Today, my guest is Jonathan Wahl, Director of the Jewelry Center at the 92nd Street Y in New York. Jonathan was recently on the podcast, but we had to rush through the description of the many jewelry programs that are going on at the Y. So, I asked him back to tell us about the programs in more detail. Many of them are online and are recorded, so it doesn't matter where you are in the world. Jonathan, nice to see you again. Jonathan: Nice to see you, Sharon. Thanks for having me back. Sharon: You ran through it very quickly at the end because I didn't realize how much you had to say basically. So, tell us first about your interviews you have with sculptors and jewelers. Tell us about those. Are there any upcoming? Who are the next ones? Give us-- Jonathan: Sure, so the lecture series came out of the pandemic obviously. I think I've done about 25 or 30 lectures or interviews so far. The most recent series was a series of three talks about female sculptors who are jewelers or jewelers who are sculptors. As you could tell from our last conversation, I'm really interested in this line be-tween the fields of art, particularly between jewelry and sculpture or fine art and decorative art. So, I was really curious to talk to these three in particular New Yorkers who practice in both fields and it was Joe Platner who is a longtime jeweler in New York City, Michelle Okeldoner(?) whose work was primarily sculpture and also does jewelry and Anna Corey whose work also started in sculpture, but now is primarily a jeweler. So, it was really fascinating to talk to these women artists about how they practice and what inspires them in their practice. Sharon: And do you have series upcoming more in the spring or summer? Jonathan: Yup, I'm working on a series about enamel. Enameling seems to be having a re-surgence in our department and I think in jewelry in general, we're seeing a lot more enamel and a lot more color in metals. So, it will be with a contemporary artist, a historical collection and a contemporary fine jeweler. Sharon: It sounds very interesting and enamel, at least in the view I see now, is becoming much more popular. Jonathan: Yeah, yeah, I'm not exactly sure why. I'm really curious. I think maybe it's happy; it's colorful; it's as close to painting, I guess, as you can get in jewelry in a way. Sharon: It's such a skill if you do it right. It's an artistry. Jewelry is an art, but it's such an artistry within the art in a sense. Jonathan: Absolutely, you can, as we say, shake and bake and get color on metal pretty easily. So, you can get pretty direct results and get color on your metal pretty simply. Of course, to be an expert enamellist, to practice grisaille or cloisonne or brioche, you need to become master craftsman. So, there's a lot to dig into. Sharon: So, do we need to keep our eyes on the spring session, the summer session or when? Jonathan: It's going to be the summer session. I think it's going to take place in June. Sharon: O.K., I look forward to it. Jonathan: I'm not sure of the dates, but it's coming and you'll see it. Most of the talks so far are on our archives at 92Y.org in the jewelry center page. Sharon: Yeah, I know there are some that I'd really like to go look at that I missed. Jonathan: The previous three were with three Brazilian jewelers. Sharon: Now, you just had an interview with—I don't know how to say her last name—but she was talking about a Brazilian jeweler, Roberto Burle Marks. Jonathan: Uhum, correct. Sharon: But that was separate. Jonathan: It was part of the Brazilian series because Roberto Burle Marks was a Brazilian. Sharon: But it wasn't part of the Sculpture and Artist Series; it was a different series. Jonathan: Correct, right, they were three and three. Sharon: There's a lot going on. So, tell us about this jewelry residency. I was just looking at your Instagram and the ads for it. So, tell us about it. Jonathan: The Jewelry Residency Program, it would be its fifth year, but we took two years off because of the pandemic. The Jewelry Residence Program is something that I've always dreamed of doing and I'm so happy that it's back on. What it provides is a studio apartment here in our facility, 24-hour access to one of our studios and air-fare to and from New York City from anywhere in the world. Sharon: Are people applying now? When does it start? Jonathan: Yes, the applications are open until April 15. We extended the deadline. Sharon: Does it start in September-- Jonathan: Sorry, it's August 18-September 19, if I'm not mistaken. That's the residency program. Sharon: And you get applications from all over the world or what? Jonathan: We had applications from fifty countries in 2019. I would love to have applications from farther afield. Most of them come from western Europe. We're still trying to figure out how we reach populations in Asia or sub-Saharan Africa or Africa in gen-eral or even more in South America. It's been kind of hard to get to some of those areas. I'm working on a trip to Korea which you know about, so I sent it to all the artists that we're going to visit in Korea. So, I hope we get some applications from Korea and I also just was in contact with an artist who's a Ukrainian jeweler and she has started on Facebook to try and raise money and funds and help Ukrainian jewel-ers who've been displaced, so of course I've shared that residency with her and the opportunity. We would love to support a Ukrainian jeweler and have them here in New York City for a month, particularly if they're not in a studio, but I'm also looking forward to seeing how we can support a Ukrainian jeweler in general if they are here in New York City. Sharon: And so it doesn't matter, a male, female, anybody in between. Jonathan: It doesn't matter and it is open to Americans. It is an international jewelry resi-dency, but you are welcome to apply as an American. The reason for the residency is, as I mentioned, to expand New York City's access to jewelers who don't maybe normally get here and the type of work that isn't often shown in New York City, but it's also for an artist who might not normally be able to come to New York City to come to New York City, but it's also about why an artist needs to be in New York, what would New York City do for them and that could be for a whole host of reasons and there is a jury panel that I assemble every year that helps me decide who that next person should be. Sharon: Wow! That sounds pretty competitive, but it's sounds really worthwhile. Jonathan: Well, there's only one spot. Sharon, with funding, we could expand that. So again, if anyone wants to help support a residence. The residency program, I'm completely open to a conversation. Sharon: Well, I will suggest that people get in touch with you, O.K., or at least send the checks. O.K., so tell us about the travel program to Korea. Jonathan: I do a trip every other year to somewhere in the world and we have gone to Israel, Italy, Austria, the Czech Republic, India, Japan and this year hopefully to Korea. Sharon: Wow! That really sounds fabulous. Jonathan: Yeah, the trips are centered around historical collections and contemporary jewelers and if you're not familiar with the Korean jewelry scene, it's really vibrant and really robust. It has its roots in Europe and the United States as well as with Korean tradi-tion. So, I'm really excited to meet these artists who blend a lot of techniques and traditions and they're doing some really extraordinary work. Sharon: Well, the Korean artists who have exhibited at the international shows have really been creative and really amazing. Jonathan: Really strong work, yeah. Sharon: So, the last I talked to you, I just wanted to double check. Are you still thinking you'll be going October 6, whenever? Jonathan: Yeah, that's the tentative plan. The one thing. Korea has lifted quarantine restric-tions which is great, but groups are still restricted to six or fewer, so it's a bit of a problem for our group which is about fifteen people. So, I'm a little bit on edge about that. I'm waiting to see if that will change. Sharon: Wow! Six or fewer, that's pretty-- Jonathan: That would make going out to dinner a problem and just going to into groups and staggering them, it's like taking two trips frankly. Sharon: Yeah, no, it sounds like a lot of logistics. Jonathan: With that being said, I have a trip to the southwest in the wings for the end of October. If for some reason the gods are not with us to go to Korea, I'm putting together a trip to San Jose and Taos. Sharon: There's lots to see there. Jonathan: Uhum. Sharon: So, you also have a program for highschoolers to teach them about the jewelry industry. Tell us about that. Jonathan: Yeah, this is certainly a program that's been a dream of mine for a long time. It is a program that is offered to Title 1 art and design school in New York City and Title One schools tend to service underserve populations in general in New York City and most of those students wouldn't normally get access to a jewelry studio in high school. Most kids don't get access to a jewelry studio in high school in general. Particularly this population most likely wouldn't be taking a class at the 92nd Street Y as a fee-for-service program for obvious reasons. So, this is a program to get kids who would normally be in the studio into the studio and expose them to the tech-niques and materials and offer them a view into a possible career path, if that's something they would like to pursue. We're coordinating with New York City Jewel-ry Week who has organized wonderful guest speakers with these kids and with NYCJWM and the Department of Education, are able to offer paid internships this summer which is really exciting. It's the first year of this program, so we're still find-ing our footing and I know there are going to be some kids who decide to go into the next year and I think particularly the juniors and seniors will hopefully take advan-tage of some of these opportunities and perhaps go deeper into the field. Sharon: It sounds like a great opportunity, yeah. Jonathan: Even master soldering to a teenager, regardless of whether or not you go into the field as a career, it's a great skill to have. Sharon: I don't know that much about New York and the school system, but I would assume that there are not a lot of opportunities like this that are going on in New York. Jonathan: To my knowledge, there is not a functioning jewelry studio in any of the public high schools in New York City. Sharon: Now, that's really amazing to me. Would a shop class teach jewelry and metal-smithing? Jonathan: To my knowledge, there aren't any functioning jewelry programs classes in New York City public schools right now and we don't have trade schools for jewelry in America. There are art schools and we've talked about how that's always the best fit if you're going into the trade. Sharon: It sounds like a program that would really take off. So, what else should we know about—and what else is coming up? I know you have some great—you've had Tony Greenbaum teaching a class who teaches about modernist jewelry. Jonathan: Yup and Bella Neyman just finished a great series on costume jewelry that was really fascinating. Sharon: Uhuh, I do have to say it was great. I did listen to it. It was great because it was in Los Angeles and it was at seven in the morning which is usually not the time I'm up to watch class. So, I watched the recorded classes which was great to have. Jonathan: Yeah, and we're working on our fall programming, so I'm not exactly sure what the talks will be, but I'm sure there will be one. I'm working on another few initiatives—well, one initiative in particular that is not confirmed yet, but I would like to also create a younger designer's award or fund in which we would help support a new jeweler and help them with classes and to continue their education as well as men-torship through our faculty and through our connections. One of the huge leaps is to go from undergrad or grad in these very supportive environments and then to be let loose to fly free. Many people hone their skills while working for another artist doing benchwork, but I would like to help an artist or a young designer home their skills through our classes and through our faculty mentorship and our professional mentorship opportunities. So, I'm working on that. I would love to see it happen by the fall, but TBD. Sharon: O.K., well, you can keep us posted. I know you have so much going on, so thank you so much. I just envision you juggling so many balls. Jonathan: There's always a lot going on as well as continuing to support the programing that we do on an ongoing basis here. Every day, every week--there's a class going on right outside my office right now, one of three or four classes going on right now in the center. We do offer over fifty classes a week for jewelry alone, so that in itself is enough of a job-- Sharon: For hands-on jewelry. Jonathan: Hands-on jewelry, hands-on making. To my right, there's a wax covering class going on. To my left, there's a jewelry two class going on. Further down the road is a goldsmithing class and then—yeah, I can't remember what's in the fourth studio right now, but the most pressing thing is if you are interested or know someone who might apply for the Jewelry Residency Program, I'd strongly encourage them to do so. We've got some wonderful press from Town and Country Magazine last year and in the cut from New York Magazine, so there are some great opportunities. Sharon: It sounds like it and since the deadline is right around the corner, April 15, people need to get on it. Jonathan: But it's easy. It's a submittable application. You upload your images. You make the case for why you want to be in New York City and away you go. Sharon: I don't know. That still involves somebody sitting down and really putting their brainpower behind it. Jonathan: Get on it, people. Sharon: Jonathan, thank you so much for being here today. Jonathan: You're welcome. Sharon: And we'll keep everyone posted on what else is going on at the Y. Jonathan: Thank you, Sharon, it's always a pleasure. Hope to see you soon.
What you'll learn in this episode: How Jonathan moved from sculpture to jewelry to drawing, and why he explores different ideas with each medium How the relationship between craft and fine art has evolved over the years Why people became more interested in jewelry during the pandemic Why jewelers working in any style benefit from strong technical skills How you can take advantage of the 92nd Street Y's jewelry programming and virtual talks About Jonathan Wahl Jonathan Wahl joined 92nd Street Y in July 1999 as director of the jewelry and metalsmithing program in 92Y's School of the Arts, the largest program of its kind in the nation. He is responsible for developing and overseeing the curriculum, which offers more than 60 classes weekly and 15 visiting artists annually. Jonathan is also responsible for hiring and supervising 25 faculty members, maintaining four state-of-the-art jewelry and metalsmithing studios, and promoting the department locally and nationally as a jewelry resource center. Named one of the top 10 jewelers to watch by W Jewelry in 2006, Jonathan is an accomplished artist who, from 1994 to 1995, served as artist-in-residence at Hochschule Der Kunst in Berlin, Germany. He has shown his work in the exhibitions Day Job (The Drawing Center), Liquid Lines (Museum of Fine Arts Houston), The Jet Drawings (Sienna Gallery, Lenox MA, and SOFA New York), Formed to Function (John Michael Kohler Arts Center), Defining Craft (American Craft Museum), Markers in Contemporary Metal (Samuel Dorsky Museum of Art), Transfigurations: 9 Contemporary Metalsmiths (University of Akron and tour), and Contemporary Craft (New York State Museum). Jonathan was awarded the Louis Comfort Tiffany Emerging Artist Fellowship from the Louis Comfort Tiffany Foundation, two New York Foundation for the Arts Fellowships in recognition of "Outstanding Artwork," and the Pennsylvania Society of Goldsmiths Award for "Outstanding Achievement." As part of the permanent collections of The Metropolitan Museum of Art in New York, The Museum of Fine Arts in Houston, TX, and The Museum of Arts and Design in New York, his work has been reviewed by Art in America (June, 2000), The New York Times (June 2005), and Metalsmith Magazine (1996, 1999, 2000 2002, 2005, 2009); his work was also featured in Metalsmith Magazine's prestigious "Exhibition in Print" (1994 and 1999). Jonathan's art work can be seen at Sienna Gallery in Lenox, Massachusetts, which specializes in contemporary American and European art work, and De Vera in Soho, New York. His work can also be seen in the publications The Jet Drawings (Sienna Press, 2008), and in three collections by Lark Books: 1,000 Rings, 500 Enameled Objects and 500 Metal Vessels. Before joining 92Y, Jonathan was, first, director of the jewelry and metalsmithing department at the YMCA's Craft Students League, and later assistant director of the League itself. Mr. Wahl holds a B.F.A. in jewelry and metalsmithing from Temple University's Tyler School of Art and an M.F.A. in metalsmithing and fine arts from the State University of New York at New Paltz. He is a member of the Society of North America Goldsmiths. Additional Resources: Website: www.jonathanwahl.com Website: www.92y.org/jewelry LinkedIn: www.linkedin.com/in/jonathancwahl Instagram: @jonathancwahl/ Photos: Available at TheJewelryJourney.com Transcript: With more than 60 jewelry classes offered weekly, the 92nd Street Y's Jewelry Center is by far the largest program of its kind in the country—and it's all run by award-winning sculptor, jeweler and artist Jonathan Wahl. He joined the Jewelry Journey Podcast to talk about the different relationships he has with jewelry and sculpture; why craftsmanship should be embraced by the art world; and what he has planned for 92Y in 2022. Read the episode transcript here. Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the second part of a two-part episode. Today, my guest is Jonathan Wahl, Director of the Jewelry Center of the 92nd Street Y in New York City. The program is the largest of its kind in the country. In addition to his life in jewelry, Jonathan is an award-winning artist whose work is in the permanent collections of prestigious museums. Welcome back. When do you have time to work on your jewelry? Jonathan: I'm here Monday through Wednesday in the studio here. Then I'm in my studio the rest of the time, so Thursday, Friday, Saturdays and Sundays. Sharon: Your home studio or a studio at the Y? Jonathan: No, it's not here. It's in Brooklyn. I wouldn't be able to work here. People would be finding me. No, I maintain a studio in Brooklyn. That's where I've done all my work basically for the past 25 years. Sharon: Tell us about your work. I was reading about you. You have a whole series of different things, drawings, collections. Jonathan: Lest I forget, I have had a jewelry line. In 2005—and I'll get to the larger bodies of work—when I moved to New York, my work was primarily sculpture. It was the tinware. It became the oversize tinware. I got a Tiffany fellowship which gave me a nice chunk of cash, and I made a series of work based on Frederic Remington, a series called Cowboys and Unicorns. I made a series of tasseled heads for this exhibition. It took about a year. There were many bodies of work, like Aztec Astronauts, which is inspired by Jared Diamond's book, “Guns, Germs, and Steel.” There's no jewelry in it at all, but it was interesting. I had a wonderful Foundation for the Arts fellowship for Cowboys and Unicorns. I had this Tiffany fellowship. I thought I was hot to trot. I was an artist, but because I've also been very self-directed in my work, I have made choices on my own, and I certainly hadn't thought of the larger picture, like, “Who am I marketing to?” At one point, I felt like maybe I should do something different. I saw these people putting jewelry lines together and I thought, “Well, let me try that. I'm going to throw together a jewelry line.” I did put together a jewelry line in 2004 and 2005, and it got a lot of press. Barneys called and Bergdorf called. It was exciting and, true to myself, I looked at this opportunity and thought, “What they're asking for sounds like I'm going to have to start a real business.” Between my role here as Director of the Jewelry Center and my studio practice, I wasn't sure I wanted to run a full-time jewelry business. What this position here affords me is the time and space to work in my studio on what I want to make. I thought that if I put together a jewelry line, that was a different kind of hustle, and a hustle that was going to take over. As a consequence, I declined Barneys and Bergdorf. I did sell my line at De Vera in New York, which is a much more boutique, gorgeous store that has since moved. Interestingly enough, launching the jewelry line brought me to drawing. People who knew me and knew my work as a sculptor, when I said I'd launched a jewelry line, to put it politely, they looked confused. I've said this in many interviews: a jeweler in the art world, people don't really get. An artist who makes jewelry is different than a jeweler who makes art, may I say. Sharon: That's interesting. Jonathan: I think that has changed. It has changed to some extent, but it's different. It's a one-way street. A potter and a sculptor, interesting, particularly with clay being very hot right now. A painter and a bartender makes sense; people get that. Anyway, I found this look of confusion quite perplexing. I started these large drawings, renderings of jet jewelry. I was working on a series of drawings about jewelry, about history, about my love for history, and I happened upon jet jewelry. I thought it was so out of the ordinary: monochromatic, at times really epoch-shifting in terms of what it was. So, I decided to start drawing these objects to take them out of the realm of jewelry and present them to the viewer as an object. Rendered large, they took on a completely different identity. It paralleled my experience of having this conversation with people saying I'm a jeweler and a sculptor. I thought, “If I present them with these drawings that are straight-up portraits of jewelry, maybe they'll think differently about what those edges are about or what those lines are, what those determinations are.” Sharon: That's interesting about people not getting a jeweler as a painter or an artist. That's what you said, right? Jonathan: I wish I could deny it. Again, this is 20 or 15 or 17 years ago; I can't remember. Things have changed a lot in the art world. I'll probably get in trouble for this; I don't know if any of the Whitney curators are going to hear this, but the Whitney, one of my favorite museums, had an exhibition of artists who employ craft, I think. It was all artists who made objects or used material that represented craft in some way. It was such an artist's use of craft, and done in a way that was pure aesthetics and abstraction, which was such a different experience with respect to the materials that I think a craftsperson has. I also find that curators are really only looking at artists who use craft techniques or craft materials from this artistic, old-school, may I say modernist perspective. I truly mean that because it was fascinating to see how a fine art museum presented craft in this way. To me, it reiterated how these fields are viewed, certainly from each corner of the art world. I found the show at the Whitney really underwhelming in terms of how they represented craft. Just because you use yarn doesn't mean it's craft. That's the takeaway. I think that represents this weird, one-way street or one-way mirror of how crafts and art are viewed together. Martin Puryear was not in that show. Sharon: Pardon? Jonathan: Martin Puryear, whose work definitely involves craftsmanship. He wasn't in that exhibition. There were people who I thought could have been in that exhibition to represent how craft is employed in the fine art world and would have made the statement better. Sharon: So, what is craft? It always seems to me the question that's has no answer. How do you know, when you're looking at something, whether it's craft or fine art or jewelry made with yarn? What's the difference? Not difference, but how do you separate it? Jonathan: I think it's many times subjective. To that point, the curators at the Whitney could have put whatever they wanted and called it craft, but I think when you see craft, you know it. I think you really do. I think their lines can be crossed. I think there's craft that's art, and I think there's art that's craft, but for myself, I know it when I see it. I think it also depends on how you employ the materials and for what end. I've been thinking about this recently. Craft was never really thought of as espousing an agenda other than its function. That was how it started, but now in some ways, the art world is looking at craft that explores itself beyond its function. It's making social commentary and is actually functioning in the way fine art would have explained itself, as material subjugated to the thought process of the artist. Craftsmen can be both, explaining or using functional materiality. They can also use a fine arts strategy, if they're making a commentary or going beyond the object's functionality into a realm that makes you think about the object differently. That is more of a fine arts strategy. So, it gets really sticky. Sharon: It's one of those questions. I'm thinking about craft in jewelry. I'm thinking about when you were in camp, the lanyards you would make, the necklaces you'd make with plastics. I guess you could call it a type of craft jewelry. Jonathan: For sure. I don't think craftsmen should be offended by lanyard jewelry. That's how you start. It's weaving; it's one of the most basic weaving skills. Voice that history. Those are old skills. That's how we built civilization. Believe in that. We wouldn't be here without those skills. Don't be afraid of that. I think my own jewelry journey, if you will, has been influenced by these experiences. I love jewelry. I love objects. I love technique. I love skill. I'm so in awe of people who can make, who can really fabricate something. It takes skill. It takes work. It takes focus. I love jewelry. I wear one ring and a watch. I change my ring up whenever I feel like that. They're mostly rings I've made, but they're a specific type of ring. Apart from my look in the 80s, I'm a relatively conservative-looking guy, so I wear jewelry that reflects the aesthetics of myself. It tends to be kind of traditional, so I have no problem with great jewelry that has a great stone, that's made well, that some would consider traditional. I'm O.K. with that. You know what? Wear whatever kind of jewelry makes you feel right. I love art jewelry and I think it's important in pushing the boundaries or the materiality of the field. I'm happy to see and support that. I love going to SCHMUCK. I'm always blown away when I see what's happening in the world of contemporary jewelry. I think contemporary or art jewelry, the field is also changing. I have to say everything's moving more towards the middle in a way, whether it's contemporary jewelry, studio jewelry or art jewelry. When I look at work today, it's all moving a little bit towards the middle, which is fascinating. But when it comes to jewelry, I don't have any problem with good jewelry, period. I love good jewelry. Sharon: Big stones are nice. Jonathan: I'm just saying good jewelry, however you classify jewelry, I like jewelry. Sharon: Why are things moving towards the middle? Why do you think that? Is that part of the ethos of the country, or that people don't want to be extreme? They don't want purple hair anymore? Jonathan: With all that being said, the generation that's coming up now wants to have purple hair, absolutely. I look at the trends that are going on right now, and I think of myself in art school in the high 80s with my hoop earrings and my dyed red hair and my capri pants and my corny shoes and my vests and yada, yada, yada. I look at this younger generation thinking, “Wow, it's coming back around again, interesting.” Maybe I talk out of two sides of my mouth, but I think in general, the bulk of those fields are moving a little bit closer together. I think there's an appreciation in the art jewelry world for techniques and processes that might not have been so accepted 10 or 20 years ago. I think there's an appreciation all around. I think I see contemporary jewelry making gestures that might have only happened in the art jewelry world 10 or 20 years ago. Sharon: You also talk about the rift between fine art and jewelry. Can you talk a little bit about that? Jonathan: I've got to say, I've met some great fine art collectors in New York and their jewelry has really stunk. I find it really funny when I see people who've got a great dress on and have a great art collection and mundane jewelry. It's the last thing that people think about sometimes. Although, the one person I'll say that always bucks the trend is Lindsay Pollock, who has great jewelry and has great art and knows great art. Sharon: Who? I'm sorry; I didn't hear. Jonathan: Lindsay Pollock, who used to be an editor at Art Forum. Now she also works for the Whitney Museum of Art, I think, as Director of Communications. I'm not sure, but she's a wonderful collector. Sharon: And she has great jewelry. Jonathan: Yes, and she knows the art world really well. Your question; please repeat it. Sharon: The rift between fine art and jewelry. Is there a rift? Jonathan: There's a difference. I think for so long people were trying to justify themselves, so people got defensive. Now people are starting to own what they do and who they are without the defense: “I'm not an artist, I'm a craftsperson” or “I'm a craftsperson, not an artist.” I think there's less apprehension about that now in terms of owning those fields. This is a conversation had by many people, but when modernism took its toll on craft, it stepped up its identity in many ways. I think since then, craftsmen and jewelers have been trying to figure out their way back to be on par with the rest of the arts. I think for a long time, because it wasn't modern art or contemporary art, there was a real apprehension about how we define artwork. I think about how jewelry was, for a long time, just photographed on a white background so it reads as an object, like you're presenting it like a little sculpture. For many years, that's how it was presented. I find that representative of how we explain the work we were making. When you saw it, you generally saw it sitting on nothing except white, in a void, outside of any wearability or reference to the person, which I get. But when you think about that, for me, it has resonance. I also think that's kind of who we are and what we do. I think that's changing to some extent, but the art world and the craft world have been trying to figure out the relationship for a while. Sharon: Do you make jewelry now? Jonathan: I do. I just made a ring for myself with a beautiful piece of lapis that I came across. It's very plain and modernist. I had an old necklace from my former landlord who passed away and left it to me. I melted down this necklace, I milled the jewelry, I rolled down the sheet and I made a half-round wire that I put through the mill again so it was more like a trapezoid and set it again. Man, I was a jeweler for a day. I love good jewelry, and I like to represent. Sharon: You like to represent? What do you mean? Jonathan: I like to represent the field with a good piece of jewelry. Sharon: Wow! You made the sheet metal and then you rolled your wire. The first time I saw somebody rolling wire, I thought, “You could buy wire. Why would anybody roll it?” Jonathan: One great thing is I didn't have to buy new gold. Another great thing is I'm recycling the gold. I recycle, recycle, recycle whenever possible. I worked it all the way down, but I do not have a jewelry line. I rarely make jewelry on commission. Most of my studio practice is focused in other ways, although as I've been drawing for the past 12 years, I recently picked up my tin shears again. I have actually been making more tinwork, which is also reflective of our current state of politics and our country again. It's been fascinating to work in metal again, so stay tuned. Sharon: How does it reflect where we are as a country or politically? Jonathan: I'm making tinware again, and I think a lot of what's in question right now in our country is what is traditional? Who are Americans? There's a lot of questioning about do you fit, do you belong, what are those parameters, how are you judged as an American or not as an American. The painted tin I'm making right now is so understood as a traditional object and a traditional way of making. Mixing and presenting that work within this very traditional material and history of making is, again, a metaphor for traditionality. The viewer automatically looks at this thing and things it's an original object. It's meant to look very traditional, although right now I'm working on a six-foot-by-four-foot painted stenciled decal tray, which, after a few minutes of looking at it, you will know is definitely not from the 19th century. But again, the techniques and the feeling and the look are traditional, I find that that's what we're questioning right now. We're questioning what is traditional. What are these traditions? The more I dig into these traditions, particularly in painted tinware—Japanware is what it was called. It was meant to imitate Japanese lacquerware. It had nothing to do with America. Another iteration is painted tinware that comes from a German and Scandinavian aesthetic, also not traditional American. So, these objects that you'd see in a folk museum and be like, “Yeah, Ohio, 1840, I got it,” these traditions and materials were not traditional until they became traditional. There's a lot of this material culture history that I find fascinating. It's very layered for me. I hope it's as interesting to the viewer. I have never really found the right format for many of my ideas or questions that fit into jewelry, and that's one of those cruxes. I've never found the right way for me to use jewelry or engage in jewelry with the same intents that I have in other materials or formats. Sharon: What do you mean exactly? It doesn't fit into a category? Jonathan: No, I can be really political with this tinware. I've never figured out how to get the same effect, with the same feeling, in jewelry. I find, for me, the wearing of jewelry is the great part of it, and I don't want my jewelry to say the same thing as my tinware. This is personal: I don't want my jewelry to work the same way as this giant tinware piece does, because I like this ring that fits on my finger. I love it, and I love when I get compliments on it. I think jewelry is special. It's great because we wear it. As a sidenote, it was fascinating that during the pandemic, jewelry took off. Sales of jewelry took off. All my friends in the field of luxury jewelry and studio jewelry, they had great years. Jewelry is the stuff you take with you. Jewelry is the stuff you wear. Jewelry is the intimate stuff, and I think it was fascinating to know that in this time of extreme stress and trouble, people were going to jewelers to buy these things they could hold and keep and literally run with it if they had to. There is this intimacy of jewelry that people sought out, and that's special. It doesn't exist in other places. Those are the kinds of things, the resonance, that I want to embrace and love about jewelry and that I will not run away from. One of the reasons why I started even playing around with images of jewelry, which led me to the drawings, is because I did this class at the Met called Into the Vaults. We went through all these different departments of the Met, jewelry and old jewelry. I came across the story of the Hannebery Pearls, which were pearls that were given to Catherine de Medici from her uncle, who was the Pope. This string of pearls went through the Hanoverians and then eventually into the British Crown Jewels. I thought, “Wow, if this string of pearls could talk, what we would know. What has it seen?” I was fooling around with this image of a gem, a ring that I had Photoshopped a historical scene from a movie on top of, so it almost looked like this gem was reflecting what it saw. I thought, “Wow, wouldn't it be amazing if there was a ring from ancient Greece that was passed down every generation until now, and that ring was held and worn by 200 generations?” I don't know how many generations that would be. That intimacy and history of an object doesn't exist in other places in the same way, where it's worn and carried with it. There's something about the intimacy of jewelry and the history that it can be embraced in a specific way that I really love. Sharon: It's something very different and novel. I don't know if it's been done already. Jonathan: I have an idea for a novel. I'll talk about it off-camera. We should talk about it. It's about that same kind of story, a will to survive. Sharon: All right. Jonathan, thank you so much for talking with us today. Jonathan: You're welcome. Sharon: I expect an invitation to the opening of the 92nd Street Y in Los Angeles. I can't wait. Jonathan: In the meantime, I hope you can come with us to Korea. As you know, I do trips around the world. South Korea is on the books, and there are a number of other wonderful things happening. The only residency for jewelry in New York City, called the JAIR, Jewelry Artist in Residence, that's happening this summer. Applications are open on our website. We had applications from 50 countries in 2019. It has been suspended since the pandemic. Another little sidenote: I'm excited about a program called Team Gems, which is a fully-funded program for high school kids in New York City, Title 1 high schools in New York City. It's a fully-funded program for kids to get experience in jewelry that they wouldn't normally have, and will maybe create a pathway for a career in jewelry outside the academic model. I hope I'm going to be able to tell you more about it, but it's the first year and it's very exciting. Also, keep your ears open for my new series of talks coming up. I think this topic is going to be about enamel, and then hopefully a series in June in honor of Pride Month. A lot's going on at the Jewelry Center. Sharon: Well, thank you for being here. We want to hear more about it in the future. Thank you so much, Jonathan. We greatly appreciate it. Jonathan: Thank you, it's such a pleasure. Be well. Sharon: You, too. Thank you again for listening. 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What you'll learn in this episode: How Jonathan moved from sculpture to jewelry to drawing, and why he explores different ideas with each medium How the relationship between craft and fine art has evolved over the years Why people became more interested in jewelry during the pandemic Why jewelers working in any style benefit from strong technical skills How you can take advantage of the 92nd Street Y's jewelry programming and virtual talks About Jonathan Wahl Jonathan Wahl joined 92nd Street Y in July 1999 as director of the jewelry and metalsmithing program in 92Y's School of the Arts, the largest program of its kind in the nation. He is responsible for developing and overseeing the curriculum, which offers more than 60 classes weekly and 15 visiting artists annually. Jonathan is also responsible for hiring and supervising 25 faculty members, maintaining four state-of-the-art jewelry and metalsmithing studios, and promoting the department locally and nationally as a jewelry resource center. Named one of the top 10 jewelers to watch by W Jewelry in 2006, Jonathan is an accomplished artist who, from 1994 to 1995, served as artist-in-residence at Hochschule Der Kunst in Berlin, Germany. He has shown his work in the exhibitions Day Job (The Drawing Center), Liquid Lines (Museum of Fine Arts Houston), The Jet Drawings (Sienna Gallery, Lenox MA, and SOFA New York), Formed to Function (John Michael Kohler Arts Center), Defining Craft (American Craft Museum), Markers in Contemporary Metal (Samuel Dorsky Museum of Art), Transfigurations: 9 Contemporary Metalsmiths (University of Akron and tour), and Contemporary Craft (New York State Museum). Jonathan was awarded the Louis Comfort Tiffany Emerging Artist Fellowship from the Louis Comfort Tiffany Foundation, two New York Foundation for the Arts Fellowships in recognition of "Outstanding Artwork," and the Pennsylvania Society of Goldsmiths Award for "Outstanding Achievement." As part of the permanent collections of The Metropolitan Museum of Art in New York, The Museum of Fine Arts in Houston, TX, and The Museum of Arts and Design in New York, his work has been reviewed by Art in America (June, 2000), The New York Times (June 2005), and Metalsmith Magazine (1996, 1999, 2000 2002, 2005, 2009); his work was also featured in Metalsmith Magazine's prestigious "Exhibition in Print" (1994 and 1999). Jonathan's art work can be seen at Sienna Gallery in Lenox, Massachusetts, which specializes in contemporary American and European art work, and De Vera in Soho, New York. His work can also be seen in the publications The Jet Drawings (Sienna Press, 2008), and in three collections by Lark Books: 1,000 Rings, 500 Enameled Objects and 500 Metal Vessels. Before joining 92Y, Jonathan was, first, director of the jewelry and metalsmithing department at the YMCA's Craft Students League, and later assistant director of the League itself. Mr. Wahl holds a B.F.A. in jewelry and metalsmithing from Temple University's Tyler School of Art and an M.F.A. in metalsmithing and fine arts from the State University of New York at New Paltz. He is a member of the Society of North America Goldsmiths. Additional Resources: Website: www.jonathanwahl.com Website: www.92y.org/jewelry LinkedIn: www.linkedin.com/in/jonathancwahl Instagram: @jonathancwahl/ Photos: Available at TheJewelryJourney.com Transcript: With more than 60 jewelry classes offered weekly, the 92nd Street Y's Jewelry Center is by far the largest program of its kind in the country—and it's all run by award-winning sculptor, jeweler and artist Jonathan Wahl. He joined the Jewelry Journey Podcast to talk about the different relationships he has with jewelry and sculpture; why craftsmanship should be embraced by the art world; and what he has planned for 92Y in 2022. Read the episode transcript here. Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. Here at the Jewelry Journey, we're about all things jewelry. With that in mind, I wanted to let you know about an upcoming jewelry conference, which is “Beyond Boundaries: Jewelry of the Americas.” It's sponsored by the Association for the Study of Jewelry and Related Arts, or, as it's otherwise known, ASJRA. The conference takes place virtually on Saturday and Sunday May 21 and May 22, which is around the corner. For details on the program and the speakers, go to www.jewelryconference.com. Non-members are welcome. I have to say that I attended this conference in person for several years, and it's one of my favorite conferences. It's a real treat to be able to sit in your pajamas or in comfies in your living room and listen to some extraordinary speakers. So, check it out. Register at www.jewelryconference.com. See you there. This is a two-part Jewelry Journey podcast. Please make sure you subscribe so you can hear part two as soon as it comes out later this week. Today, my guest is Jonathan Wahl, Director of the Jewelry Center at the 92nd Street Y in New York City. The program is the largest of its kind in the country. In addition to his life in jewelry, Jonathan is an award-winning artist whose work is in the permanent collections of prestigious museums. It has been exhibited nationally and internationally. We'll hear more about his jewelry journey today and how art fits into that. Jonathan, welcome to the program. Jonathan: Thank you, Sharon. It's a pleasure to be here. It's a pleasure to see you. Sharon: It's nice to see you. Hopefully next time, it'll be in person. Jonathan: I would love that. Sharon: Jonathan, tell us about your jewelry journey. How did you get to jewelry? Was that where you originally started out? Jonathan: Recently I've been doing a lot of interviews myself with artists around the world—virtually since the pandemic—as Director of the Jewelry Center, and one of the questions I always ask them is “How did you find your way to jewelry?” It's one of the questions I love to be asked because, at least for myself, it was interesting. I think all of us start out as artists, unless we're born into a jewelry family. Everyone learns how to draw. Everyone paints on their own. Maybe they have classes in high school. If you're lucky, you have a jewelry class in high school. I didn't, so like many people, I discovered jewelry in college at Tyler School of Art, which has one of the best jewelry programs in the country, but I didn't know jewelry existed until I went to art school. When I went to art school, I thought I was going to be a graphic designer. Being the son of a banker and coming from a prep school, I figured I was going to be an artist, but I had to make a living. I wasn't going to be a painter, so I was thinking I was going to be a graphic designer when I grew up. At the college, I discovered jewelry in my sophomore year. Stanley Lechtzin said to me—I'll never forget it—“After you graduate you could design, if you wanted, costume jewelry in New York City,” and I thought, “That sounds kind of exotic and fun in New York City.” That's how my jewelry journey really began, in an elective class as a sophomore at Tyler School of Art. Sharon: Where is Tyler? I'm not familiar with it. Jonathan: In Philadelphia. It's part of Temple University. Sharon: And Stanley Lechtzin, is he one of the professors there? I don't know that name. Jonathan: Stanley Lechtzin really put the program on the map. He's in collections internationally. He pioneered the use of electroforming in individual objects. Electroforming was a commercial process used throughout the country for many different industrial applications, but Stanley figured out how to finetune it for the individual artist. His work has recently had some new-found appreciation because of the aesthetics from the 60s and 70s that are also coming back into vogue. His pieces are extraordinary. Sharon: Before you came to the Y, did you design jewelry? Did you do art? Did you come home from your banking job and work on that stuff? Jonathan: My father was a banker. I was not a banker. The closest I got to banking was working at a casino in Atlantic City one summer. My family has a house in Ocean City, New Jersey, so I could get to Atlantic City. I had to count a bank of anywhere between $30,000 and $70,000 a night. That's the closest I got to being a banker. I quickly then moved to London. This was the summer of my senior year after Tyler. After I graduated from Tyler, I moved to London briefly and worked for a crafts gallery in northern London. Then I decided I wanted to go to graduate school. I came back for about a year to work towards applying to graduate school, which ultimately became SUNY New Paltz. I graduated Tyler in 1990, so most of my undergraduate years were in the 80s. If you're familiar with 80s jewelry, it was no holds barred. It was any kind of jewelry you wanted. My work—or at least my practice—quickly started to veer away from jewelry and towards objects and what I would call small sculpture. My choice to go SUNY New Paltz was specific because I didn't really want to make jewelry, but I was interested in the field and decorative arts, the material culture of jewelry and metalsmithing. That's what I pursued while I was in graduate school. I was recreating early American tinware about my experience as a gay American at that time. I wish there were visuals included, but that's what I was doing at SUNY New Paltz. Sharon: How did you find that material? Jonathan: The tinware was a metaphor for America, for traditionalism. The pieces were metaphors for the function or dysfunction of America. These objects were a little perverse, a little sublime and really honest about how frustrated I felt about being an American and growing up in Philadelphia during the bicentennial. I thought life, liberty and the pursuit of happiness was for everybody, but I found myself not really able to access the full extent of that saying, like many people in our country even today. But I'm happy to report that a piece from that era was just acquired by the Museum of Fine Arts in Boston. I'm thrilled that the older work is getting some interest. There's some interest from the New York Historical Society, which is not finalized yet, but it's interesting to see that work with new eyes 20-some years later. Sharon: Congratulations! Jonathan: When I was in Germany, my partner at the time was finishing his master's degree, and I was an artist in residence there at the Hochschule der Künste, which is now the Academy of Art, I think it's called. That was an interesting experience because Europeans in general, and Germans in particular, approach craft differently. They have a much longer and supportive tradition of craft of all kinds, so when they saw my tinware, it was a little confusing to them. I ended up in a program called small sculpture as an artist in residence because there was no jewelry program at this art university. It was interesting. It was curious. Sharon: Tell us how you came to jewelry. Jonathan: Jewelry eventually gets into my story. After leaving Berlin, I moved to New York. I knew I wanted to be a New York artist. That's the place I had to go. That's the place I had to find my destiny. I was walking around looking for positions in a gallery, which was what I thought I was supposed to do. I walked into one gallery and the director there said, “I don't have any gallery work for you, but I'm on the board of a not-for-profit gallery at the YWCA. That's the home of the Craft Students League. They are looking for a program associate, which pays a ridiculously low hourly wage but has health benefits.” I thought, “O.K., I can do that.” That's when I found myself in the not-for-profit arts administration position that was developed into what I do now, at least part time. I was the program coordinator for the Craft Students League, which is unfortunately gone now, but had a wonderful ceramics, jewelry, painting, and book arts department. I ultimately became director of the jewelry studio and metalsmithing studio there, and then I became the assistant director of the whole program before I moved to the 92nd Street Y to become the director of the Jewelry Center here. Sharon: Did they have an opening? How did you enter the 92nd Street Y? Jonathan: Yes, there was an opening. There was John Cogswell. The Jewelry Center has some wonderful previous directors. It was Thomas Gentile from the late 60s to mid-70s, who really put this program on the map. He was followed by John Cogswell until the early 90s. Then briefly Shana Kroiz took over. She was between Baltimore and New York, and when she left the department, there was a call for a new director. That's when I joined the program here. Sharon: Wow! I didn't know that Thomas Gentile was one of the—I don't know if you want to call it the founders, but one of the names that launched it. Jonathan: Yeah. The program began in 1930 in its earliest form as a class in metalworking and slowly evolved into a few more classes. It became part of the one of the largest WPA programs in the country here at the 92nd Street Y, but it kind of floated along until Thomas came—and Thomas, forgive me if I get this wrong—in the mid-60s, I think, maybe later. He came in and really started to formulate a program of study here. He was the one who really created the Jewelry Center as a center. Sharon: Was he emphasizing art jewelry or all jewelry? Jonathan: There was a great book put out by the Museum of Modern Art in the 50s about how to make modern jewelry. Now, I don't know if the MOMA realized that they put out a book on how to make jewelry, but my point is in New York, I think there was still this idea of the modernist aesthetic and the artist as jeweler or jeweler as artist. I would say that Thomas was focused more on artist-made jewelry, the handmade, the one-of-a-kind object. It was still not looking in any way towards traditional or commercial jewelry. Sharon: Jonathan, tell us what the 92nd Street Y is, because people may not know. Jonathan: The 92nd Street Y is a 140-year-old institution here on the Upper East Side of New York City. It is one of New York City's most important cultural anchors. It has many different facets. We have a renowned lecture series. The November before the pandemic, I remember we had back-to-back Ruth Bader Ginsburg and Lizzo. Wednesday night it was Ruth Bader Ginsburg, and Thursday night it was Lizzo. Last night we had Outlander here, and I think we had a full house of 900 people plus 2,000 people online. We also have a world-renowned dance center that has a long history with Martha Graham and Bill T. Jones. In many ways, modern dance coalesced at the 92nd Street Y. The Jewelry Center has had a presence here at the Y since 1930. We have a wonderful ceramic center. We also have one of the most prestigious nursery schools in New York City. You name it. The 92nd Street Y is a Jewish cultural center. It's part of the UJA Association, but it's kind of its own thing. It's a whole other story about what Ys are and the difference between YWCAs, YMCAs and YM-WHAs, which is what we are, but the 92nd Street Y is really a cultural center. Sharon: When are you opening your West Coast branch in Los Angeles? Because you have such an incredible number of speakers and programs. Jonathan: Many of them come from the West Coast. We had Andrew Garfield here the week before last to talk about his amazing performance for a Reel Pieces program with Annette Insdorf. I think that was a full house of 900 people for a performance from “Tick Tick Boom,” which was great. I don't know when we're coming to LA. We're just reemerging from the pandemic here in New York. Sharon: This is not related to jewelry, but do you think that without the pandemic, you would have gone online to such an extent? Would it have been possible for people around the world, including on the West Coast, to see what's going on? Jonathan: The pandemic was the catalyst to do something we'd always thought about, but yes, the pandemic definitely forced us to do it. On March 13, New York City shut down. That Monday, we flipped all of our classes, every single one of our classes in the Art Center, which is about 200 classes, to be virtual. That worked for some classes better than others, obviously for painting and drawing. It was fine for jewelry. It's tough if you don't have a studio. What we did through the summer is offer online classes. We still offer online classes to some extent, but my focus is on building back our in-person class schedule, which we're doing. We're over about half enrollment now from the pandemic and moving quickly towards three-quarters. Sharon: Did the people who enrolled in hands-on jewelry classes, did that just stop with the pandemic? Jonathan: Yes, it stopped from March 2020 until September 2020. In September, we actually opened back up for in-person classes. We wore masks. We were socially distanced. We were unvaccinated. I was taking the subway and it worked. It was slow at first, but I think this process is a part of many people's lives and this program is so meaningful for so many people. Being in New York, access to a studio is important, and very few people have studios at home. This is not only an important part emotionally of their lives, it's also literally, physically, an important part of making jewelry their practice. Sharon: Since you started as director of the program, I know you've been responsible for growing it tremendously. Was that one of your goals? Did you have that vision, or there was just so much opportunity? What happened? Jonathan: All of the above. There was a lot of opportunity. Unfortunately, the Crafts Students League closed shortly after I left. Parsons closed their department. There were a number of continuing education programs that left Manhattan, and this is before the country of Brooklyn was discovered, even though I lived there. There were no schools in Brooklyn, really. The 92nd Street Y became one of the few places to study when I came on. Also, to my point about studying jewelry in art school, you're studying to be an artist generally in art school; you're not really studying to be a jeweler in the way most people understand jewelers to be. Although certainly at Tyler, it was a great technical education and I learned a lot of hard skills, many people, including myself, were not adept at those hard skills. We're not taught at a trade school, and I found that most of the people who were looking for jewelry classes wanted to make more traditional jewelry than the classes we were offering. Most of our faculty came from art school. There were some amazing people, Bob Ebendorf and Lisa Grounick(?) to name just a few, but as the 90s wore on and the aesthetic changed, I found that people really wanted to learn how to work in gold, how to set a stone. The aesthetics of jewelry shifted. You probably know yourself that the art jewelry world shifted a little bit too. For myself, I wanted to learn more hard skills, and I basically started creating classes that reflected my interests in how to make better wax carvings, how to set a brilliant-cut stone. I can then make that into what I want: studio jewelry, art jewelry, whatever, but those hard skills were lacking. I've said this many times: I don't know that this program would exist in another city other than New York because there was so much talent here. There were people from the industry here. There were artists who were studio jewelers and art jewelers all at my fingertips. I think that was one of the ways it grew, not because I reduced the perspective of what was being made here, but because I enlarged the perspective of what was being made here or taught here. Sharon: How did you do that? Did you do that by identifying potential teachers and attracting them? What did you do? Jonathan: I was lucky to have some wonderful people in New York City at that time. We had a wonderful faculty to begin with, but we also were able to expand the faculty with incredible people who had recently resigned. Pamela Farland, who was a master goldsmith and was the goldsmith at the Metropolitan Museum of Art for many years, was on our stuff. Klaus Burgel, who was trained at the Academy of Munich, was here in New York and came to us as a faculty member. Tovaback Winnick(?), who was a master wax carver and worked for Kieselstein-Cord for many years, came on as well. Some people work here for a shorter period of my time. My good friend, Lola Brooks, was here and taught stone setting. There was some really stellar talent around that helped me build this program. Sharon: That's quite a lineup you're mentioning. Jonathan: And a really diverse lineup. Sharon: Diverse in what sense? Jonathan: Klaus' work is pure art jewelry: the iconic object, incredibly crafted, but what one would consider as art jewelry in its most essential sense. Lola Brooks, her work crosses the lines of both art and jewelry, and she's got a beautiful studio jewelry line. Then there are people like Pamela Farland, who made very classical, Greco-Roman, high-carat granulated stones, classical goldsmithing. Then there was Tovaback Winnick who teaches carving, which is how the majority of commercial jewelry is made. We had real range as well as your regular Jewelry 1, Jewelry 2, Jewelry 3 classes where we're teaching the basics of sawing, forming and soldering. Sharon: You answered my question in part, but if somebody says, “I'm tired of working as a banker; I want to be a jeweler,” can you come to the Y and do that? Can you go through Jewelry 1, Jewelry 2, Jewelry 3 and then graduate into granulation? I don't know if there's a direct line. Jonathan: Absolutely. We don't have a course of study. We don't have a certificate, but you can definitely come here and put your own skillset together. That's also what I found strong about the program, that it gave people access to put their skillsets together without going through art school or going through college. You're able to learn those hard skills in an environment where it's no frills. Sharon: Are they mostly younger people, older people, people of all ages? Jonathan: It's people of all ages. When I joked about the country of Brooklyn not being discovered yet, I lived in Williamsburg, Brooklyn for my whole New York life, so I'm speaking the truth. There really wasn't anything out there. If you were young and hip and cool when I lived in Brooklyn, you had to come here. So, for a long time, we had a much younger population that was cool, hip. Now, everybody has moved to the country called Brooklyn. That demographic has aged a little bit for us. We have three classes during the day. We have a morning class, an afternoon class, a late afternoon class and then an evening class. If you're a younger person, it's most likely that you have a job, so you're going to come at night for our classes. That's only one-quarter of the population that can take a class here, because there's only one slot of night classes. There could be four classes happening at the same time, but all from 7:00-9:30. So, in general our population skews old because those are the people who are generally available during the day. That being said, it's New York City. There are lots of different ways to make a living here. There are definitely people who are actors or bartenders or artists or what have you who do have time during the day and come here. It really depends on what class, but absolutely; we have all ages for sure. We also have kids' classes in the afternoon from 4:00-6:30.
Penny Abeywardena is New York City's Commissioner for International Affairs. As head of the Mayor's Office for International Affairs, she leads the City's global platform for promoting its goals for a more just and accessible society, showcasing the diversity of New Yorkers and sharing policies and best practices with cities and states around the world. Since her appointment in September 2014, the International Affairs team has launched a series of initiatives focused on connecting New Yorkers and City agencies to the diplomatic community, as well as more effectively serving NYC's diplomatic corps, which is the largest in the world. Prior to joining Mayor Bill de Blasio's administration, Penny was the Director of Girls and Women Integration at the Clinton Global Initiative (CGI), a non-partisan organization that convened global leaders to devise and implement innovative solutions to the world's most pressing problems. Penny joined CGI in 2009 and led the program's evolution into one of CGI's most successful efforts. While at CGI, Penny was responsible for the portfolio of CGI commitments focused on empowering girls and women worldwide, developing year-round programming and integrating the gender lens throughout the CGI platform. During her tenure, she advised multinational corporations, philanthropists, NGOs and multilateral institutions to increase investments in gender-focused development initiatives while expanding the community of CGI members who incorporated the gender lens in their work. Before joining CGI, Penny worked in both development and programmatic areas for Human Rights Watch, the Funding Exchange and the Drum Major Institute for Public Policy. She serves on the Board of Directors of the United Nations Development Corporation, the International Advisory Council of the International Peace Institute (IPI), the World Economic Forum's Global Future Council on Cities and Urbanization and is a Core Member of the United Nation's SDG Strategy and Action Hub. In her personal time, Penny serves on 92Y's Innovation Advisory Committee and the Advisory Board of the Helm. In 2017, Penny was named by the French American Foundation as a Young Leader. She is a World Economic Forum 2016 Young Global Leader, and a Term Member of the Council on Foreign Relations. She was a Founding Member of Lincoln Center's Global Exchange and has previously served on the Hillary for America Policy Working Group on Global Women's Issues, the World Bank's Advisory Council on Gender and Development, and the Boards of Directors of Sakhi for South Asian Women, Global Partners, Inc., the Eastside Greenway and Park, and Resource Generation. Penny was a contributing author to Women in the Global Economy: Leading Social Change, and in 2012 was recognized by the United Nation's Decide Now Act (DNA) Summit as one of 101 Global Innovators for her work to put women's rights on the global political agenda. She is a graduate of the University of Southern California and completed her Master of International Affairs at Columbia University's School of International and Public Affairs. The Caring Economy made it onto FeedSpots Top 30 CSR Podcasts Don't forget to check out my book that inspired this podcast series, The Caring Economy: How to Win With Corporate Social Responsibility (CSR). --- Support this podcast: https://anchor.fm/toby-usnik/support
Christine Dimmick is the Founder/CEO of The Good Home Company Inc., author of Detox your Home, and a public advocate for health and wellness. Her work in environmental sustainability is solution based, connecting the inventors in the private sector with governments worldwide – bringing innovation to the public in a broader, more efficient way. She is a notable speaker on regenerative agriculture, ocean pollution and environmental toxins, educating on the effects of both on our land, waters and health. Christine has lectured at the United Nations in both New York and Geneva, the 92Y in NYC, Canyon Ranch in Lenox, Mass, where she frequently hosts and moderates events connecting NYC politicians with NGOs such as Oceana and Surfrider. Most recently Christine is the host of the podcast #bethchange – a conversation with visionaries making real change in sustainability and social justice. She holds a BFA from Parsons School of Design and is a graduate of MITs Birthing of Giants. She is an honorary member of the UN - NGO Committee on Sustainable Development NY. Christine resides in NYC with her family.
Ray Dalio, Bridgewater Associates Co-chairman and founder, talks about the rise of China, investing in crypto and why he tries to meditate every day. He's on "The David Rubenstein Show: Peer-to-Peer Conversations." This was recorded Jan. 24 at the 92Y in New York. See omnystudio.com/listener for privacy information.
Mark talks with Fern Mallis. Fern is the award-winning creator of New York Fashion Week and was the Executive Director of the Council of Fashion Designers of America. For the last ten years, Fern hosts the acclaimed “92|Y Fashion Icons with Fern Mallis.” In this episode, we discuss how to craft a memorable experience in the Fashion industry, Fern's impressive career in fashion, and event planning in NYC. 1:10 Early Career 2:08 Working at Mademoiselle Magazine 3:55 Fern's 1st Event Experience 5:56 Fashion Director at Gimbels East 7:00 How “Fern Mallis Public Relations” company began 10:40 Events for IDC NY (International Design Center) 14:05 DIFFA (Design Industries Foundation Fighting Aids) events 16:30 Recession and CFDA (Council of Fashion Designers of America) 23:32 Market Week/Fashion Week 24:36 Fashion show in Bryant Park 25:20 “Organize, Centralize, Modernize” 34:40 Fern's most favored events 36:12 Start of “Fashion Icons with Fern Mallis at 92|Y” 39:24 92nd Street Y events 39:50 Advice to aspiring fashion professionalsFern Mallis Instagram @fernmallis @92ndstreety Twitter @FernMallis @92Y linkedin.com/in/fernmallis http://92Y.org/FashionIconsMark Testa https://www.markstephenagency.com info@markstephenagency.com https://www.linkedin.com/company/mark-stephen-design-&-production/ Instagram @markstephenea https://www.youtube.com/channel/UCK13o22i4RxQvbAgwwlh9tQ?view_as=subscriber
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