Podcast appearances and mentions of brooklyn based

To make electric and energy-efficient installations more accessible, BlocPower provides them at little to no upfront cost. Learn more at https://www.yaleclimateconnections.org/

Brooklyn-based artist Nancy Blum talks about: Her relationship with Judaism, both growing up and as an adult, where her exploration of healing and self-soothing from generational trauma, which ultimately connects with her art; her alternative interpretation of the word ‘therapeutic,' in relation to art-making, how it can be something deeply personal that artists are trying to share; the use of flowers in her work, which was radical when she started using them 20 years ago, and how their use has risen since the pandemic; her experience making it work as an artist in New York City, where she's settled after many years living and working as a nomad; how artists can now have successful, legitimate careers anywhere in the U.S., and why she's chosen to live in NY because it meets her needs and she loves it, even if it doesn't love her; bringing a Buddhist approach to the way she thinks about her work can career, and how important it is for artists to have the tools to deal with discouragement so that they keep going; questioning what defines success for an artist, and how the distorted perceived norms of success and what we should be or have become vehicles of defeat and low self-esteem for artists; how meaningful it's been for her to make the public art mosaic for the 28th Street Subway station, and how she wants her public works to do the work- healing, bringing joy to people, etc. – for her; her earliest public projects, which got her into making public art; and why university art teaching was unsustainable as part of her career path.

Alternative rock duo A Cloud of  Ravens will be unveiling their forthcoming album called "Lost Hymns" on April 28, 2023, via Nexilis Records/ Schubert Music Europe. The album is a collection mastered by Actors' Jason Corbett at the Jackknife Sound studio in Vancouver. Their latest single is out now called "Requiem For The Sun" which followed the singles "Nature of Artifice" and "The Blackest Mantra." Formed in 2018 by Matthew McIntosh and Beth Narducci they released their subsequent remix-based EP (Another Kind of Midnight- The remixes)  which features contributions by legendary producer John Fryer, Clan of Xymox, Actors, Chris Vrenna and Ritual Howls. Following the release of "Lost Hymns," on April 28, fans can look forward to their North American tour dates with Clan of Xymox and Curse Mackey.https://acloudofravens.bandcamp.comPlaylist and podcast: https://djnocturna.comYouTube:  https://www.youtube.com/c/DJNocturnaListen : http://modsnapradio.com

Welcome to a new edition of the Neon Jazz interview series with Israeli-born, Brooklyn-based Jazz Drummer & Composer Ben Freidkin .. We had a long conversation about his new 2022 CD “Trial & Error” This album is the debut outing for this  28 year old award winning musician who came to New York 3 years ago to get his Master's degree from Aaron Copland School of Music at Queens College. We dig into his history, COVID survival and so much more .. Enjoy….Click to listen.Thanks for listening and tuning into yet another Neon Jazz interview .. where we give you a bit of insight into the finest players and minds around the world giving fans all that jazz ..  If you want to hear more interviews, go to Famous Interviews with Joe Dimino on the iTunes store, visit the YouTube Neon Jazz  Channel at https://www.youtube.com/c/neonjazzkc, go The Home of Neon Jazz at  http://theneonjazz.blogspot.com/ and for everything Joe Dimino related go to www.joedimino.com When you are there, you can donate to the Neon Jazz cause via PayPal https://www.paypal.com/donate?hosted_button_id=ERA4C4TTVKLR4 or through Patreon at https://www.patreon.com/neonjazzkc - Until next time .. enjoy the music my friends ..

Hello, I'm Julie Burstein, the Creator and Show Runner of Live From Mount Olympus. We created Live from Mount Olympus for tweens – and their grownups – because ancient Greek myths continue to have such power today, and are such exciting stories to tell. We're incredibly fortunate to have fantastic actors from the Brooklyn Based theater company The TEAM who become the gods and heroes of the ancient world – as well as Award-winning performers such as Andre De Shields and Isabella Rosselini, along with new young voices, all directed by broadway stars as Rachel Chavkin and Zhailon Levingston. And our production team loves playing with sound effects and music to conjure a mythical world for our listeners. This season, we tell the story of Persephone, a young goddess who yearns to step out from behind her mother's shadow – and must find her own power once she does. We're delighted to share with you Episode 1: You Don't Trust Me to strike out on my own! Enjoy! Transcript can be found at: https://drive.google.com/file/d/1MtxDOhA_fV2w1kNu3sbCHAUu0pCpet9t/view?usp=sharing https://www.onassis.org/initiatives/onassis-podcasts/live-from-mount-olympus Twitter: @OnassisUSA

This episode is also available as a blog post: https://thecitylife.org/2022/09/03/brooklyn-based-richard-beavers-gallery-opens-soho-location-with-hebru-brantley-show/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/citylifeorg/message Support this podcast: https://anchor.fm/citylifeorg/support

Episode 478 also includes an E.W. Essay titled "Cloth Pants." We share the fifth installment of our Associate Producer Dr. Michael Pavese's essay series called "Watch the Ice." This one is titled "Tattooed Woman at the Bar," as performed by actor extraordinaire Dominick Azzarelli. We have an E.W. poem called “Roberta."  Our music this go round is provided by these wonderful artists: Thelonious Monk, Stevie Wonder, Buddy Holly, Polo & Pan, Honeybutter, Leif Vollebek, Branford Marsalis and Terence Blanchard. Commercial Free, Small Batch Radio Crafted in the West Mountains of Northeastern Pennsylvania... Heard All Over The World. Tell Your Friends and Neighbors.

In order to have good mental health, you must have a strong network of people you like, respect, and trust. It is critical that you have someone with whom you can discuss your difficulties and who can provide assistance. Visit https://teresathompsonlcsw.com/ (https://teresathompsonlcsw.com/) for more information.

You're listening to From the Desk of Alicia Kennedy, a food and culture podcast. I'm Alicia Kennedy, a food writer based in San Juan, Puerto Rico. Every week on Wednesdays, I'll be talking to different people in food and culture, about their lives, careers, and how it all fits together and where food comes in.This week, I'm talking to Millicent Souris, someone I have long wanted to make my friend. Millicent is to me just wildly cool. She talks about food equity and drinking bourbon, and there was no one I would rather talk to you about the dichotomy of being politically engaged with food justice, and also stocking your pantry with very nice olive oil. She's also one of my favorite food writers period; her pieces in Brooklyn Based, Bon Appetit, Diner Journal—they kind of redefined the genre. As a longtime line cook who now runs a soup kitchen and food pantry in New York City, she's someone who simply knows food—its highs and lows and is cool as hell. Did I say that already? Alicia Kennedy: Hi, Millicent. How are you, Millicent?Millicent Souris: I'm doing all right. How are you, Alicia?Alicia: Did I say your name right? Millicent: Yep! Alicia: Actually, we should have done that before. [Laughs.]Millicent: I know. Yeah, my name is Millicent. And is Alicia correct for you?Alicia: Yes. Alicia is correct. Millicent: Great.Alicia: Yeah, I'm Alicia sometimes, but only if you're a Spaniard. [Laughs.]Millicent: Fair, I'm not going to pretend…Alicia: Yeah, yeah…well, can you tell me about where you grew up and what you ate?Millicent: Yeah, I grew up in Baltimore County, north of Baltimore City, and in Towson, Maryland, and Lutherville, Maryland—which is of course home to John Waters and Divine, and also in North Baltimore County. So my dad's parents had immigrated from Greece, so I grew up eating Greek food. And then my mom's family had a dairy farm, so I grew up drinking—when I was up there—unpasteurized milk, which I would say about 10 years ago, I made the connection was raw milk. And country food, you know—my grandfather would grow his own corn and tomatoes and zucchini, and that would be summertime. We ate a lot of crabs in the summer, because it's Maryland, and then also, like, oysters were definitely a part of my mom's family. Like we'd have oysters stuffing and raw oysters at Thanksgiving, because her dad would bring them and shuck them. But then also because it's the ’70s and ’80s, straight-up shitty American processed food, was a gift, you know, for our household because my mom worked and my dad worked, and there's three of us. And, you know, even on the farm, my uncle and his wife, they would buy Steak-umms, even though they had ground beef from the steers that they sent to slaughter. You know, we would drink Tang, and we ate Stouffer’s lasagna, so it was a real hodgepodge, I think, of all that stuff. And then there was, when my mom left my dad and there was the episode called “divorce food,” which was Lean Cuisines and Hamburger Helper and La Choy and a lot of Mandarin oranges in tins. Alicia: Wow. Yeah. Was that on behalf of your mom’s side?Millicent: That was on my mom's side. And then my dad would just take us to his friends’ restaurants or bars and we’d eat there. Alicia: [Laughs.] My parents, when they got divorced, I always say, when I knew something was going wrong was when my mom started to make instant mashed potatoes. Millicent: Yeah…Alicia: I was already like, 20. So it wasn't like I was a kid. But you know it was always seared in my mind that the instant mashed potatoes were the beginning of the end.Millicent: It's the tell…it’s the tell… except I, when I did eat instant mashed potatoes and I think I was 21 I first had them, I was like, What is this magical stuff that just turns into mashed potatoes? Alicia: No, it's super cool. Millicent: It's…I mean, science. It's science. Alicia: Yeah, well, you know, as you were just talking about the dairy and also your family had a bar as well, you know, how did you end up in food, personally? Millicent: I ended up in food…uh, I mean, my Yaya would cook—Souris’s started as a restaurant in 1934. And so it was a classic Greek restaurant, which is American food and then Greek specials. And then when my dad made it a bar, there was a grill, but there was a flattop behind the bar, and so my Yaya would make totally frozen hamburgers, but she'd also have really good Avgolemono soup. But I didn't—I was just a kid and I didn't really take in all of that. So I don't have that—it would be really cool if I could lie and be like, and then yeah, romantic version of food. I got a job at the Royal Farm Stores, it was my first job on the books, when I was 14. And that was the convenience store that had fried chicken and Joe Joe's, and then you take the leftover fried chicken and break it up and make chicken salad. So that was my first job in food and everyone who worked there hated it. And, it was cleaning cases of frozen chicken thighs and cutting potatoes and deep frying a lot of stuff. And then our neighbors owned a luncheonette in a pharmacy and I remember working there and being blown away by making salad dressing from scratch. So, what I knew is that I would always have a job in food because I was willing to do that hard work and for girls like, and teenage girls, I would never be hired to be the counter person or a waitress, because I wasn't cute; I was tall and big and strong and fat, you know. And this is not now—this was the late ’80s. And like, no one was…no one would hire me to be their waitress, but I could always work in the kitchen. And so I—it's not anything I verbalized; it's just something that I knew, that I could always get kitchen jobs. I know that's not really passionate, but you know, you got to make money…Alicia: Right, well did passion emerge for it? Millicent: Yeah, I mean, I think for me I found a land that made sense to me. You know, I remember living one summer, and working um, finding a job at—I lived in Portland, Maine. And I was in this place Greedy McDuff’s, which was a brew pub, and it's still there, and English-style pub food and just working; you're just working with a bunch of heshers, you know, and a bunch of—you're hanging out listening to music, you're working hard, you're kind of gross, your skin's not great, you didn't get a lot of sleep, because you had to work the prep shift…But, you know, I remember working with a guy where when Black Sabbath would come on, we’d take the melted butter and dip a brush in it and turn off the lights and hit the grill and the flames would come up. And it just, I don't know, it was that moment: It's just fun—somewhere that felt free when there's not a lot of places to be free, you know? And so I knew that. And then, when I moved to New York, 17 years ago, I helped someone open a restaurant. And I've just always been like, I'm a good worker—everything made sense for me. So I do, when I talk about food, a lot of it, I talk about work, but there has to be a sustained level of the community of people that you're working with and that you're buying from, and that you're feeding. And also the food itself, that is passionate. It's just, that's not just, I'm not one of those people who like has that language, you know, who’s just—I'm not very over-the-top with language about myself and what I like, but don't worry, there's plenty people who have that covered, you know…Alicia: I'm one of them…so… [Laughter.] Millicent: I don't think so.Alicia: Well, you know, yeah, you've worked in restaurant kitchens for years, you write, you've curated social justice film series, you've been a DJ, now you're cooking. You know, well, how would you describe what you do now?Millicent: Right now, I mean, I work at a food pantry in a soup kitchen. And before the pandemic, I'd been there for over five years and I came on as a consultant to do a culinary job training program. We didn't—it didn't work, and it didn't get more funding, but I was I was the only person there who had worked in restaurants. So I kind of had an eye for the food. And I was like, I can work here part time, and we can get more produce and rescue food and things like that, get more produce to people, take care of the food better, increase our capacity for produce.And then I did that, and then the pandemic hit, and then it was that times a million with just the whole world shut down, so where's all the food gonna go? And all the pantries shut down, so we just got dropped all this food. So then I became—then it just became something different. So now, I mean, I don't even cook there. I just, I'm the facilitator of the pallets, you know, and trying to—There's a good grant that came out of the pandemic called the Nourish New York grant. And I think that's permanent now. And it was to really just keep the state going. And you have to spend it on New York State products. And this grant, the director and the head of the pantry, they were just like, What are we going to spend this money on? I was like, I got this, I got this, give it to me please—let me, let me have, let me buy things and not have it all just be like, donated Tyson evil meat. So those grants I take care of and I like to think it balances out all of the super-gross food bank tax writeoffs for giant companies and really just, because I've consulted on restaurant kitchens, I have a good eye for logistics in space. And so we just had to switch our entire building over to be a warehouse and I was like, the chapel can hold pallets and the waiting area can hold pallets. And if we open this up, we can fit pallets through here—so just really nerdy s**t, you know, and also where all the food goes. So that's what I'm working on. That's what I'm working on now. And now hopefully something new will happen. Alicia: Well, that grant is really interesting. Living here in Puerto Rico coming from New York, I'm always thinking about how—well, I never know if it's enough, or if it's actually good, what New York State has done to support local agriculture around the state and craft stuff. I know, I'm like, well, they support it in some way, so that's good. Whereas here, you have, there's nothing there, you know? So this grant sounds really great.But what more should the state be doing, in your mind, to kind of help that?Millicent: Well, this grant is great. Also, because I still remember the moment of, you know, you're talking about farmers or processors, or bakers, and truckers, and people were like, Thank you, you know, because there was nothing, and for all the people making food and growing food, all the restaurants were closed so there was nowhere for any of it to go. I mean, you never forget, I'll never forget, the first couple of times at different truck drivers were just like, Thank you for being open. So that grant is permanent and that's a really important grant, because in terms of, you know, everyone's like ‘supply chain supply chain,’ and then we see what horrible things happen when we're dependent upon such a consolidated supply chain and how, you know, the Trump administration got OSHA to lift their f*****g regulations and Tyson poultry workers had to process more chickens and there was no safety for them. And also, that was all the fear of, This is America, everyone has to have chicken, no one can go hungry. Where actually it's like, no, tons of people will go hungry. But to be able to have, the means, the tangible food system that you can see, I think more so, is so important. In terms of the state. I mean, I do see some holes in what's available, you know, and I do have some ideas, but I don't want to share them here, because, you know—Alicia: —you need to get paid for them. [Laughter.]Millicent: But we can't just—it can't just be restaurants and people who shop at the farmers’ market to support farms. Because those people have summer homes somewhere else. And they also have the ability to just pick up and go somewhere when the s**t hits the fan.Alicia: Yeah, no, it's very complicated. But I'm glad to hear that that's happening. That's—that's…yeah, I wish… [Laughs.]Millicent: It's also, I'll say also for a lot of farms and things like that, it has skewed their—and I work with a headwater hub; there's more infrastructure for schools, and food pantries and institutional food, which also because of brigade is turning into something that's so much more important in terms of like school foods and things like that. And we need that—we can't just be like, f*****g neoliberal people who care about what they eat and are—it's so short-sighted, the food, the food scene, which sometimes feels like the food system is so short-sighted and individualistic, it's gross.Alicia: Yeah. Well, you did write an essay sort of about this in Bon Appetit in 2019. You know, where you wrote about finding kind of about—I don't know if it was about you finding a balance, but what is that balance that between the olive oil and hunger and—I think about this, of course, as a food writer, where it's, you know, what am I selling people on? Like, what is it that I want to sell people on basically, when it comes to food? Is it just that having a good olive oil is sufficient? Of course it's not, you know. But for you, what are the gaps here that need to be filled in when we talk about food?Millicent: I mean, the gaps are major. Well, I feel there's personal consumption, right? And there's personal consumption that I prefer, and I know that, man, I know on paper, and if I told any of my co-workers the price of a glass of wine that I drink—I'm just some bougie white person, you know. Also, personal consumption is not about production and politics and everything like that—I don't quite know how to say that great.But look at how much food writing there is, look at how people's lives are curated. And the people who have the most influence and are influencers, they only talk about political issues when they need to, to stay relevant, or unless it's something that they actually care about where they're like, Abortion…Abortion. You know, ‘Black Lives Matter,’ when you know, especially two years ago—But the amount that we discuss food in conjunction with the amount of people who are hungry—and hunger can be such a vague thing, especially in this country, right? Like before, generally, it was like 10 to 12 percent [in] America, you’re like, all right. But to me, in New York, your neighbor is hungry, you know? You are moving into a neighborhood, you are opening a restaurant in a place where you have to just, where so many people are just, That's just what that corner is like. And I think that there's ambition and I think this city begs people, if you have ambition, to willfully ignore things, but the amount that food is written about… And like, I would say now, like Grub Street and Eater, and those places, now they're all also consolidated under the same media group, right? Before it used to be more competitive and they used to just be kind of a real content machine. And more 24/7, you know, because everyone's like, I can be on the internet all the time. And once it's out of the bag, then you're stuck with it. Let’s just say Salt Bae, he'll never go back; he’ll never go away, because someone's just like, Look at this guy. And then now he's there and he's validated. But think of all the people who got validated and all the s**t that we talk about. And we can choose so much of what we want to consume now, everywhere, and it's great to read about things that don't ultimately matter, because the things that matter are so painful. And it's only during a shutdown that we actually have this bandwidth to care about it. I mean, the food media is just, they're just—most of them are content creators. They shouldn't be able to write about anything that has any politics or systematic issues and anything to do with like actual workers, you know, who are they? They're not journalists.Alicia: No, it's an interesting thing, because I think right now, everyone is always asking me—like, well, asking me personally—do I consider myself a food writer and then asking, what is a food writer? And I think that it's important to, I mean, I'm aware of the market forces that create certain types of content and how you have—you have to do things in order to have a career at all. Of course, you have to then ask the question, if I have to do this, why do I want this to be my thing that I do all the time? Why don't I do something else? And so it's difficult, because you know a lot of food writers will say, I just want to write a recipe and then just look cute, and like, get things sent to me, and that shouldn't be a problem. And I'm like, for me it, you know, it is a problem. And I've written about this, that food writers don't, at large, have even a basic consciousness that comes through in their work around climate change, around hunger, around, you know, conditions of factory farming, around like any ecological significance to anything.Millicent: It’s sheer consumption. Alicia: Exactly. And that's becoming more and more, I think, because we're in this vague post-pandemic moment, so things are sort of going back to normalcy in terms of what gets covered. And it's just restaurants, restaurants, restaurants, like cookbooks, cookbooks, cookbooks. And then there's that moment where we were going to talk about the conditions, the labor conditions and the supply chains. And that moment seems like it's just going away. Now it's no longer relevant.Millicent: It's gone. And I mean, you and I both really love Alice Driver, and she's working—she and her partners are working on that book. And I am kind of stunned by the consistency in which that topic, because I thought it would be one article, one out, and if you all don't know about Alice Driver—you gotta sign up for her. She's an amazing writer. And she has interviewed poultry workers, and consistently interviewed them. And she's worked with a photographer who takes portraits of them, and she has been reporting this since the beginning. I mean, I think for her kind of a bunch of b****y dilettantes, you know, and I think that we have been taught that you cannot hold all of this and, you know, I don't really believe in balance because nothing seems to be balanced—But like, but what you were talking about before, like, How do I do these things and I know I have to do this—well, we certainly have to have joy. You know, and sometimes joy can't be just like—and trust me I know because I've been doing—working on a food pantry in the last two years during COVID. Like, there has to be joy. It's too hard to live like this all the time. But the sheer consumption and the way that the world is created, it's so easy for us on phones and the internet, of everything, is so unsustainable, climate wise, food wise, content wise. And our escapism isn't escapism anymore—it's our reality. And that's a problem. Because if everyone can be some f*****g content creator and influencer, is it possible that everyone's ability to figure out a way to survive like this means that we don't have anyone actually doing the real work? And that's why this world sucks so hard?Alicia: I mean, the fact that Alice Driver didn't have a column immediately, you know, reporting ongoingly about the conditions when she was on the ground in Arkansas with the workers at Tyson—that is such a damning fact of food media, is that that wasn't some editor's dream to have someone on the ground—Millicent: Just be like, Alice Driver, tell us about this, you know? And because—you guys, the answer isn't for all of us to buy sustainably raised chicken; the answer is for the conditions to be better for all workers and all chickens, you know? And that individualist notion of shopping, which you know, was in the early aughts was really just like, You're not going to change the world—it's such a neoliberal approach towards eating that your trip to the farmers’ market is changing systems. It's only changing you, your system, your house. And that's all part of it. You know, we're so broken right now. I mean, I think we've always been broken. But we're so broken, because the people who think that they're doing good work kind of really aren't, and they're like—I think of them as really affluent people and they walk amongst us. I am around them in New York all the time. I'm friendly with a lot of them or I might be friends with them. They might think I'm their friend. But they're not the one-percenters, so they don't think they're part of the problem. But they are part of the problem, because they're not doing anything. And their comfort is what allows so many things to happen. Like, if they actually wanted change to happen, it would happen more, because the one-percenters are untouchable to us, you know, unless there's crazy, systematic governmental and worldwide changes—that's why they're one percent. They're like, I have so much money, I'm gonna be on the moon, you can't touch me. But the affluent people who are never, still are never rich enough and someone already always owns one more house than they do: They're the ones who pat themselves on the back, because they read all the books, they went to some marches, their kids have Black friends, you know, they're doing all the good stuff, and they care. But they're not really sacrificing anything, they're not really doing anything to really change stuff. And right now, sometimes I hope, you know, I get a little tunnel vision, but I'm like, you guys got to do some s**t. And it's not what you think you should do. Because it’s never what you think you should do, because you're still very self—centered—Alicia: This is—I'm reading a book called The Imperial Mode of Living, which is what you're describing basically, which is that the way we live in the West, or you know, the global North is on the backs of so much exploitation and ecological destruction that we don't see. And then, yeah, and it doesn't matter what class you are, necessarily, and exporting also the idea of this mode of living as the good life quote, unquote, being basically a means of ecological destruction. Like, our way of living and consuming and just thinking about things is part of climate change, part of destruction, like people—and I understand that, but people, when I've written or said anything about the way people will regard their access to the tropical as sort of a human right, just when they need the release or the idea of a vacation to buy a cocktail or a piece of fruit that they probably just shouldn't have, and so, or vacation, etc., but like, people do treat that as though it is their God-given right to have that.Millicent: Yes, for sure. And they do it, they're like, I mean, that Noma pop-up in Mexico City was or—no, it wasn't it—it was in Tulum. Tulum has no infrastructure for what it has now. It certainly doesn't for a bunch of people who need to go to that. Look at all the people who have moved to L.A. I mean, look at California—we just have a straight-up fire season and all the people who moved to L.A., it's like, did you move to L.A., because you like the weather and because then you can have tomatoes all year round? It's kind of a bratty existence.Alicia: It's very—Millicent: To think it's a very—I don’t know if you can hear my neighbors come home from school—it's still consumption, you know? But also, what's fascinating is that this is all also done under the mode of “health,” you know, wellness and health and like, Oh, I get these mangoes or I have to go here. And the rest of us were just having drinks, and maybe there's a cigarette, or maybe there's some weed and more drinks. But we're not doing it for—we're not like, Well, I mean, it's wellness for a lot of us, but we're not lying to ourselves about that pedestal of wellness. Alicia: Yeah, it's no, it's interesting. Well, because especially here, here in Puerto Rico, where, you know, there's so much gentrification and displacement, because of people who come and get tax breaks for starting their businesses here. But it's been restructured so that some actual Puerto Ricans can take advantage in some ways. But for a long time, it's been, you have to have not lived in Puerto Rico for this consecutive amount of years before 2019, or [something] like it was like, or it went into effect in 2012. But you pay like a four, zero to four percent tax rate, and you don't pay federal taxes, because you become a bona fide resident of Puerto Rico. And then these are the people paying $2,000 for a studio, so that like now, none of our friends live anywhere near us because they've been completely priced out, you know— Milicent: It's all the loopholes. I mean, it's like everyone who holds on to their apartment even though they moved upstate, because it's their Airbnb, and you're like, or someone could live there.Yeah, you know, my old apartment in Greenpoint. I've had the lease on that—I'm pretty sure my old landlord is not listening to this. Since I moved here, and when I moved out, my friend lives there. And yeah, because I'm like, You're not gonna find anything. It's rent stabilized, you're like, you're not gonna find anything this affordable. I mean, and that's also interesting, because I think about that—I thought about that before the pandemic, where the food pantries in Bed-Stuy, you know, and we're across, there's a rehab across from us. And then there's like, to the right of us, there's a lot of brownstones that a lot of like gentrifiers live in, and it's like, You're the ones who moved here, because this soup kitchen has been here in this building for like, over 14 years, and the rehab has been here, you know, but also what happens when people become displaced further and further away from the place that gives them the food that they need, and the services that they need? And where are they going? And how much further displacement can the city handle or Puerto Rico? Or, you know…Alicia: Yeah, everywhere.Millicent: Everywhere. And then I think, I mean I think about that so much is how, and I have moved in my life, like being able to move freely, and kind of make decisions based on you know, where you're trying to, just moving around, is such a privilege and we don't actually talk about that. I think that the people who—the media voices that we hear the most are the worst representational voices of who most of the people are. I think that most of us are living pretty fraught financial lives. I think that if you actually have student loans— I think that we're haves and have-nots now, you know, and if you have student loans, you have to actually work for money and not just work for what you hope your life is. But the voices that we hear the most that tell us like, where to eat, what Airbnb to [stay in], you know, who have like, the most exposure, are the people we should listen to the least.Alicia: The least, yeah. [Laughs.]But it's really interesting, because people—those people are successful. People want—they have a huge audience; people want that. And that's what's troubling to me. Like, I as a person, who does, who's a writer, and then like, I have to sell myself a little bit. I think I've come around now to being like, I'm done even trying to sell myself, you know, I'm like, What is is and whatever will be will be and so—but the idea that that's a popular mode of engaging with the world is so troubling to me, existentially, because it's just like, we don't want to grapple with reality—we don't, and it becomes increasingly more necessary to do so.Millicent: Well, it's the question of do we not want to grapple with reality or are we still having problems with—because people are drawn to your work, you know. People are drawn and there's this, people would be like, That person is so real, but people are definitely drawn to it, you know. Which came first: is it like the influencer, or the following or the escapism and the inability to deal with reality.Alicia: Yeah, no, it's definitely a chicken or egg thing.Millicent: It's a chicken or egg thing. But I was reading an older essay that was in the Times, written by a woman who had moved upstate before the pandemic. And I was like, New York Times, isn't it time to stop just publishing this voice? Because this voice—do we really have that many white women in their 40s who we should be listening to about moving upstate and how they're ahead of the COVID people, because there's a slight patting on the back of like, I wasn't part of that wave. And it's like, Well, are you actually doing something or are you writing about it? But I'm like, it's the Times’ choice. And I'm like, don't do that. And then I saw that—was it the Times? They published something by a Chinese-American person who—it was all about the subway. And it was great. It was about the Sunset Park shootings, but just how this person has taken the subway his entire life, and how that mode of transportation is important. But for a moment, I was just like, Oh my god, they got an op-ed by someone who lives on the subway and don't take that away from him—Eric Adams and the NYPD, you know… And we're, I mean, look at it—media and all the people up top, how many people do they know? They just know—it is still super gatekeeper-y.Alicia: Yeah, yeah. No, it's hard. And I mean, I wanted to ask, too, because, you've written that Brooklyn is such a place of stark dichotomies, in terms of, you have the new restaurants and the extreme wealth, and you have—20 percent of its population [was] food insecure before the pandemic. And, you know, there was this moment of like, kind of what we were talking about, but there was also this moment where hunger was on the forefront of the conversation like community fridges, and mutual aid, and that sort of thing. Like, has that died down? Or, you know, what is the conversation? What is the landscape like?Millicent: That has definitely died down, and it started to die down when people had to go back to work. And like, but also like, the community fridges kind of blew too big too fast. You know, like we worked with a bunch of community fridges, and there was a lot of in vogue writing about them and anyone could open them, but they also need a community to sustain them. So, that kind of ballooned and, and some have closed.Mutual aid—there's still smaller groups that are really dedicated to their mutual aid and working with people and especially working with people who are being kicked out of shelters and all the really terrible things that the city is doing in different tenants unions. I feel like what really emboldened me over the past two years was how radicalized a lot of people became, like younger people. I'm 48, okay, so I'm Gen X. I think we've got—the boomers can move on, you know. Gen X, we're gonna die before the boomers because that's just—they got all the good stuff and we're just depressed, but it feels like a lot more people have been radicalized. But now the question is—I mean, it's a small percentage that I feel like is left because now that people are kind of going back to their really kind of decadent, made-for-Instagram ways. But things are really bad for people in this city, and there's not a lot of support. And I guess that's the part where I'm like, you have to be so willfully blind to people as you walk by them to not think that there's problems and to still stay so committed to whatever you think your life is supposed to be. And for me, I was just really tired of feeding rich people. You know, like working in restaurants, it was always a community and feeding friends and feeding community and whatever. And then it just became rich people, and I don't like rich people.Alicia: When did that shift happen? Do you feel like you felt that shift, in terms of who was able to go to restaurants?Millicent: I don't think so. I mean, I think that I challenged myself to work outside—like, I worked in Brooklyn restaurants for a while and it was when there were a lot of artists opening things because the rents were low. And then that slowly changed and I was really tired of how homogenous the kitchens were, where it was just this is all the same guy with the same liberal arts education and everybody's the same. And then I would go—and then I went to Manhattan, and I tried to learn more and it was way more intense. It was all—it's all intense, but I think there was just a point where, I don't like anyone here anymore. I'm not looking for validation from food-obsessed—I don't know. Because also when I moved here, it's not like I went out to restaurants all the time; I just worked in one. And I knew that when I was in the kitchen, friends that would come in, or people in the neighborhood that would come in and different kitchens and things like that. But through elevating or going into different restaurants or whatever, even just the concept of elevating, I just didn't—it wasn't for me. And I don't care for the status of it. You know, and also I was never the person who got the status of it, because I wasn't the chef or I wasn't the owner or I wasn't anyone.You know, for me what's always been so confusing about food—I read Kitchen Confidential when I worked in a kitchen when I was 27 and I totally got it because I also grew up going to bars, like my dad's place. And when we would go to Rehoboth Beach, we would go to the Rusty Rudder and count the bartender's tips. I've been going to bars since I was born, so I got Kitchen Confidential. And then I just didn't understand when I moved here why no one—you know, I grew up on a farm, I grew up in the business and I've worked, but no one was ever interested in me, in writing about me or talking to me, or anything that I wrote. I mean, I can only assume it's because I'm not making anyone feel good about anything, you know?Alicia: [Laughs.] They don't like that.Millicent: They don't like that! Or the way that they like it is that you have to be—it has to make people feel edgy and you have to be super charming. And, yes, I'm really charming, but I'm not going to blow smoke up anyone's ass to make them feel better about how hard it is to be a farmer or work the line or anything.Alicia: Yeah, yeah—no, that's so interesting. I feel like for me, I think leaving New York and kind of getting away from it made it a lot easier for me to divest from traditional notions of success as a writer or as a food writer. And so you know, it's been so freeing, which is great. But you know, yesterday, the James Beard media nominations came out or whatever, and someone was like, I can't believe Alicia Kennedy's newsletter hasn’t been—I didn't submit. I didn't pay $150. [Editor’s note: It’s now $100 per entry.]Millicent: Right? You have to submit, right? Oh my god, I gotta say that I learned about that through one of your podcasts about submitting and how you have to pay, because I was like, I'm sorry—are you telling me that neither you nor I, in the year 2020 of what we wrote about food, are you saying that wasn't, that shouldn't be in an anthology? I mean, I'm not a very hubristic person. But that s**t that I wrote about the partially dried duck that I got during shutdown, that two-part thing and like, nobody's writing that, okay? Nobody's writing that. Nobody is coming at it from that—nobody's experiencing that dystopia and writing about it. There were plenty of people experiencing dystopia, for sure. But it's—you gotta pay to play. And how do you—so if you always have to pay to play, then you just have the same people in the room, and even if they're different people, they have to do the same things, so how are they ever going to be different? Or there's a f*****g scholarship, you know, but you're still working with the same systems of like, restaurants are perfect. You just want them to be perfect, so you can always go to them and feel good about stuff. But they're based on ultimately exploitative work. They're based out of people who couldn't afford servants, but didn't want to cook all the time. That's what restaurants are. And the systems are all the same and the people who try to keep opening the systems up, they still want themselves to be the gatekeepers, you know, and that's the media—that is totally the media, that the person who was criticizing all the memoirs by white chefs, white female chefs. And it's like, Well, you're still here, because you're gonna gatekeep who? The Black female chef whose memoir you're gonna do? You know, yeah, you guys still just want to be the gatekeepers and make sure that you stay relevant—because you have to stay relevant, so you have status—so that you stay relevant, so you have status, so you can still make money. And your perspective of moving to Puerto Rico kind of broke that. And for me, I feel I was still trying to chase that to be an outlier. But I was still—the only reason why I was in Bon Appetit is because a friend of a friend. My friend was having a pie contest at his shop, to raise money where I worked. It wasn't because anyone at Bon Appetit was interested in me: It was a friend of a friend who's connected who hooked me up with someone. And then anytime I pitched to them, they were like, No, no, no, but they were like, Tell us about the poor people, how's it going? So I had access, but only in one way. And then I feel the pandemic kind of—I was like, Millicent, you're part of the problem, because you want to be invited to everything. I mean, I'll spite-crash any party, you know, it's fun. But I wanted to be the kind of classic—I mean, this is a very white male thing, outlier, you know, but who's still invited to everything, and has status.And like—Alicia: But you only get to be that if you're a white male.Millicent: You only get to be that if you're a white male or there's a couple, there's a couple of females—there's one who's grandfathered in. But you only get to be that. And I was like, my desire for status is not helping me and it's not helping anything. And so I'm like, f**k status. It's more freeing. But it's also something I have to keep in check. I mean, I'm always interested when you write about like, Vogue or the New York Times, and I think for a lot of us who feel like we're outside, how do we participate in these institutions? Like, man, if I was ever in the New York Times, my mom would be so excited. I've been a part of restaurants that are in the New York Times and I've never been mentioned. And it's so meaningful to our family when that happens. And also, I would imagine, for me at some point, but I'm not going to pretend that's ever going to happen. There's such weird relationships with those institutions. Alicia: Oh yeah, super weird. Like I—yeah, for me, it's always like, okay, it's nice to be seen, because it just allows me to keep doing my work. You know, if everyone stopped seeing me, then I don't get to do it anymore. And for me, and I've been really lucky, of course, like I wrote—my book will come out eventually, who the hell knows.Millicent: Supply chain issues, right? Alicia: Supply chain issues and edit—like issues of… The funny thing is to have your book sort of pre-mentioned in the New York Times, like in the T magazine by Ligaya Mishan, who's a fantastic food writer, but my publisher doesn't talk to me, so I don't actually know anything. [Editor’s note: It’ll be summer 2023.] You would think they'd want to get the book out by me because I have had moments of success and should ride it. But no, they're making you have to keep it—yeah, I have to just keep going and—Millicent: They're making you doggy paddle. They're like, when you've stuck your head up, keep your head up. And then right when you're like, I can't do this anymore, they're like, Don't worry, we got you a PR person. [Laughs.]Alicia: Exactly, exactly. But until then I must just—doggy paddling is the best f*****g metaphor for that, for how it feels, because it's, you know, I don't want to be a food writer because I want everyone to look at me. I just want to talk about things. You know, that's what I like to do! [Laughs.]Millicent: Well, and I really like how you've loosened that up for you. I mean, two years ago, we both know Melissa McCart from—she's an editor and she's great. And I had written some things for Heated. And she was like, You should be writing all the time. And I was also like, Oh, I'm out working during a deadly virus pandemic and trying to not kill my partner, or anyone I work with, and trying to figure out like, we're nowhere and we're everywhere. And I couldn't—and I had to let go of that feeling that I need to capitalize on this moment, because I had to figure out a new way to take care of myself or else I wouldn't have been able to do what I do. And it was also so physically brutal, just moving food. And I kind of gave that to myself instead of being like, I could have been somebody—because, yeah, I was like, I just I can't—I’ve just got to survive this. Alicia: Yeah, yeah. It's a hard negotiation. Millicent: It definitely is. It definitely is. I mean, hopefully I can change that. I mean, my goal is to write more and to actually have a newsletter. I've just, I think, two months ago I was like, Shut up, Millicent, just stop qualifying it and being like, there's too many newsletters and what if—just do it.Alicia: Yours would be wildly different from anyone else’s, so.Millicent: Well, because I'm writing anyway, you know, yeah. But they make it. They make it hard, does it ever—I mean, how does anyone read all the newsletters?Alicia: I do. I mean, because I was a copy editor at New York Magazine, a digital copy editor, I became a very, very fast reader. Millicent: You're such a good reader, too. Alicia: But the reason I can read fast is because of that job. Like I would have to read 10,000 words of TV recaps before 9 a.m. So, like… [Laughs.]Millicent: I mean, let's just talk about that for a second. When I was in my 20s, there was one person who had a job doing TV recaps, Heather—what's her last name? She's a great writer. She writes for…Heather Havrilesky? I'm not sure.Alicia: Oh yeah yeah yeah, Ask Polly.Millicent: Yeah, she would write about it. Now that can be a job for everyone. But shouldn’t someone who has a job writing TV recaps be in charge of making society better instead of writing TV recaps?Alicia: I think—who is, uh Mindy Isser, she did—she is a great human, she's a great writer, too, but I think she's a labor organizer. But she was on Twitter the other day, quote-tweeting someone who was like, ‘Every job deserves, deserves respect,’ it's like, or ‘every job is a valid job,’ something like that. And she's like, Actually, a lot of people should be doing something else. Like, instead of being on their computers, they should be planting trees. And I agree for myself even. The nice thing about having the freedom of what I do, and now that my book is done, and so I don't feel like I'm going to die every day—because that's how that felt—but I'm like, I need to put my energy, my excess time and energy and fruits, you know, existence into doing something to make the world better, not to make anything better for myself, because things for me are as good as they're probably gonna get. Unless, you know—Okay, I have extra time and extra, so I gotta put that energy somewhere where it'll do good for the world, like and I'm gonna figure that out. [Laughs.]Millicent: I'm always—I feel like that always, that's the balance, you know? And like, when people are like, Don't you feel good about yourself? And I was like, No, I don't feel good about myself—the world is hell. But we can't all just write TV recaps. Sorry, TV recap people, I read you, but that used to be 20 years ago; there was only one, and now it's just too much.Alicia: Yeah, yeah. No, there needs to be a big transfer of energy for doing things that actually matter. And I feel it for myself, and I feel it for the world. And I think a lot of people feel it, you know. I mean, even before, years ago, a lot of people find a lot more satisfaction in jobs that are physical, like in jobs or doing work that is not considered prestigious, than they do find in the job they do that gets them more money. And of course, you want to make an amount of money that makes you comfortable. I mean, there's a difference obviously between being comfortable and being a hoarder. But, you know, there's a reason for that. You want to—it's a way of protecting yourself and it’s way of protecting your loved ones, is to have a job that pays you a salary that is comfortable, and that's an ever-changing goalpost, especially with inflation, etc. But like, how much more satisfaction in my life did I get when I was baking, or when I was bartending, than I get from tapping on a computer? I mean, I don't know.Millicent: The visceral aspect, and I think it's also, because I feel the same. I can be a real heady person, but that's why I liked line cooking. There's a certain point where—I love working with my body and it's a different relationship with it, because it's also a relationship not built out of being seen and how do you look, but how do you function and what can you do and how strong are you? And that's such a better way to live in your body, for me, which is also—so the work I've done, you know, I had moments of being a real egghead. But I've taken care of cows. You know, I've worked in restaurants. When I worked at a record distributor, there was certainly a lot of moving of boxes of records. And like, that is—whenever I'm living like that, it's better. But then there's also the capitalist exploitative line where you're like, And you crossed it, and now I'm crumpling, which is something that restaurants are really good at doing.Alicia: Well, I mean to talk about your writing work, the issue of Diner Journal: Dear Island about doing private chef work upstate. I think upstate, right? When I say upstate, I mean New York.Millicent: It was in the Adirondacks, so it's upstate, but not like upstate—it's like closer to Canada, around Lake Placid. Alicia: Oh okay, wow, that’s up there.Millicent: It was great because it was mainly free of anyone from New York.Alicia: [Laughter.] Yeah. Well, you know, it's such a—it's so good. And like, I meant to ask you more specifically about your writing in this conversation, but I was just kind of winging it. But you know, it's such—you really are such a brilliant writer—like self-reflection, humor, the self-awareness that I think anyone listening to this is understanding exists, which is always refreshing.Millicent: I'm so red with anxiety and like, thank you!Alicia: No, it's absolutely brilliant. And I was actually, I was super floored reading it. I just read it like a book and was like—holy s**t. I knew you were great from what you wrote on the internet, but then I was like, but here you're getting like—Millicent: But the internet wasn't funny, that was COVID. That was like, Listen, and this is, What the f**k am I doing here? Who is this Wes Anderson family?Alicia: And I think that's—I'm so excited for you to launch your newsletter because I would hope to see kind of that mix a bit. Millicent: For sure. I mean, I think I've just been real—I mean, the whole reason I started an Instagram account when I started that job, and it was private chef but it wasn't like private chef money, like what private chefs would make like, and of course, I have to qualify that because I'm all—‘I’m working class,’ but not really. But it was such a weird and interesting place. But I started my Instagram account, because I was like, I'm going somewhere very strange. And I just say that because then, if anyone follows me, and then they're like, Wow, she's so intense about politics and hunger over the past two years. And well, it's been a pretty intense past two years, but I am a funny person.Alicia: Yes, yes. [Laughter.]Millicent: Not that statement. No one ever believes that when someone says it like that. Alicia: No, no, no, but I mean, I think for me, I want to be thought of as funny, which is a terrible thing to want, I guess. Because it's corny. But for me, it's funny, because I'll make jokes, or what I think are jokes on Twitter, and people will just be so serious in the replies and I'm like, Forget it. But then I did see a comedian today make a joke and people be very, very serious in the replies. And I was like, All right, like this is just, this is the environment in which we’re living in…Millicent: Our way of communicating—and you actually wrote about this, where it's like people are like, That person's right and I agree with all of it, or That person's wrong. And it's like, jokes never come across in texting. And it's real, it's real hard in any version of social media. It just doesn't work like this, and also, then that beg to—like we're communicating mostly with a really terrible means of communication, if these things aren't conveying humor and nuance, it's pretty shitty. Alicia: What good are they for? Yeah.Millicent: Fights. They’re good for fights.Alicia: Good for fights. [Laughs.] Well, I wanted to ask, because in the introduction to that, you wrote about choosing which cookbooks to take up with you and you wanted to bring Prune, and then you decided not to, and I wanted to ask, you know, what cookbooks you would take now to an island?Millicent: I mean, I've thought about this, because I was also like, I don't feel like I've purchased a lot of new cookbooks. I would take—I did just get the Gullah Geechee Home Cooking… Alicia: Oh, nice. Yeah.Millicent: Well, first of all, it's a matriarch of an island. And that is, you need someone who is on an island, because it's very specific. You don't have access to everything. Also, all of this, Emily Meggett, all of this is in my wheelhouse, of kind of like very country cooking. There's stuff, you know, there's crabs, I'm there. I would say the Olia Hercules books. Those are, I think this is what I know about cooking on an island, is that when you want to spread out a little bit, or any kind of like cooking that you're doing for hire, you don't want to like, jump to who you aren't, you need to kind of, for me, I need to have different ideas of variations on a theme and like I do, I can bake. I make pie crust, like I have variations of crust and ideas of things that I do. And I think that this cookbook, the Gullah Geechee and Olia Hercules. There's always variations on—she has so many doughs, you know, and things stuffed, greens and things like that. And I'm like, all right, that's a variation I can do. I always take a version of The Flowering Hearth, because I just want to live there. And then, I always take The Saltie Cookbook—I don't know if you have that one. Alicia: I need it! It was out of print.Millicent: It’s out of print, you better find it because—Alicia: I know, I have to buy a copy. Millicent: I use that one the most, because it's vinaigrettes, bread, desserts, and like, it's the most cross-referenced for everything. And then I always take—you ever read the Jim Harrison, the writer, Jim Harrison?Alicia: I have one of his books on my shelves, but I haven't read it yet.Millicent: You know, he's a big cook and hunter, and he had a column in Esquire called “The Raw and the Cooked”—the book is all of his essays. And for Saltie and for Jim Harrison, I always take them with me and whenever I've opened a restaurant and I haven't been able to see any friends forever, I read them because they're my friends’ voices. It's like Caroline, and A.D., and Rebecca, and Elizabeth and Saltie…And then Jim Harrison. I mean, he is—whatever. He's an old white American male; there are going to be problems. But also, he was a screenwriter, along with a fiction and poetry writer. He has an amazing essay about eating with Orson Welles where they try to like both jump out of a check, and I think there's lines of cocaine somewhere during the meal. There's an essay about a gout flare-up in the airport wearing his favorite leather boots, you know. And so, for me, cookbooks, sometimes I feel like I don't cook from them, I just like to read from them. And then also, I would totally go with vegan or vegan baking because you can really stuff someone on an island. And so I think vegan baking, also because you can have more shelf-stable things to substitute. And I don't do it enough but I like cooking with different grains, just because it gives different textures and like AP flour, just—AP flour, sugar, butter, like, we've all done that, you know?Alicia: Yeah, yeah. Yeah. I'm in a big flour moment right now—Millicent: What does that mean?Alicia: [Laughs.] It means that, it means that people were upset that I am always doing recipes with AP flour, and not with whole grains. But I don't have access to a whole grain flour here. So I, now I have to, I'm trying to get into working with different root vegetable, quote, unquote, flour. Millicent: Oh, fascinating!Alicia: Which is cool—and it's, but at the same time, I can't, you know, when I write a recipe for a cake, it's still gonna just have AP flour in it, you know. It's just because I need other people to make it.Millicent: It's also about access, you know, and that's something that people don't talk about that much. And when you write about food accessibility in Puerto Rico, and when people write about Cuba and food accessibility there, that's really important, but also the access of people anywhere, you know? And we can get anything, I mean, this is—we talked about this—we can get anything all the time; we shouldn't be able to get anything all the time now. Things should be harder for us.Alicia: In general, things need to be harder. And that's a hard thing to tell people, but I think if my writing has a thesis point that I haven't explicitly articulated, it's: things need to be harder.Millicent: Things need to be hard, because guess what, they're hard for a lot of people. And we're—how many people for you to lead your life are exploited so you can do what you want to do? I mean, people—and I'm not, listen, there's nothing exploitation-free about me. But I think about it a lot. And consumption for me now, I’m finding how there's a shift in me where it's just what used to be satisfying isn’t necessarily satisfying for me. Alicia: No, absolutely. Millicent: I drink tea now.Alicia: Instead of coffee?Millicent: Yeah, I mean, now I think I'm back to a cup of coffee a day, maybe. But I have—that was just like the past two days. I was like, come on, let's get some life back into us. But yeah, COVID in December, and I had it again and I was like, Tea tastes so nice! But I used to drink so much coffee and smoke a pack a day and drink bourbon you know, but some things—and that wasn't right before the pandemic, but I'm just saying, I've noticed the things. I liked shutdown. I'm gonna say something real unpopular: I liked shutdown. I liked being—I also had a different life for everyone where I went outside and worked and my partner's a musician, so I had live music every week for his Instagram show. But the stretching everything and being really intentional and all of that, and not getting to have whatever, and really having social interactions sustain me—and for longer than they used to. Everything was way more meaningful. And I really appreciate that. And I hope that some of that has stayed with me, you know? Alicia: Yeah, yeah. Well, how do you define abundance?Millicent: I think—enough, you know? The feeling of enough, because I think the feeling of enough is kind of contentment. Because abundance is dangerous, look at all—everyone who has abundance, it's never enough, you know?Alicia: Right. Right. No, yeah. I think this question is about being, you know, redefining abundance to me and I have enough because, we're talking about so many people do not have enough. And so trying to reframe the thinking around what that means is, I think, a powerful tool, imaginary tool for reconsidering. Millicent: I think what they're calling it now, Alicia, is a perspective shift.Alicia: Yes, a consciousness shift or consciousness raising. [Laughs.]Millicent: I am not going to say that working at a food pantry makes me feel good about myself or like I've done anything good, but it has recalibrated what I think about my life. Alicia: Yeah, well, and for you, and in general, is cooking a political act?Millicent: I don't think cooking is but I think feeding is, and I think that they're different. And that's got to be talked about more because cooking is—no. I think people pat themselves on the back too much thinking they're doing something political. And I know, years ago, a friend of mine, we were catering—it was a social justice food award that this Episcopal Church in Long Island gave out. And I was all, I work in restaurants; we buy from farms, and I grew up on a farm and I know—and I remember one of the farmers, he was from Iowa, and he was talking about how worried they were because they'd heard that white supremacists had moved into the neighboring county and so they're just really worried about the people who worked on their farm. And I heard his speech and I was just—and this was before Trump was in office, you know, this was, this was in—let's just say before Trump was in office. And I remember feeling humbled and being like, You don't know s**t, Millicent. You know, and money's politics, but systems or—money needs to be systematic for it to be political, you know.Alicia: I think that's so important and that you allowed yourself to be humbled and have that change your approach to things is such a rare, I think, a rare characteristic to encounter.Millicent: I'm humbled all the time. [Laughter.]Alicia: Well, thank you so much for being here. This has been so, so great. And yes, it's been interesting of course, that I just get to meet people over Zoom and record it, that I've just wanted to talk to, and this was one where I've just—I just really want to talk to the person and so here we are.Millicent: Well, you know, when you, when you come to town, we'll get some tea, or a martini.Alicia: Okay!Thanks so much to everyone for listening to this week's edition of From the Desk of Alicia Kennedy. Read more at www.aliciakennedy.news or follow me on Instagram, @aliciadkennedy, or on Twitter at @aliciakennedy. This is a public episode. If you’d like to discuss this with other subscribers or get access to bonus episodes, visit www.aliciakennedy.news/subscribe

S6 Ep19 JULIE of BRKLYN BISH: owner of a 90s and Y2k Brooklyn-based vintage brand - on 90s and Y2k nostalgia, building up an inventory of vintage tees, Betty Boop, and more.  JOIN OUR PATREON COMMUNITY: https://www.patreon.com/prelovedpod  Listen and subscribe on: iTunes | Spotify | Stitcher | Google Play | or wherever you get your podcasts! Please rate & review the show so more vintage lovers find this community. Pre-Loved Podcast is a weekly interview show about rad vintage style with guests you'll want to go thrifting with. Find the show at @emilymstochl on Instagram and @PreLovedPod on Twitter. Pre-Loved Podcast: Julie of Brklyn Bish Today, I'm joined by Julie, the owner of Brklyn Bish, a vintage brand based in Brooklyn, New York, where you can find vintage band tees, 90s and Y2k clothing, and Betty Boop tees and collectibles. I met Julie while visiting New York for ReFashion Week and she has an on-going stall at Regeneration Market in Brooklyn.  On this episode, we chat about 90s and Y2k nostalgia, building up an inventory of vintage tshirts, how she got into selling vintage, a bit of Betty Boop history and more! It's a really fun one, and I hope you'll enjoy! Let's dive right in! All the Episode Links: Brklyn Bish Instagram Brklyn Bish website ReFashion Week NYC Manhattan Vintage Show Bad Granny's Greenpoint Terminal Marketplace Artists & Fleas Pre-Loved Podcast with Amy Abrams (Artists & Fleas and Manhattan Vintage) Metropolis Vintage  Thread87 Tri-State Vintage Pop-Up Betty Boop history - Smithsonian Betty Boop - Baby Esther Jones jazz singer Betty Boop - Spice Girls tees Betty Boop - Britney Spears Betty Boop - Jennifer Aniston Y2k dolphin poster George Verger - Destiny's Legendary Closet Mighty Thrift Shop the Article  End of the World Vintage * JOIN THE PATREON COMMUNITY and get the Pre-Loved Podcast News Flash: https://www.patreon.com/prelovedpod  A special thanks goes out to my Patron Insiders: Patty Weber Beverley Docherty of Wolfe Pack Vintage Danny of Galaxy Live Kayla of Pins Thrift & Vintage Kathy Brand Lucero Buendia Steven Vogel Mary-Elizabeth Land Tricia Zelazny Leslie V. * Pre-Loved Podcast stickers are on sale now! PayPal me $4.00 USD at this link, or to @Emily-Stochl on Venmo and provide your address, and I will ship you a sticker anywhere in the world! Or, if you want, you can also use the link paypal.me/prelovedpod or Venmo @Emily-Stochl to send a donation in support of the show. Pre-Loved Podcast is created by Emily Stochl. Follow me on Instagram, Twitter, and my blog. 

Welcome to a new edition of the Neon Jazz interview series with Brooklyn-based Jazz Musician, Composer & Educator Aaron Bazzell .. He opened up about his new 2022 CD Aesthetic, life in music and education, COVID and more .. He was born in Boston, Massachusetts and at the age of eight the family moved down south to Atlanta  where he would eventually come home from school one today to find that his father had purchased an alto saxophone. After receiving some encouragement from his middle school band director, he quickly became serious about the instrument. Dig his story .. Click to listen.Thanks for listening and tuning into yet another Neon Jazz interview .. where we give you a bit of insight into the finest players in Illinois, Venezuela, Nashville, Kansas City, and spots all over the USA giving fans all that jazz .. and thanks to Solitaire for her time, honesty and story ..  If you want to hear more interviews, go to Famous Interviews with Joe Dimino on the iTunes store, visit the Neon Jazz Youtube Channel, go The Home of Neon Jazz at  http://theneonjazz.blogspot.com/ and for everything Joe Dimino related go to www.joedimino.com and if you feel like it, you can donate to the Neon Jazz cause. Until next time .. enjoy the music my friends

Welcome to a new edition of the Neon Jazz interview series with Brooklyn-based Jazz Singer & Educator Sachal Vasandani .. We had a wide ranging talk about quite a bit .. like is new 2021 CD Sachal Vasandani - Midnight Shelter with his friend and fellow musician Romain Collin .. Sachal is recognized for his singular voice, with a tone and unique phrasing that mark him as one of the most compelling artists on the scene today. These days he also hosts a monthly emerging singers concert series at The Django showcasing an up and coming singer on stage. He is also a preeminent educator bridging a strong technical foundation and disciplined, immersive jazz study with a fundamentally open spirit. Dig his story .. Click to listen.Neon Jazz is a radio program airing since 2011. Hosted by Joe Dimino and Engineered by John Christopher in Kansas City, Missouri giving listeners a journey into one of America's finest inventions. Take a listen on KCXL (102.9 FM / 1140 AM) out of Liberty, MO. Listen to KCXL on Tunein Radio at http://tunein.com/radio/Neon-Jazz-With-Joe-Dimino-p381685/. You can now catch Neon Jazz on KOJH 104.7 FM out of the Mutual Musicians Foundation from Noon - 1 p.m. CST Monday-Friday at https://www.kojhfm.org/. Check us out at All About Jazz @ https://kansascity.jazznearyou.com/neon-jazz.php. For all things Neon Jazz, visit http://theneonjazz.blogspot.com/If you like what you hear, please let us know. You can contribute a few bucks to keep Neon Jazz going strong into the future.   https://www.paypal.com/donate?hosted_button_id=ERA4C4TTVKLR4

Authenticity in social media marketing is important, especially when trying to capture the attention of a TikTok audience. We spoke to Co-Founder of MushStudios, Jacob Winter, about staying unqiue when creating a brand. We we're interested in seeing how Mush used TikTok to Leverage there business during the pandemic, and the process behind running a rug focused design studio. FIND JACOB: https://www.linkedin.com/in/jacob-winter-9a94b31a1/ https://instagram.com/jacobwinterr MENTIONS https://www.instagram.com/mushstudiosny/ https://www.tiktok.com/@mushstudios?lang=en https://mushstudios.co FIND ANNA: https://www.linkedin.com/in/aesullivan2010/ https://www.instagram.com/anna_sullivan10/ FIND THE CREATIVE EXCHANGE: http://thecreativeexchange.co https://www.instagram.com/thecreative_exchange/ https://www.linkedin.com/company/6459032/

Welcome to a new edition of the Neon Jazz interview series with Brooklyn-based Jazz Pianist & Composer Andrew Boudreau .. He opened up about his debut album .. The 2022 CD Neon, COVID life and his history in the music .. Over time, he has formed strong emotional connections to particular places. Whether his native Nova Scotia, or his longtime home of Montreal, or the surroundings of New England Conservatory in Boston, or his current daily environment in Brooklyn. His album Neon is a collection of pieces that mostly have a specific “geographic stamp,” a poetic linkage in his mind .. He continues to be a big part of the North American, international jazz and creative music scenes. Enjoy the story .. Click to listen.Neon Jazz is a radio program airing since 2011. Hosted by Joe Dimino and Engineered by John Christopher in Kansas City, Missouri giving listeners a journey into one of America's finest inventions. Take a listen on KCXL (102.9 FM / 1140 AM) out of Liberty, MO. Listen to KCXL on Tunein Radio at http://tunein.com/radio/Neon-Jazz-With-Joe-Dimino-p381685/. You can now catch Neon Jazz on KOJH 104.7 FM out of the Mutual Musicians Foundation from Noon - 1 p.m. CST Monday-Friday at https://www.kojhfm.org/. Check us out at All About Jazz @ https://kansascity.jazznearyou.com/neon-jazz.php. For all things Neon Jazz, visit http://theneonjazz.blogspot.com/If you like what you hear, please let us know. You can contribute a few bucks to keep Neon Jazz going strong into the future.   https://www.paypal.com/donate?hosted_button_id=ERA4C4TTVKLR4 

This week the conversation continues with Brooklyn Based music producer Chris Camilleri. We are discussing the effect of growing up in a time when pensions were a foundational part of how people planned their life and careers. Particularly, how it influenced the way many freelancers operated in their formative years. We explore the idea of stewardship on social media and Chris shows us that to have an optimistic outlook about the development of social media and the modern internet we need to be good stewards of other people. Other subjects in this episode: The nature of freelance work Navigating instability Chris brings in a great idea called being a good steward of people. The good parts of social media The gap between global appeal and local authenticity What makes a story a marketing tactic and what makes it authentic? Laying out the different mentality between songwriters or artists and producers The impact of accessibility on authenticity The value of exclusivity in music in terms of delivering a song that is uniquely made for a purpose Chris's history in music The magic of a studio Chris describes the feeling he had when he graduated college The nature of being in your formative years Links to Chris: https://new.chris-camilleri.com https://www.instagram.com/chriscamilleri/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/onmyowndime/message Support this podcast: https://anchor.fm/onmyowndime/support

Welcome to the Retail Rundown, your go-to weekly podcast where RETHINK Retail teams up with industry experts to discuss the news, trends, and big ideas that are redefining retail. In this episode we hear from up-and-coming designer Gwen Beloti as she shares the story behind her namesake jewelry brand, the Gwen Beloti Collection. Founded in 2019, the Brooklyn-based brand is committed to providing women with stylish everyday accessory options that are high quality, accessible and size inclusive. Gwen Beloti was also featured at the NRF's Diversity, Equity and Inclusion Showcase during its Big Show last month. Shop from Gwen's collection at www.gwenbeloti.com If you enjoyed this episode, please let us know by subscribing to our channel and giving us a 5 star rating us on Spotify and Apple Podcasts. - - - - - - Hosted and produced by Gabriella Bock Edited by Trenton Waller

This week we are joined by Drew Lausch. Drew is a Brooklyn-Based comedian, writer, producer, and actor! Check it out! He recently filmed an episode of MTV's "Singled Out" and made his headlining debut at La Zoom Room in Asheville, NC. Drew performs regularly at New York venues such as Chelsea Music Hall, Public Hotel, The Bell House, Union Hall, West Side Comedy Club! Check out his Web Series, Sugar Baby Webseries and his upcoming Haus Party: Live in Concert! In this episode we discuss growing up in Fargo, North Dakota, being involved in musical theater, loving Sailor Moon, early 2000's MTV, being gay, and so much more! You don't want to miss our discussion about CW's Riverdale. Give it a listen! Follow Drew: @realdrewlausch; TikTok: @drewlausch Follow Carly: @carlyjmontag Follow Emily: @thefunnywalsh Follow the podcast: @aloneatlunchpod Email us! Aloneatlunch@gmail.com **LEAVE US A RATING AND REVIEW** Please :)

On today's episode, I am joined by Zahra Tabatabai, the founder of a Brooklyn Based, first-generation, and woman-owned beer company, Back Home Beer. Zahra wasn't always a professional brewer. A former journalist, writing for Fox News and ESPN, she started brewing in her Brooklyn apartment motivated by stories of her late grandfather's home brewing operations in Shiraz. What began as a hobby turned into something more. She found a way to educate others on the richness of our Iranian Culture through ingredients used in her beer, all the while staying true to her brand's mission of empowering women, supporting immigrants, and taking care of the community she's a part of. 

Welcome to a new edition of the Neon Jazz interview series with Brooklyn-based Jazz Saxophonist, Composer & Beat Maker Kazemde George .. He talked about his new 2021 CD I Insist and his life in music .. This CD is his debut and is a collection of original music with a stellar band .. He was raised by Caribbean parents in Berkeley, California and was exposed to a wide range of musical styles, and has been playing Piano, Saxophone, and Percussion from an early age. His story is stellar .. Enjoy .. Click to listen.Neon Jazz is a radio program airing since 2011. Hosted by Joe Dimino and Engineered by John Christopher in Kansas City, Missouri giving listeners a journey into one of America's finest inventions. Take a listen on KCXL (102.9 FM / 1140 AM) out of Liberty, MO. Listen to KCXL on Tunein Radio at http://tunein.com/radio/Neon-Jazz-With-Joe-Dimino-p381685/. You can now catch Neon Jazz on KOJH 104.7 FM out of the Mutual Musicians Foundation from Noon - 1 p.m. CST Monday-Friday at https://www.kojhfm.org/. Check us out at All About Jazz @ https://kansascity.jazznearyou.com/neon-jazz.php. For all things Neon Jazz, visit http://theneonjazz.blogspot.com/If you like what you hear, please let us know. You can contribute a few bucks to keep Neon Jazz going strong into the future.   https://www.paypal.com/donate?hosted_button_id=ERA4C4TTVKLR4

On today's episode, I am talking to a Culture Writer about the rise of Black Male Relationship ‘Experts', and the How-To-Find-A- Good-Man Industrial Complex. Who are these harmful, cishet men who doling out chauvanistic relationship advice to Black Women? Where did the trend of the Black Male Relationship Expert originate, and why does it persist? How can we protect ourselves from these men? These questions will be answered and so many more. Put Your Money Where Your Mouth Is:Blondery (@blondery)- Brooklyn-Based, Black Owned limited release cloud bakery that ships nationwide https://blondery.com/ASHAPOPS (@ashasuperfoods)- Popped water lily seed snack https://ashapops.com/?sscid=51k5_2sgu6&&sscid=b1k5_iixjf&Keep up With Tayo Bero:Read her writing here: https://tayobero.contently.com/IG: @tayoberoTwitter: @tayoberoRead the article here: https://www.refinery29.com/en-us/2021/06/10481048/steve-harvey-toxic-masculinity-dating-experts-black-womenLinked In: https://www.linkedin.com/in/tayobero/?originalSubdomain=caFind us on Social Media:@blackandyellowpodcastAlana J. Webster: @renegadeoffunEmail us: podcastblackandyellow@gmail.com See acast.com/privacy for privacy and opt-out information.

Welcome to Roadcase, a podcast exploring the live music experience!!  Join us for this stellar conversation with the amazing and talented Bette Smith, whose latest album, The Good, The Bad and The Bette is produced by Matt Patton of the Drive-By Truckers and has been massively lauded for its hard-driving soul sounds and soaring vocals.  Bette had recently been on tour with Kenny Wayne Shepherd and the Drive-By Truckers, and her live performances are explosive; but beyond her captivating stage presence and amazing voice, Bette has an equally compelling backstory filled with personal trauma, loss and complicated relationships. It's the sum total of these life events together with Bette's unbreakable spirit, determination and grit in overcoming significant obstacles that make her story such an inspirational one.  So catch this incredible ride on the Roadcase bus for a wonderful, fun, uplifting and awesome conversation with Soul songstress Bette Smith. It's a great ride!!For more information: https://linktr.ee/roadcasepod and https://www.roadcasepod.comContact: info@roadcasepod.comTheme music:  "Eugene" (Instrumental)" by Waltzer

Brie Ruais, a Brooklyn Based Ceramic Sculptor spoke with John Shannon about her creative experience in the Galisteo Basin working with artists Ralph Scala and Denise Lynch.You can see some of Brie's work here: http://www.BrieRuais.comand here: http://www.albertzbenda.com/artists/brie-ruais Support the show

Welcome to a new edition of the Neon Jazz interview series with Brooklyn-based Drummer & Composer Kate Gentile .. She opened up about the 2021 CD Snark Horse with done with collaborator Matt Mitchell .. Over the years, she has worked with Michaël Attias, Tim Berne, Anthony Braxton, Steve Coleman, Dave Douglas, Chris Speed and John Zorn ... Enjoy the story .. Click to listen.Neon Jazz is a radio program airing since 2011. Hosted by Joe Dimino and Engineered by John Christopher in Kansas City, Missouri giving listeners a journey into one of America's finest inventions. Listen to each show at https://www.mixcloud.com/neonjazzkc. Check us out at All About Jazz @ https://kansascity.jazznearyou.com/neon-jazz.php. For all things Neon Jazz, visit http://theneonjazz.blogspot.com/If you like what you hear, please let us know. You can contribute a few bucks to keep Neon Jazz going strong into the future. https://www.paypal.com/donate?hosted_button_id=ERA4C4TTVKLR4

Having graduated from Juilliard, Clarice has released two full-length albums: For This From That Will Be Filled and more recently The Experience Of Repetition As Death. She regularly performs with the American Contemporary Music Ensemble, and has played cello on scores like Max Richter's Sleep. Clarice has composed scores for the acclaimed feature films: Ainu Mosir, No Man Of God, and Identifying Features.  

Welcome to Roadcase, a podcast exploring the live music experience!!  Hop on the Roadcase bus for this fun conversation with Brooklyn-based artist Ana Egge.  Ana, whose new album, Between Us (out September 17), is a compelling neo-folk and alt-country artist whose gorgeous voice and personal lyrics give life to all her songs.  Ana's catalog is deep and varied, reflecting many different roads travelled since her unique upbringing on a commune in New Mexico.  Since then, she relocated to Brooklyn where's she been creating music and working with a plethora of artists on a staggering variety of musical projects and live performances.  Ana is an open, humble and thoughtful artist with tons to talk about -- all of which made for a really fun conversation.  So come on along and join us for this great episode with Ana Egge on Roadcase! For more information: https://linktr.ee/roadcasepod and https://www.roadcasepod.comContact: info@roadcasepod.comTheme music:  "Eugene" (Instrumental)" by Waltzer

Bill Logan (William Bryant Logan) has spent the last five decades living with trees, as a writer, arborist, and teacher, first in coastal California and the Sierra Nevada, then for the last thirty years in the regenerating forests of New York. Logan is founder and president of the Brooklyn-based tree company Urban Arborists. His firm trains and cares for the pollards and aerial hedges in front of the Metropolitan Museum of Art and has planned, planted, and currently cares for numerous landscapes and gardens at historic properties and urban parks in the Tri-State area. Logan lectures widely, from the Arnold Arboretum in Cambridge to the Huntington Library in Los Angeles and internationally, about the relationship between people and trees. He has won the True Professional of Arboriculture award from the International Society of Arboriculture and the Senior Scholar award from New York State Arborists. His most recent book, Sprout Lands: Tending the Endless Gift of Trees, has been awarded the 2021 John Burroughs Medal for distinguished nature writing. His essay “The Things Trees Know” was excerpted from Sprout Lands before the book's publication and published in Orion. It won the 2020 John Burroughs Nature Essay Award. Logan's earlier books are Dirt: The Ecstatic Skin of the Earth, Oak: The Frame of Civilization, and Air: The Restless Shaper of the World. Dirt inspired an award-winning documentary that was shown at the Sundance Film Festival. Oak was featured in a story on CBS Sunday Morning. Logan has written for the New York Times, Orion, Emergence, Natural History, House Beautiful, House & Garden, and many other publications, winning numerous Quill and Trowel Awards from the Garden Writers of America. He is on the faculty at the New York Botanical Garden and has taught poetry in the New York City schools and nature writing at Sarah Lawrence College. --- Support this podcast: https://anchor.fm/plantatrilliontrees/support

All Local Morning for 07/14/21 See omnystudio.com/listener for privacy information.

In this episode, Alicia hosts an interview with Jenna Morello to discuss building up her reputation as a muralist, the process behind the small resin sculptures she's become known for, and how she's made her art practice financially stable. Jenna Morello is a multi-disciplinary artist from Brooklyn, New York. She is equally at home creating large-scale bold, expressive walls as well as meticulously crafted sculptures. She mixes and matches multiple mediums to create nature-based, sometimes anatomical art that speaks for itself. Her work is sold internationally and her murals can be seen around the world. She has completed projects for such groups as The Ritz Carlton, The World Trade Center, Universal Music Group, Macy's, and The Superbowl and has been featured in The New York Times and Forbes. createmagazine.com/podcast

Welcome to a new edition of the Neon Jazz interview series with Brooklyn-based Singer, Tap Dancer & Producer Liberty Styles .. On this very first interview of 2021, we were contacted by Liberty and very impressed with her sound and story .. Her new album to start this fresh year off is called Roam Wide … Her life is full of dance and music .. along with producing her own work, in 2018 she founded a monthly tap jam session in Brooklyn called The Spell which offers space for tap dancers, musicians, and other performers to experiment. She has a story you’ll dig .. Enjoy .. Click to listen.Neon Jazz is a radio program airing since 2011. Hosted by Joe Dimino and Engineered by John Christopher in Kansas City, Missouri giving listeners a journey into one of America's finest inventions. Take a listen on KCXL (102.9 FM / 1140 AM) out of Liberty, MO. Listen to KCXL on Tunein Radio at http://tunein.com/radio/Neon-Jazz-With-Joe-Dimino-p381685/. You can now catch Neon Jazz on KOJH 104.7 FM out of the Mutual Musicians Foundation from Noon - 1 p.m. CST Monday-Friday at https://www.kojhfm.org/. Check us out at All About Jazz @ https://kansascity.jazznearyou.com/neon-jazz.php. For all things Neon Jazz, visit http://theneonjazz.blogspot.com/

This weeks episode comes live from the heart of NYC, Where Anica. A Brooklyn Based and proud child of immigrants thrives. Her energy is raw and rhythmic where she seeks to share her thrills. Anica is always pushing her boundaries to capture a sound that best illustrates the moment. Find her on instagram @anicadujour

Brooklyn based trumpeter Satish Robertson is a musician who wears many hats. His horn soars in a variety of musical settings from jazz to gospel, neo-soul, hip-hop, funk, right down to the blues. His credits include live performances and/or recordings with heavy hitters across several genres such as James Carter, Marc Cary, Spirit of Life Ensemble, Deborah Davis, Ace Clark, Chazmere, Talib Kweli, The NYC Ska Orchestra, Bobby Kyle & the Administers, and Archie Bell of the Drells. He is also the leader of numerous exciting jazz groups of his own. Growing up in Jersey City, NJ, Satish developed a deep love of music early on thanks to his grandmother's extensive record collection. He began his musical studies on piano as a child, but after falling under the spell of Miles Davis, he gravitated towards trumpet at the age of 20. Trumpeters Clifford Brown, Donald Byrd, Lee Morgan, Booker Little, Freddie Hubbard, Woody Shaw, and Roy Hargrove would also become strong influences. Partly self taught, but also mentored by master trumpeters such as Rob Henke, Vinnie Cutro, Jeremy Pelt, Eddie Henderson, Duane Eubanks, and the late Ted Curson, Satish has developed a commanding, penetrating, and soulful voice on his horn. Satish is also a prolific composer whose writing often exhibits a striking cinematic quality. And with his new release 80's JOINT: THE EP, Satish shows yet another side of his vast artistry, fusing jazz with the synth heavy sounds of 1980's pop, rock, funk, R&B, and techno - composing, arranging, producing, and playing nearly all of the instruments on the record himself.

In episode #14 of The Hormone P.U.Z.Z.L.E Podcast, our guest Ali Prato, a Brooklyn-Based Journalist talks about Secondary Infertility and Fertility Rally. More about Ali: Ali Prato is a Brooklyn-based journalist and mom-of-two. She went through IVF herself, talks to women—and some men—about the messy, frustrating, painful, heartbreaking, absurd and sometimes hilarious journey to have a baby on her podcast, Infertile AF. Or in some cases, to not have a baby. Each episode tells a different story, getting real about miscarriages, egg freezing, sperm donors, adoption, infertility depression, secondary infertility, surrogacy, endometriosis, IUIs, acupuncture, nutrition, relationship drama, embryonic genetic testing, money issues, that crazy jealousy you feel when you see someone else with a baby bump, and so much more. Her podcast covers the happy endings, the soul-crushingly sad ones, and the ones still in limbo. **If you want to learn more about how to buy keep me safe worldwide beauty or skincare products- my.keepmesafeworldwide.com/coachkela ** Thank you for listening! Follow Ali on Instagram - @infertileafstories More information about Fertility Rally HERE- Follow Coach Kela on Instagram - @kela_healthcoach Get your FREE Fertility Meal Plan - www.coachkela.com For sponsorship opportunities, email HPS Media at podcast@coachkela.com.

The guest for this episode is Grammy Award winning Brooklyn-based multi-instrumentalist, composer, arranger and producer Sly5thAve, who just released his new album What It Is via Tru Thoughts. We do on a track-by-track breakdown of the new album and how his musical upbringing influences his work. We also talk about his move to New York over a decade ago where he found a home at The Clubhouse (AKA The Clubcasa or BKLN1834), home to a host of New York talent, along with the making of his critically acclaimed project The Invisible Man: An Orchestral Tribute to Dr. Dre. Stream/Purchase What It Is: truthoughts.ffm.to/whatitis Follow Sly5thAve: Website: sly5thave.com Facebook: facebook.com/sly5thave Twitter: twitter.com/Sly5thAve Instagram: instagram.com/sly5thave SUBSCRIBE/RATE/REVIEW FRESH IS THE WORD: Subscribe on all major streaming platforms. Please rate and review on Apple Podcast and Stitcher. List of where Fresh is the Word streams: linktr.ee/freshisthewordpodcast or just search “Fresh is the Word”. Also available on IHeartRadio. THEME MUSIC Courtesy of STEVE O. Check out more music at eyeamsteveo.bandcamp.com. Support via Patreon If you want to support Fresh is the Word, please consider pledging via Patreon at Patreon.com/freshistheword. Support via Paypal If you don’t want to do Patreon, you can donate via Paypal: PayPal.Me/kfreshistheword --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/freshistheword/message

Welcome to a new edition of the Neon Jazz interview series with Brooklyn-based Jazz Pianist & Composer Dana Saul  ..We caught up with him in late April 2020 during the beginnings of the COVID-19 quarantine lockdown to discuss the release of his recent album Ceiling and about his life in music ..Get to know him and enjoy .. Click here to enjoy.Neon Jazz is a radio program airing since 2011. Hosted by Joe Dimino and Engineered by John Christopher in Kansas City, Missouri giving listeners a journey into one of America's finest inventions. Take a listen on KCXL (102.9 FM / 1140 AM) out of Liberty, MO. Listen to KCXL on Tunein Radio at http://tunein.com/radio/Neon-Jazz-With-Joe-Dimino-p381685/. You can now catch Neon Jazz on KOJH 104.7 FM out of the Mutual Musicians Foundation from Noon - 1 p.m. CST Monday-Friday at https://www.kojhfm.org/. Check us out at All About Jazz @ https://kansascity.jazznearyou.com/neon-jazz.php. For all things Neon Jazz, visit http://theneonjazz.blogspot.com/

Episode 136: Just beyond the fuzzy boundaries of roots and Americana music, we find Brooklyn Based singer-songwriter Becca Stevens. And I hope you have found her. With a complex musical language drawn from folk, jazz, classical and pop, her output is searching, challenging and ever-evolving. A graduate of the NC School of the Arts and the New School in New York, she leaps from American public radio to European tours to collaborations with the likes of Jacob Collier, Snarky Puppy and recently folk icon David Crosby. She is among my favorite artists working today, so I sought out an interview, and I was excited and loaded with questions when she said yes. Her newest album is the shiny and electric Wonderbloom. 

Welcome to a new edition of the Neon Jazz interview series with Brooklyn-based Jazz Woodwind Player Brian Landrus on his new 2020 CD For Now with Fred Hersch, Drew Gress and Billy Hart .. He opened up about this new material released during a pandemic and this strange new COVID-19 world that we are living in .. Enjoy…Click here to listen.Neon Jazz is a radio program airing since 2011. Hosted by Joe Dimino and Engineered by John Christopher in Kansas City, Missouri giving listeners a journey into one of America's finest inventions. Take a listen on KCXL (102.9 FM / 1140 AM) out of Liberty, MO. Listen to KCXL on Tunein Radio at http://tunein.com/radio/Neon-Jazz-With-Joe-Dimino-p381685/. You can now catch Neon Jazz on KOJH 104.7 FM out of the Mutual Musicians Foundation from Noon - 1 p.m. CST Monday-Friday at https://www.kojhfm.org/. Check us out at All About Jazz @ https://kansascity.jazznearyou.com/neon-jazz.php. For all things Neon Jazz, visit http://theneonjazz.blogspot.com/

Welcome to a new edition of the Neon Jazz interview series with Brooklyn-based Jazz Guitarist & Composer Liberty Ellman .. During the late March 2020 Quarantine in America, he talked about how thing had ramped up .. and his latest 2020 CD Last Desert .. Along with how he got into music, mentors and so much more .. So please get to know her and dig this interview.Click here to listen.Neon Jazz is a radio program airing since 2011. Hosted by Joe Dimino and Engineered by John Christopher in Kansas City, Missouri giving listeners a journey into one of America's finest inventions. Take a listen on KCXL (102.9 FM / 1140 AM) out of Liberty, MO. Listen to KCXL on Tunein Radio at http://tunein.com/radio/Neon-Jazz-With-Joe-Dimino-p381685/. You can now catch Neon Jazz on KOJH 104.7 FM out of the Mutual Musicians Foundation from Noon - 1 p.m. CST Monday-Friday at https://www.kojhfm.org/. Check us out at All About Jazz @ https://kansascity.jazznearyou.com/neon-jazz.php. For all things Neon Jazz, visit http://theneonjazz.blogspot.com/

Hi folks, we hope you are all hanging in there through this difficult time. On today's show we welcome Jenny Indig, for a very special Mother’s Day episode. Jenny lost her mother to cancer 8 years ago, shortly after she herself became a mom for the first time. Jenny candidly shares her memories of her mother's love of celebrations, and how she memorialises her mother through food in her current life. Jenny is a sweet and thoroughly genuine human, and this conversation was touching, but also more difficult than some others for us personally, as we are a mother and daughter. It really struck a chord, and we are so grateful to Jenny for her sincerity and bravery in sharing this very emotional story. Jenny has an amazing food blog called The Brooklyn Balabusta and is a regular contributor to Brooklyn Based.Processing  is powered by Simplecast.

AccuWeather Daily brings you the top trending weather story of the day - every day.

Justin Time and Anita Break are "reporting crime in real time with more than reliable source." In this first episode, they reveal the juicy details of Darren's untimely death. Was Matt solely responsible for the murder? Will Tara make her bail? And most importantly, what is Anita's idea of an ideal date? This alternate news network for the world of Deconstructed Detective has all the answers and more!

Brooklyn-based artist and adjunct professor Alex Strada talks about: Why she makes specialized artist’s contracts even though her own work tends not to be object-oriented, which is a feminist-based approach to addressing inequities in the art market; her great admiration for Mark Dion, the artist and her former teacher who has always credited everyone that has worked for him; her various adjunct teaching gigs, at Columbia, Fordham, Cooper Union and Studio in a School; the socially engaged tendency of the work of her students, which she acknowledges comes out of her syllabi emphasizing diversity of all kinds; her film project “Save the Presidents:” how she and her collaborator were able to shoot these immense sculptural busts, which are eroding on a private field owned by the busts’ purveyor, how the screening of the film in Times Square, as part of the Midnight Moments project, was the most surreal experience of Strada’s life; and her life and citizenry as a native New Yorker who grew up in the West Village and still cherishes that neighborhood, but could never live there now – only Julianne Moore can, as she put it – and how the Chelsea gallery system, with rents so high, perpetuates an art world that has to play it safe in order to survive, and how we as individual artists need to fight for our opportunities and our space.

Today on The Mike Wagner Show...Brooklyn-based and New Jersey singer/songwriter Lexi Todd talks about how she got started (she's also a lawyer in the music industry) and encouraging others to take a stand and expressing themselves, plus her releases "Maria, Immured" , "Madonna","Window Shopping" and more! Check out her website at lexitodd.com and find out what's coming up in 2020!

Today on The Mike Wagner Show...Brooklyn-based and New Jersey singer/songwriter Lexi Todd talks about how she got started (she's also a lawyer in the music industry) and encouraging others to take a stand and expressing themselves, plus her releases "Maria, Immured" , "Madonna","Window Shopping" and more! Check out her website at lexitodd.com and find out what's coming up in 2020! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/themikewagnershow/message Support this podcast: https://anchor.fm/themikewagnershow/support

Rebecca interviews Rachel, A Brooklyn based dietitian. She works 35 hours a week as a dietitian and teaches a weight lifting class. Rachel shared her tips to experiment with ways to use an ingredient in different recipes, give yourself permission to try different foods, get an inexpensive rice cooker, batch cook ingredients while doing laundry or other things, and don’t feel like you always have to eat undistracted. She finds her recipes on the Minimalist Baker blog and the Mealime App.

Colin Beavan is a Brooklyn-based writer and life coach. In the mid-2000s, he launched his “No Impact Man” experiment in which he and his wife and daughter led a carbon-zero lifestyle, in New York City, for 6 months. The project went viral, but Colin wrote books before No Impact Man (which also became a book and documentary), and has published books since, including most recently, “How to be Alive,” which explores how both science and traditional wisdom can affect our happiness. With his new work, along with No Impact Man, I got the strong sense that Colin would have a lot of insights relevant to our show (HIGB), specifically around what we want vs what we really need- and Colin delivers.

Urbane yet humorous, Paul shares several of his experiences such as being a former Managing Director for Goldman Sachs (where he supervised over 9000 individuals), how he foments change as a philanthropist and what social capital transfer means to him. We also discuss artificial intelligence (AI), cybersecurity, hacking, fintech, planetary travel, the Beastie Boys and more!!!!

Brooklyn Based Choreographer, Dancer, Fitness Expert, and Animal Lover, Miriam Wasmund joins Kendra for a breakfast interview. They talk about making your own work, producing shows in New York City, living the artist life, and the most recent work they did together, Your Faithful Reader. A one time Mudderella trainer and and spokesperson, Miriam is an inspiration to all.

You can’t live in New York without hearing the word gentrification play around you like background music. It’s the elephant lurking in stories like “What does $1M buy in NYC? Not as much as it used to.” It’s the sight of new coffee shops and restaurants popping up on a block that seemed immune to development. Signs in the neighborhood like the one pictured below, encouraging owners to "sell your property" and "buy your dream." For 20 years now, Bed-Stuy has been experiencing this kind of condo-building, bar opening, home-buying wave that alters the feel of a place, and most importantly, its affordability. As part of a report on New York’s “New High-Rent Districts,” The New York Times found that rents in Bed-Stuy shot up by 41% in the past 10 years—placing it third on a list of the biggest rent hike areas in the city. In the decade prior, according to The Center for Urban Research, the growth of the white population in the western, Bedford side of the neighborhood was the largest percentage increase—633%—of any other group in all of New York City. Race, class and privilege are bound up in the story of any changing New York neighborhood, but the conversation becomes more fraught and prone to stereotypes when a historically African-American neighborhood like Bed-Stuy gentrifies. As delicate and vexing as the subject can be, I wondered what we might learn about gentrification if we could hear residents in Bed-Stuy speak candidly about the changes they were seeing. Was there anything new, in fact, to learn about a phenomenon that is as old as New York? To get people to open up, I thought of my friend, journalist Kathleen Horan. In her Audible Original show, “Mortal City,” she goes deep with everyone from sanitation to sex workers, so I asked if she could interview a similarly diverse group in Bed-Stuy. The cross-section of people she spent time with—a real estate broker, bar and restaurant owners, a longtime resident and a local politician, Assemblywoman Tremaine Wright—help paint a more nuanced picture. We encountered perspectives we expected, opinions that caught us off guard, and welcome pointers for newcomers to the neighborhood. What follows is Brooklyn Based’s first-ever audio narrative, What We're Not Saying, produced in partnership with Brooklyn Podcasting Studio in Park Slope. It’s not a podcast (yet), but it could be the start of one, so if you have suggestions for future topics of What We’re Not Saying, get in touch here. Once you have a listen, we’d love to hear your thoughts at brooklynbased.com. --- Send in a voice message: https://anchor.fm/brooklyn-based/message

In this episode of BS'ing with Sean K, Sean Kneese talks to Brooklyn-based comedian, actor and percussionist: Sean Gibbs. Topics discussed include: the New York comedy scene, whether talent is something you're born with or something you learn through practice, and more.

In this episode, Jamie, Roger and guest artist Jen Hitchings chat about her journey into a once-burgeoning-now-established gallery art scene in Bushwick, Brookyln.

Janine Biunno is a visual artist and archivist based in Brooklyn, New York. Her work is focused on analyzing and interpreting the semiotics of the built environment. Janine's artwork addresses the subjective practice of understanding and representing the architecture, infrastructure, and density of urban space, and how our general perception of those physical spaces is altered due to the increasing influence of the digital realm. She has exhibited at International Print Center of New York, Tiger Strikes Asteroid and Transmitter Gallery in Brooklyn, Satellite Art Fair, Miami, The Museum of Fine Arts, Boston, and ACRE Projects in Chicago. As an archivist, Janine is focused on research and collections at the intersection of the fields of art, architecture, and design. She currently works as the Head Archivist at The Noguchi Museum in Queens. Links: In her interview, Janine discusses the work of Agnes Martin and creative advice from Werner Herzog. For more information about Janine and her work, please visit her website, Tumblr, and Instagram. As always, podcast music is provided by Mr. Neat Beats.

Manoush and Jen wrap up Season One* by interviewing Joe Lubin, co-founder of the Ethereum blockchain, about his involvement with Civil and whether the tech is up to the task of supporting a new platform for journalism. They also have honest answers for listeners about where ZigZag and their business, Stable Genius Productions, go next. Plus, a surprise treat at the end makes this season finale sing. *ZigZag will be back with updates on the Civil token sale on Sept 6 and Sept 20. Season Two officially starts on Oct 11. GO DEEPER: Joe Lubin believes the most valuable companies of the future will be decentralized with “flat” leadership. What Ethereum is doing to handle more transactions. 40 Ethereum apps you can, allegedly, use right now. But also, Ponzi schemes are breaking out there too. Track how many people have signed up for the Civil token sale here. The state of podcasts in 2018. “The challenge is not a small one”: analysis of Civil from the Columbia Journalism Review and Brooklyn Based, Breaker, and Marketplace. The button to donate to Manoush and Jen is finally working. Who you’ll hear: Manoush (@manoushZ) Jen (@jpoyant) Joe Lubin, co-founder of Ethereum and Founder of Consensys (@ethereumJoseph) Support our work at https://zigzagpod.com/donate/ **Credits: **David Herman, Audio Engineer and Composer  Alice Rutherford, Illustrations ZigZag is the business show about being human. Join a community of listeners riding the twists and turns of late-capitalism, searching for a kinder, more sustainable way. Manoush Zomorodi and Jen Poyant investigate how work and business impact our wellbeing and the planet we live on. On Seasons 4 and 5, hear from rebels and visionaries with radical ideas on how we can build stable lives, careers, and companies. If you’re also interested in Jen and Manoush’s personal story and their adventures in starting their own business with a little help from blockchain technology, listen to the first three seasons, starting with Season 1, Chapter 1.

Manoush and Jen wrap up Season One* by interviewing Joe Lubin, co-founder of the Ethereum blockchain, about his involvement with Civil and whether the tech is up to the task of supporting a new platform for journalism. They also have honest answers for listeners about where ZigZag and their business, Stable Genius Productions, go next. Plus, a surprise treat at the end makes this season finale sing. *ZigZag will be back with updates on the Civil token sale on Sept 6 and Sept 20. Season Two officially starts on Oct 11. GO DEEPER: Joe Lubin believes the most valuable companies of the future will be decentralized with “flat” leadership. What Ethereum is doing to handle more transactions. 40 Ethereum apps you can, allegedly, use right now. But also, Ponzi schemes are breaking out there too. Track how many people have signed up for the Civil token sale here. The state of podcasts in 2018. “The challenge is not a small one”: analysis of Civil from the Columbia Journalism Review and Brooklyn Based, Breaker, and Marketplace. The button to donate to Manoush and Jen is finally working. Who you’ll hear: Manoush (@manoushZ) Jen (@jpoyant) Joe Lubin, co-founder of Ethereum and Founder of Consensys (@ethereumJoseph) Support our work at https://zigzagpod.com/donate/ **Credits: **David Herman, Audio Engineer and Composer  Alice Rutherford, Illustrations ZigZag is the business show about being human. Join a community of listeners riding the twists and turns of late-capitalism, searching for a kinder, more sustainable way. Manoush Zomorodi and Jen Poyant investigate how work and business impact our wellbeing and the planet we live on. On Seasons 4 and 5, hear from rebels and visionaries with radical ideas on how we can build stable lives, careers, and companies. If you’re also interested in Jen and Manoush’s personal story and their adventures in starting their own business with a little help from blockchain technology, listen to the first three seasons, starting with Season 1, Chapter 1.

New York-based artist/sculptor Hein Koh talks about: Her multiple living spots throughout New York, from Astoria to Bedford Stuyvesant (where she heard gunshots on her block more than once) to the Upper East Side and back to Brooklyn, initially guided by the need to have a basement for band practice, and later by proximity to her husband’s work and their friends in Brooklyn; her 2015 Instagram post (also shared on FB) -- of her double breast-feeding her newborn twins while simultaneously working on her laptop, couple with a very thoughtful and provocative caption about her experience as a mom and artist who’s transformed for the better – which went viral, and what her experience as a viral celebrity was like, both pros and cons; the change in her artwork after having kids, which went from much darker to more colorful, including starting to use metallic spandex in her sculptures right after her kids were born.

Like most creatives, Kiirstin Marilyn has had her ups and downs.  It is how the Brooklyn-based songwriter/musician/actress responds to life's obstacles that makes her special.  Kiirstin demonstrates the grit and persistence that a creative needs if she plans to succeed pursuing her dream. Kiirstin was excited to be signed to a small independent record label for the release of her EP, --- Support this podcast: https://anchor.fm/makeandcreate/support

Hi, I’m Cheryl Fro, and welcome to Deconstructed Detective, a podcast about solving crime in real time with less than modern devices. This week on Deconstructed Detective: Marty follows the clues all over New York City—all in an effort to discover what really happened to Tessa DuPree’s body and if the Drug Lord Mary Jane had anything to do with. Will Marty crack the case? @thegumshoeshow

Hi, I’m Cheryl Fro, and welcome to Deconstructed Detective, a podcast about solving crime in real time with less than modern devices. This week on Deconstructed Detective: a Dead Dude dies by falling out of a window. Will Marty crack the case? @thegumshoeshow

Black Therapist Podcast formerly Black In Therapy 's host Brooklyn Based psychotherapist Nikita Banks, LCSW discusses the importance of community organizing; social work advocacy and being politically active. See acast.com/privacy for privacy and opt-out information.

Brooklyn-based artist and commercial-studio-building developer Stef Halmos talks about: How she feels about Greenpoint’s gentrification arc, as a 12-year resident there herself; her commercial development in Catskill, New York, two hours north of the city, where she’s helming the renovation and rentals of a 50,000 sq. foot building called Foreland Catskill for studios, galleries and production facilities; the genesis for starting the project/buying the building, which came out of wanting to join a communal studio situation instead of working from home; what she’s been learning as a developer/project manager in terms of obtaining permits (much easier than it would have been in the city), working with the contractor (Rich, who she speaks about glowingly), and what they need to do to keep the building sustainable for another 150 years; her father, who co-owns the building with Stef and also acts as her mentor and “consigliere,” providing endless advice on the project; her early years as a video artist and photographer, including interning for Annie Leibowitz; losing all the work she had ever made (which had been kept in UHaul storage) during Superstorm Sandy, and how that changed her art-making and career trajectory; and the two-and-a-half years when she wasn’t making any work at all, and how she managed to turn that unproductive period around.

Black Therapist Podcast formerly Black In Therapy 's host Brooklyn Based psychotherapist Nikita Banks, LCSW discusses how to Crush those 2018 .. New Year New You?? Goals with the help of a therapist or coach to help get you started? Do you know which one you need? Let us help you figure it out. See acast.com/privacy for privacy and opt-out information.

In this episode we discuss how to approach the holiday seasons without a family member; dealing with an anniversary of a death of a loved one or a birthday of someone you have loss. Black Therapist Podcast formerly Black In Therapy's host Brooklyn Based psychotherapist Nikita Banks, LCSW discusses mental health issues from the perspectives of a woman of color. See acast.com/privacy for privacy and opt-out information.

Black Therapist Podcast formerly Black In Therapy 's host Brooklyn Based psychotherapist Nikita Banks, LCSW discusses how to build boundaries with families to improve healthyy relationships. See acast.com/privacy for privacy and opt-out information.

Black Therapist Podcast formerly Black In Therapy's host Brooklyn Based psychotherapist Nikita Banks, LCSW discusses how to mentally prepare to gather with family for the holidays when you have strained family relationships and move forward from hurt to heal hearts this holiday season. See acast.com/privacy for privacy and opt-out information.

Brooklyn-based artist Ellen Harvey talks about: Her long tenure in the western part of Williamsburg, her experience of the slow but steady gentrification, and how she’s become permanently attached to her live/work loft through the Loft Law, which allows her affordable rent indefinitely; her British roots, which account for the fact that she “can’t pronounce her ‘R’s,” and the accent that has stayed with her even though she moved to Wisconsin at 14, and the pros and cons of having  a British accent in the U.S.; her start in public art doing micro murals (5”x7” paintings over graffiti in Highbridge Park), eventually evolving into larger and larger public projects, including her mural ‘Atlantis,’ a 1000 sq. foot mirrored glass piece slated for the Miami Beach Convention Center, the venue of Miami Basel; Ellen’s highly unusual prior career field as a Wall St. lawyer; and how her parents, despite her tremendous success, still wouldn’t mind if she returned to her law career.

Meet your local artist collective, Cósmica, self described as "a feminist art collective that strives to unite and support womyn artists and professionals from alternative, under-represented, and diverse backgrounds". Barbara Calderón & April Ibarra Siqueiros share the many wonders of creating your art and helping others to foster creativity. Keep listening for featured music from Info Commons studio user Freddie Cosmo.

Brooklyn-based artist Kate McQuillen talks about: Moving to Greenpoint, Brooklyn from Chicago, a move she made rather abruptly though she cushioned the transition with brief stints in Connecticut and then Boston; the turning points that led her to her move, including both art career opportunity and the breakdown of her marriage; how the intensity of her marriage falling apart led her to seek out talk therapy for the first time mostly on her own with just a little bit of reinforcement of the idea from a friend, and what she learned about herself once she found a great therapist (on her 2nd try); the sales of a significant amount of her work to Saks 5th Avenue through their acquisitions director, who came back around to buy even more work after that first major purchase, thus becoming something like a fairy godmother for Kate; baby steps in starting to date again after leaving her marriage; and how it hit her, in the middle of this past winter, that this (New York…Brooklyn) is her new life.

Vicki Fulop, Co-Founder of Brooklinen, steps on to the New York Launch Pod to discuss her Brooklyn based, direct to consumer bedding company. Several years ago Vicki and her co-founder and husband Rich, were staying at a hotel and sleeping on incredibly comfortable sheets.  When the two wanted to purchase the sheets, they were shocked that at the expensive price.  After thoroughly researching the textile industry, Vicki and Rich saw the high mark-ups from traditional retailers and set off to create a direct to consumer brand at a time when there weren’t that many around. Brooklinen sheets and bedding have been off to a roaring start.  Through a clever grassroots campaign in 2014, Vicki and Rich smashed their initial $50,000 goal on Kickstarter and raised $237,000.  Since then the Company has grown its revenue by a multiple of 10, in each of the past two years with annual sales now in excess of $25 Million and a growing product line that covers sheets, comforters, blankets, and of course linen sheets. Listen to the episode to hear what makes Brooklinen sheets different than the store department store brands, why people improperly focus on thread count and how the company markets sheets to people who can’t touch them before purchasing.  Hear how Vicki and Rich bootstrapped the company through incredible growth, what the Brooklyn brand means to them and even what it’s like being a husband and wife team. More on Brooklinen: https://www.brooklinen.com/ Transcript available here: http://nylaun.ch/BrooklinenTr    

Brooklyn-based artist Jean Shin talks about: Gradually turning her Hudson Valley barn originally bought for art storage into a summer/weekend retreat; her extensive experiences with Brooklyn real estate including living and working in spaces all over Brooklyn, and leveraging various mortgages – starting with a "tiny" apartment in Carroll Gardens, before eventually buying a 1000 sq. foot storefront studio in Red Hook and a slightly larger apartment in Cobble Hill with her husband, leaving her settled (as long as there isn't another hurricane); her massive public art project for the 63rd Street stop of the new 2nd Avenue Subway line in New York, including the $1 million dollar budget (which was comprehensive for fabrication, design, materials, etc.- she didn't even earn 1% of that herself after all was said and done), and what it was like interacting with the public as the murals etc. were being installed…it was a project she worked on from 2010 thru the end of 2016; her working in labor intensive projects (with discarded ephemera), and the process of collaborating with museum curators as well as various assistants, including learning to trust the process of working with collaborators, and even trusting them enough to give them keys to the studio; and what it's like serving on the board of the Joan Mitchell Foundation, addressing inequity where possible along the way.

By Debbi Kenote and Til Will We were lucky to snag a few words with Brooklyn Based artist Tirtzah Bassel at Volta NY. She has four large works on display with Slag Gallery in booth C22, on view through Sunday. Last year, Bassel participated in the exhibition Homeland Security hosted by the For-Site Foundation Listen to the full interview here: […]