Podcasts about delancey street

B & D take a look at This Fool S01E02: Putasos and Rutherford Falls S01E02: Buckheart Lodge and chat about fighting, holding grudges and getting old.

Welcome to Part 2 of Dave Duroucher's episode of the All My Friends Are Felons Podcast. Dave describes his childhood self as "Dennis the Mennis on steroids." He came from a solid home but by age 12, he started committing crimes which led him down the path of drug addiction and time behind bars. In prison, he became a shot caller for his gang, but eventually realized that his life was on a horrible trajectory. Through hard work and self-reform, Dave sought therapy and was able to turn his life around with the help of Delancey Street. Tune in to hear the rest of his incredible story of transformation and hope. Becoming the shot caller and an animal 1:40Cop chase and going back to prison for life 10:50Pleading for another path 14:50Treatment centers: “The size of the solution does not match the size of the problem” 20:00Dave's story is not unique and few understand the truth 35:05Therapeutic communities are working miracles 38:00Adderall 40:55Our understanding of the system is wrong 51:00Advice to help someone on a similar path 63:40The Other Side Academy 66:30Changing our prisons 72:00“Mark, listen to me when I say this. I was a liar, a cheater, a thief, a manipulator, a violent, self-centered, self seeking–I had become an animal in a human body. I had become an animal, and we live in a world today where we're like ‘*Gasp* You can't say that to people!' Why? Why can't we tell people the truth? It wasn't until I got to Delancey Street that my peers told me who I was that I was able to change. We are so deathly afraid to tell people the truth. I wouldn't be here today if people didn't point out who I had become. That is who I'd become!” 4:10

The first feature you see when you meet Chris Nelson is his baby blue eyes. He grew up in California under the thumb of an alcoholic step dad. At a young age his athleticism stood out and he was deeply involved in football, basketball and baseball. However over time, he gravitated towards the “stoners” and started down that slippery slope. Turning his back on the sports he loved, by the age of 22 he found himself a meth addict. His sister told him how the light had left his beautiful eyes. 14 years and 3 trips to prison later he finally started to come to himself and facing another prison term he was given the opportunity to go to Delancey Street in San Francisco where he spent 4 years realizing the man that should have been. There he met Dave Duroucher. Following him to The Other Side Academy he now lives a life of service and purpose helping others to come to themselves and become the good person God made. His is a story of triumph.The first feature you see when you meet Chris Nelson is his baby blue eyes. He grew up in California under the thumb of an alcoholic step dad. At a young age his athleticism stood out and he was deeply involved in football, basketball and baseball. However over time, he gravitated towards the “stoners” and started down that slippery slope. Turning his back on the sports he loved, by the age of 22 he found himself a meth addict. His sister told him how the light had left his beautiful eyes. 14 years and 3 trips to prison later he finally started to come to himself and facing another prison term he was given the opportunity to go to Delancey Street in San Francisco where he spent 4 years realizing the man that should have been. There he met Dave Duroucher. Following him to The Other Side Academy he now lives a life of service and purpose helping others to come to themselves and become the good person God made. His is a story of triumph. Sponsors & Partners Freedom Scholars Academy My Story Matters / Captain Your Story - mystorymatters.org The Other Side Academy (TOSA) - theothersideacademy.com 00:00 - Chris Nelson 01:50 - Sponsors 02:50 - His Young Life 05:20 - Living a Duplicitous Life 09:30 - Driving Off a Cliff 13:00 - Big Boy Jail 14:05 - Meth at 22 17:40 - Prison & Fatherhood 20:15 - Out On Another Run 21:20 - Back Behind Bars 26:13 - Delancey Street 32:30 - Reaching Self-Belief 39:40 - Things are Looking Up: The Other Side Academy 46:45 - “Stop seeking validation from other people.”

In this episode of The Optimistic American, host Paul Johnson sits down with Alan Fahringer, a man whose life story exemplifies the power of personal transformation. Once caught in the destructive cycle of addiction and crime, Alan now advocates for integrity, accountability, and the life-changing impact of therapeutic communities. Join us as we dive into Alan's past struggles, the pivotal moments that led to his recovery, and his inspiring message for anyone seeking a better life. Topics Discussed in the Video: Addiction and Crime: Alan's Early Life - Alan shares his beginnings as a young boy who seemingly had every reason to succeed but instead fell into a life of addiction and deceit. From his first sip of alcohol to his years as a full-blown addict, Alan reflects on how dishonesty and substance abuse controlled his life for decades.The Turning Point: Facing Prison Time - After years of arrests and failed relationships, Alan found himself facing a 50-year prison sentence. This moment of reckoning became a pivotal point in his life, and instead of serving time behind bars, Alan was sent to Delancey Street, a renowned therapeutic community where he began the hard work of rebuilding his life. Integrity and Accountability: Keys to Recovery - Alan explains how therapeutic communities focus on instilling integrity and accountability in their members. He discusses the tough but effective methods that helped him—and countless others—turn their lives around, including rigorous honesty, peer support, and structured work programs. Life After Addiction: Helping Others on the Path to Recovery - Having emerged from his own struggles, Alan now dedicates his life to helping others do the same. He talks about the importance of long-term recovery programs, the broken state of the drug treatment industry, and the need for communities that focus on genuine, lasting change.

2 NYPD Officers Shot on Lower East Side in Chase of Robbery Suspect A gunman shot two police sergeants who were trying to arrest him minutes after an armed robbery in a mahjong parlor on the Lower East Side in Manhattan on Thursday, Police Department officials said. One officer was shot in the groin, and the other was grazed by a bullet in the leg, Joseph Kenny, the chief of detectives, said at a news conference on Thursday at Bellevue Hospital, where the officers were being treated for their wounds. Both were in stable condition, said Chief Kenny, who was joined at the news conference by Mayor Eric Adams. The sergeant who was grazed will be released from the hospital on Thursday night, and the sergeant who was shot in the groin will be held overnight for observation. A man, Joshua Dorsett, 22, was taken into custody at the scene, Chief Kenny said. Around 4:15 p.m., the police responded to a 911 call regarding a man on the second floor of a building on Canal Street near Eldridge Street, Chief Kenny said. The man, whom the police later identified as Mr. Dorsett, had pulled out a gun and pointed it at several women at the mahjong parlor, a popular neighborhood spot where people gather and bet money on mahjong games, he said. Mr. Dorsett demanded that the women hand over their purses. He grabbed a number of purses, ran out of the building and fled north on foot, Chief Kenny said. Seven minutes later, police officers on Delancey Street saw Mr. Dorsett, who fit the description of the gunman.

Still counting down the Top 50 Hip Hop story rhymes of the Golden Era We are at the TOP 10 and at number 6 we have Delancey Street by The Rapper Entertainer Dana Dane with Fame!Listen. Download. Comment. Share #EHHStory@TweetRhymesLifeIG: EncyclopediaHH#Hip Hop #Hip Hop StoryStory #80s #RapPodcast #HipHopPodcast

The All Local 12pm Update for Wednesday, May 15th 2024

Wayne Cabot and Paul Murnane have the morning's top headlines from the WCBS 880 newsroom.

Dave Durocher is back!  A beacon of authenticity and honesty. From a troubled past to transforming lives, Dave's journey is a testament to the power of truth. Arrested at 13, he faced a lifetime behind bars until a pivotal opportunity at Delancey Street changed everything. Instead of prison, he embraced redemption, rising to lead and inspire. Now, as Executive Director of The Other Side Academy, Dave continues his mission, offering a path to self-respect and a future free from the shadows of the past.   Prepare to be blown away by Dave's passion to make a difference. Join him on his journey to redemption   … #TOSA #honesty #wholepersonchange #integrity #accountability #leadership #mindset #mentalhealth #Inspiration #Transformation #Authenticity   .... You can connect with Dave here: FB:  https://www.facebook.com/david.durocher.71 Web:  https://www.theothersideacademy.com/ LinkedIn:  https://www.linkedin.com/in/dave-durocher-772b60132/   ….. Special thanks to our Sponsors: Craig Swapp & Associates @craigswappandassociates Traci Peterson @elevate_wellness_aesthetics Wasatch Recovery @wasatchrecovery Thread Wallets @thread_wallets Morii Nutrition @moriinutrition Music by Paul Cardall

It has been 17 years since James Fuentes first hung a shingle out under his own name. In the years since, he has carved out a unique position in the contemporary art world, representing an eclectic mix of older, sometimes overlooked artists, alongside younger, buzzier names. Prior to striking out on his own, Fuentes worked for a handful of high-profile gallerists, including Jeffrey Deitch, whose eye he first caught with an ambitious pitch for a reality television show about artists, an idea that was way ahead of its time, considering it was the early aughts. Fuentes has long been a mainstay of the Lower East Side, which happens to be the same area where he grew up. Between his first smaller gallery on the appropriately named St James Place, and later at a larger location on Delancey Street, he has watched neighborhood undergo seismic shifts. Amid all of the changes, he still regards the Lower East Side as a thriving and incredibly diverse place to live and work. Last year, Fuentes joined the ranks of East Coast dealers heading out West to open a gallery in the burgeoning art scene of Los Angeles. Just as he is set to mark the one year anniversary on Melrose Avenue, another major change is underway: a big move across town in Manhattan to the new gallery hub of Tribeca, into a 3,000-square-foot, ground-floor space on White Street. This week on the podcast, senior reporter Eileen Kinsella caught up with Fuentes to talk about growing up in New York City during the heyday of hip hop and graffiti art, and his unique approach to the art business, alongside the broader growth and changes in the art world at large.

It has been 17 years since James Fuentes first hung a shingle out under his own name. In the years since, he has carved out a unique position in the contemporary art world, representing an eclectic mix of older, sometimes overlooked artists, alongside younger, buzzier names. Prior to striking out on his own, Fuentes worked for a handful of high-profile gallerists, including Jeffrey Deitch, whose eye he first caught with an ambitious pitch for a reality television show about artists, an idea that was way ahead of its time, considering it was the early aughts. Fuentes has long been a mainstay of the Lower East Side, which happens to be the same area where he grew up. Between his first smaller gallery on the appropriately named St James Place, and later at a larger location on Delancey Street, he has watched neighborhood undergo seismic shifts. Amid all of the changes, he still regards the Lower East Side as a thriving and incredibly diverse place to live and work. Last year, Fuentes joined the ranks of East Coast dealers heading out West to open a gallery in the burgeoning art scene of Los Angeles. Just as he is set to mark the one year anniversary on Melrose Avenue, another major change is underway: a big move across town in Manhattan to the new gallery hub of Tribeca, into a 3,000-square-foot, ground-floor space on White Street. This week on the podcast, senior reporter Eileen Kinsella caught up with Fuentes to talk about growing up in New York City during the heyday of hip hop and graffiti art, and his unique approach to the art business, alongside the broader growth and changes in the art world at large.

In Part 2, we really get into the meat of what Huckleberry Youth is and how it got started. You know, I keep finding out ways in which our city pioneered things for the nation. I recently saw the upcoming Carol Doda documentary and learned that she was the first topless dancer in the US. And in this episode, we hear from Doug and Denise something very important that Huckleberry Youth did before anyone else. And of course, at the time they did it, it was illegal.   1967 is also known as the "Summer of Love" in San Francisco. And that meant young people from all over the country and world flocked to our city to find whatever it was they were looking for. Not all of them were lucky. Many faced hardship, having trouble finding shelter, making friends, and getting sick or addicted to drugs. A group of faith-based organizations and folks in the nonprofit world got together to do something about it, and Huckleberry House was born.   But back then, both being a youth runaway was illegal, and, if you provided shelter for a runaway, it was considered aiding and abetting. Huckleberry House was the first such shelter for runaway youth in the country.   But all it took was one complaint from a parent. SFPD raided the house and arrested youth and staff alike. Now they needed a lawyer, and they found one in a young man named Willie Brown. The future mayor got the charges dropped, and Huckleberry House reopened in February 1968. It has been in legal operation ever since.   Denise and Doug talk about several programs that Huckleberry Youth has established over the years. One such program was HYPE, established in the 1980s to help young people with HIV/AIDS. They give thanks and respect to Huckleberry's own Danny Keenan—the first to say, in effect, "We need to have kids talking to kids" to address problems like young people who are sick.   I bring up the fire at their Geary Boulevard administrative offices back in 2019 because I witnessed it (I live not too far from there). The office had been at Geary and Parker for more than 30 years. The fire in front of Hong Kong Lounge 2 destroyed memorabilia and photos at Huckleberry's office, but they were able to save a lot too.   During COVID, Huckleberry House stayed open and even took in new youth. Partly because of the fire, they had been moving a lot of admin stuff online before the pandemic, so they were able to make that transition.   The conversation then shifts to kids who come to them addicted. Huckleberry gets those youth into its justice program, known as CARC (Community Assessment and Resource Center). Denise tells this story, because she was at Delancey Street when the program started in 1998 (see Part 1 of this podcast). It turned out to be too much for that nonprofit, and so they handed it over to Huckleberry 2000. Doug and Denise estimate that the program has helped at least 7,000 individuals, and possibly as many as 10,000.   We end this episode with Denise and Doug responding to our theme this season: "We're all in it."   Go to Huckleberryyouth.org to donate and learn more about all that they do to help underserved youth in San Francisco.   Photography by Jeff Hunt   We recorded this podcast in December 2023 at Huckleberry Youth's administrative offices on Geary.

Huckleberry Youth, the non-profit providing care and housing for underserved youth, celebrated 50 years back in 2017. In Part 1 of this episode, we meet Huckleberry consultant/advisor Denise Coleman and the organization's CEO/executive director, Doug Styles.   Denise was born at what is now Kaiser's French Campus on Geary. Denise, who is Black, shares the story of the hospital making her dad pay cash for their labor and delivery services, while it was obvious that white folks were allowed to make installment payments.   Born and raised in the 1950s and Sixties, Denise and her family lived in the Haight/Ashbury neighborhood, as it was known then (now we call it Cole Valley) on Belvedere Street. She has three sisters and a brother, her dad worked two jobs usually, and her mom stayed home. She describes a childhood that was fun, filled with activities like roller skating, skateboarding, and homemade roller coasters.   Denise was a teenager during the Vietnam War and took part in protests. She describes a history of friction with her mom. When Denise was 16, one of her sisters OD'd on drugs. Still, despite the trauma that came with that, she graduated high school from St. Mary's in 1973. At this point in the podcast, Denise rattles off the San Francisco schools she went to.   After high school, she joined some of her cousins and attended the College of San Mateo. Denise never thought about or wanted to leave the Bay Area, she says. In an apartment on the Peninsula, she and her cousins had "the best time." After obtaining a two-year associate's degree, Denise says she wanted to go to SF State, but didn't connect with it, and so she started working instead. For two years, she flew as a flight attendant for the now-defunct Western Airlines. After that, she collected debt for a jewelry store, then worked as a credit authorizer for Levitz Furniture in South San Francisco.   Denise says she got hung up in the crack epidemic in the Eighties. She started with cocaine, and that led to crack. She was an addict for eight years. She got herself into a rehabilitation program at Delancey Street and stayed in the program for seven years. Her time started in SF, then took her to Santa Monica, North Carolina, and New York state.   In 1998, Denise decided to leave Delancey Street. She got a call from Mimi Silbert, the Delancey founder, with an offer to work at their new juvenile justice program in San Francisco. Denise said no at first, partly because she wanted to stay in North Carolina. But after some persistence from Silbert, in 1999, she said yes and came back to her hometown. After seven years away, The City had changed.   And so Denise helped to establish Delancey Street's Community Assessment and Referral Center (CARC). After its first year, the organization realized that they didn't have the capacity to run the program. Delancey Street asked Huckleberry Youth to take it over, and this is how Denise ended up at Huckleberry.   Doug Styles was born and raised in the Richmond District. He was too young to remember the 1960s and mostly grew up in the Seventies. Doug says he had a lot of fun as a kid, describing riding his bike to the beach and back by himself. He shares the story of going to a late movie in the Mission, so late that when he got out, there were no buses. And so he walked home through the Mission, through the Fillmore, to his home in the Richmond.   He also rattles off San Francisco schools he went to, including Lowell. Doug was in school when the SLA kidnapped Patty Hearst. He was at Everett Middle School when Dan White assassinated George Moscone and Harvey Milk. He speaks to tensions in The City around this time, and Denise joins in to talk about the day of the assassinations.   Doug graduated high school in 1983 and went to UC Santa Cruz, where he majored in theater. He moved to Massachusetts, where he found work in a theater. After a short time out east, he came back to San Francisco and tried unsuccessfully to get into grad school. So he enrolled in a masters program at CIIS for drama therapy. Following that degree, Doug went back east, this time to Connecticut to work at the VA's National Center for PTSD.   After another return to the Bay Area, he got his doctorate in clinical psychology. At the VA, Doug had worked with adults, but the jobs he found here had him working with youth. He had a job on the Peninsula for 10 years, during which time he became a father to two kids, which he says changed him more than anything else.   One day he saw that the Huckleberry Youth executive director was retiring. Doug applied and got the job, and has been with the non-profit ever since.   Check back next week for Part 2 and more on the history of Huckleberry Youth.   Photography by Jeff Hunt   We recorded this podcast in December 2023 at Huckleberry Youth's administrative offices on Geary.

Welcome to my bonus episode Of One For The Road with Sophie B Hawkins. The GRAMMY® Award-nominated, RIAA Platinum-certified singer-songwriter has announced her first UK headline performance in almost two decades, set for Sunday, November 26 at London's The Forge (3-7 Delancey Street, Camden Town, NW1 7NL) For more than three decades, Sophie B. Hawkins has been a chart-topping, award-winning superstar. The New York-based artist dropped “Damn, I Wish I Was Your Lover” upon an unsuspecting world in the summer of 1992, earning instant attention for its raw energy and unforgettable confession of lust and longing. The groundbreaking track struck a chord around the world, reaching the top 5 on Billboard's “Hot 100,” the top 15 on the UK's Official Singles Chart, and the top 10 in Australia, Canada, Denmark, Greece, New Zealand, and Norway. Indeed, “Damn, I Wish I Was Your Lover” remains a classic rock ballad more than 30 years after its initial release, featured on countless film and TV soundtracks as well as a multiformat radio staple around the globe. On todays bonus episode Sophie B Hawkins shares with us the journey through her childhood that made her decide at the age of 14 after reaching her rock bottom to choose a life of abstinence to both alcohol and drugs.Links to her show at the Forge Sunday 26th November https://theforge.seetickets.com/event/sophie-b-hawkins/the-forge-camden/2805177If you want to connect with me via Instagram, you can find me on the instahandle @Soberdave https://www.instagram.com/soberdave/or via my website https://davidwilsoncoaching.com/Provided below are links for services offering additional help and advice.www.drinkaware.co.uk/advice/alcohol-support-serviceshttps://nacoa.org.uk/Show producer- Daniella Attanasio-MartinezInstagram - @TheDaniellaMartinezhttps://www.instagram.com/thedaniellamartinez/www.instagram.com/grownuphustle/ Hosted on Acast. See acast.com/privacy for more information.

Welcome to Part 2 of Dave Duroucher's episode of the All My Friends Are Felons Podcast. Dave describes his childhood self as "Dennis the Mennis on steroids." He came from a solid home but by age 12, he started committing crimes which led him down the path of drug addiction and time behind bars. In prison, he became a shot caller for his gang, but eventually realized that his life was on a horrible trajectory. Through hard work and self-reform, Dave sought therapy and was able to turn his life around with the help of Delancey Street. Tune in to hear the rest of his incredible story of transformation and hope. Becoming the shot caller and an animal 1:40Cop chase and going back to prison for life 10:50Pleading for another path 14:50Treatment centers: “The size of the solution does not match the size of the problem” 20:00Dave's story is not unique and few understand the truth 35:05Therapeutic communities are working miracles 38:00Adderall 40:55Our understanding of the system is wrong 51:00Advice to help someone on a similar path 63:40The Other Side Academy 66:30Changing our prisons 72:00“Mark, listen to me when I say this. I was a liar, a cheater, a thief, a manipulator, a violent, self-centered, self seeking–I had become an animal in a human body. I had become an animal, and we live in a world today where we're like ‘*Gasp* You can't say that to people!' Why? Why can't we tell people the truth? It wasn't until I got to Delancey Street that my peers told me who I was that I was able to change. We are so deathly afraid to tell people the truth. I wouldn't be here today if people didn't point out who I had become. That is who I'd become!” 4:10

It's not often a person gets to experience euphoria. For years I imagined alcohol could do the job if I could just find the right brand but eventually I gave up on that. Sometimes in church I've felt it. When I was 11 I got to go to the top of the Empire State Building. I sang the Dead's “Attics of My Life” once with two women and got a little high from it. And one night before the Philharmonic I experienced it at the Bowery Ballroom on Delancey Street listening to Aoife O'Donovan and Hawktail and the phenom fiddler Brittany Haas and it made the big crowd go wild to see artists overcome gravity and simply float.Aoife and Messiaen, two transcendent tours on successive nights: it makes living in Manhattan worth the trouble and expense. You can eat expensive mediocre food in loud restaurants, almost get run over by e-scooters, deal with surly salesclerks, cabs stuck in dense traffic, extortionate rents, impenetrable bureaucracy, but the museums and trains and tulips in spring and the occasional transcendental experiences make up for it. Two nights of mind-blown beauty make me want to start my career all over again.Garrison Keillor Jason Keillor, Engineer Jason Keillor, Original Music This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit garrisonkeillor.substack.com/subscribeThis show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5893629/advertisement

“Born In A Trunk” She may have been born in the Bay Area, but Amy Irving might as well have been born in a theatre. Her father was the film and stage director Julius Irving and her mother was the actress Priscilla Pointer. And what happens when you have theatre parents? Well, you're in the theatre. A lot. And then you're on the stage. A lot. And then it's in your blood and there's no turning back. Amy Irving got her start on the stage at 9 months old and from there she never stopped. She studied at the London Academy of Music and Dramatic Art, landed in L.A. and almost immediately started landing role after role in movies and television. What movies and what television, you might be asking? Well, in the movies category she was in Carrie, Delancey Street, The Competition, Honeysuckle Rose and Yentil. She was also the singing voice of Jessica Rabbit in Who Framed Roger Rabbit? As for television, she was on Police Woman, Happy Days and Once An Eagle with Sam Elliott and Glenn Ford. And not only was she working regularly in those mediums, she was still a busy theatre actor, appearing in Amadeus, Romeo and Juliet, Blithe Spirit and The Glass Menagerie. Along the way she picked up an Oscar nomination, a few Golden Globe nominations and she won a Screen Actors Guild Award. Now this is all just a partial list, but the fact of the matter is, from the big screen to the small screen to the stage, Amy Irving has always been a very busy working actor. Which brings us to Born In A Trunk, which is Irving debut album. Produced by Goolis, Born In A Trunk is a ten-track collection of songs that are culled from her life and career. She covers numbers by Willie Nelson, Tom Waits and Death Cab For Cutie. And The result? Well, not only a compelling and riveting listen, but an album whose song cycle combines to tell the story of a life on the stage and a career in the arts. Why write a memoir when you can sing one, right? And, boy can Amy Irving sing. Her precision, her timbre, her effortless phrasing and her sheer musical poise make Born In A Trunk one of 2023's great surprises. Instagram: @amyirvingofficial www.stereoembersmagazine.com www.embersarts.com www.alexgreenonline.com www.bombshellradio.com Twitter: @emberseditor Instagram: @emberspodcast Email: editor@stereoembersmagazine.com

Dexter and Peanut help Deeter when his pet cat sister, Sushi, gets stuck in the tree by their apartment building. But how will they get her down?  See omnystudio.com/listener for privacy information.

Dexter and Peanut help Deeter when his pet cat sister, Sushi, gets stuck in the tree by their apartment building. But how will they get her down?  See omnystudio.com/listener for privacy information.

Meet Dave Durocher, a man who turned his life around after spending a total of 15 years in prison. Facing a potential 29-year sentence, he was given a chance to go to Delancey Street instead of prison. Not only did he complete his commitment, but he stayed for 8 years, became the Managing Director of Delancey's LA facility, and oversaw a 300% increase in revenue. Today, he's the Executive Director of The Other Side Academy in Salt Lake City, helping others learn life skills and become the kind of person he is today. Hear his inspiring story of redemption, hard work, and self-respect. Learn more about your ad choices. Visit megaphone.fm/adchoices

Ashok Bhalla has the top stories from the WCBS newsroom.

No better way to celebrate my 300th episode than to have my friend Dave Durocher drop some truth on us!  Dave was arrested for the first time at the age of 13. By the time he was 38, he had been to prison four times for a total of 15 years.  Dave shares the story of when he was given the chance to change his life, and how he could never have imagined what the future had in store for him.  He describes the power of whole person change and how that is what success really looks like.    When Dave was given the option to go to Delancey Street in Los Angeles, he was facing 29 years in prison. Dave was at Delancey Street for 8 years and became the Managing Director of their 250-person Los Angeles facility for the last 5 of those years. He is now devoting his life to creating a place where the most lost among us can come to learn about integrity, honesty, hard work, and self-respect.   Dave is one of the BEST I have ever met and I am honored to call him my friend.  This episode will be life-changing for you and your family. You are going to not only love him but realize that we can do anything if we just decide to do it!   … #TOSA #tedx #recovered #wholepersonhange #inspiration #wedorecovery #recovered #overcome #addiction #clean #sober #recovery #addictionrecovery #faith #mindset #mentalhealth #mentalhealthmatters #strong #love #light #beliefcast #toddinspires #tsinspires .... You can connect with Dave here: www.theothersideacademy.com https://www.facebook.com/david.durocher.71 http://ted.com/tedx   .......... Special thanks to our sponsors: Thread Wallets @thread_wallets Siegfried & Jensen @siegfriedandjensen Wasatch Recovery @wasatchrecovery Mountain West Spine & Orthopedics Music by Paul Cardall

Claw Money PMS is a world renowned graffiti writer and artist who has had an immense influence on the graffiti scene in New York and beyond. She has released a collaboration with Art Primo to pay homage to their shared history within graffiti, featuring mops hand-poured in Art Primo's Seattle warehouse and crewnecks painted and signed by Claw in her New York studio. Claw Money's roots within graffiti run deep, from her segment in "Infamy" where she is shown painting with a Miss 17, to her shop that graced Delancey Street for years, along with her decades supporting the scene and playing an active role of influence. We speak on her Art Primo collaboration, graffiti, NFT's, technological advancement, art and more. http://patreon.com/angelandzpodcasthttp://instagram.com/artprimohttp://artprimo.com

The agents discuss eating too much pie, ceremonies in LA, the Delancey Street Foundation

Dave Durocher is the executive director of The Other Side Academy (TOSA), a therapeutic community based in Salt Lake City, Utah. In this discussion Dave shares his history of drug addiction and crime that led him to serve over 15 years in prison before being accepted into Delancey Street (the therapeutic community that TOSA is modeled after). We also got into details about the innovative approach TOSA takes to teaching morality, sustaining itself financially, and providing a realistic path out of drug abuse and crime. In particular we delve into the practice of "The Games" at TOSA as a tool of learning accountability, trust, vulnerability and a way to let off steam. The Other Side Academy: https://www.theothersideacademy.com/ David Brooks on the Nuclear Family: https://www.theatlantic.com/magazine/archive/2020/03/the-nuclear-family-was-a-mistake/605536/ Delancey Street: http://delanceystreetfoundation.org/

Pie For EveryoneBy Petra “Petee” Paredez Intro: Welcome to the number one cookbook podcast, Cookery by the Book with Suzy Chase. She's just a home cook in New York city sitting at her dining room table, talking to cookbook authors.Petra Paredez: I am Petra Paredez and my cookbook is called Pie For Everyone, Recipes and Stories From Petee's Pie, New York's Best Pie Shop.Suzy Chase: If you liked this podcast, please be sure to tell a friend I'm always looking for new people to enjoy Cookery by the Book. Now on with the show. Pie is the secret of our strength as a nation and the foundation of our industrial supremacy. Pie is the American synonym of prosperity. Pie is the food of the heroic, no pie, eating people can be permanently vanquished. I thought you'd get a kick out of that cause that's out of, The New York Times in 1902.Petra Paredez: Oh amazing.Suzy Chase: Isn't that funny?Petra Paredez: Yeah. I mean, I'm a pie lover. I might not go that far, but I love it.Suzy Chase: Well I know you did a lot of research at the New York Public Library, right?Petra Paredez: It's actually something you can do online. They have a lot of menus available online. So you can look at all these big, beautiful menus PDFs of antique and vintage menus from, decades past from New York City and beyond and see what people were eating. One thing that pretty much all over those menus from past decades is pie for dessert and also pie for main meals as well. But when you check out the New York Public Library database, the menu database that's a really strong common thread in all of these menus.Suzy Chase: I've heard. It's amazing.Petra Paredez: It's so much fun to look at. I mean, if you just look up pie and then you see all of of these different tags for different menus and they're constantly being uploaded, just pies you've never heard of or fruits, you might not have heard of as well.Suzy Chase: So Americans really seem to think that pie is ours. The first known written recipe for Apple Pie dates back to an English cookbook published in 1381. Now, how is pie a culinary vehicle that can travel across millennia and seasons?Petra Paredez: I think to address that you kind of have to think about what makes the pie and what your definition of a pie is. If we think of it as a filling that is baked in a crust, there's so many different examples of that across cultures and across huge swaths of the human timeline. But, you know if it's some sort of grain crust and a filling, people have been making that for millennia way back to the Greeks, the Egyptians, and you can be a little loose with your definition. I mean, what people often cite as first pies sound to me an awful lot like cheesecake, um, maybe like a sheep's cheese in an ancient grain crust and that's part of why I think cheesecake is pie too, by the way,Suzy Chase: I was going to ask you that is cheesecake cake or pie. I think of it as cake.Petra Paredez: Some versions strike me much more as a cake-like dessert. And then some versions I think are more tart, like are or pie like in the sense that they have a much more clearly defined crust and then an egg and cheese based custard or filling that is baked inside of it. I think of cake is something more with leavener, and a crumb to it. Some cheesecakes have that. I like it fluffy, but not necessarily with a crumb, but yeah, I mean, I think pie in general is such like an amazing vehicle because you can kind of take whatever your spices and fruits or even savory elements that are part of your cultural cuisine and stuff 'em in a crust and bake them.Suzy Chase: I'm curious to hear about how you grew up in a pie business that your parents started in 1981. That was a long time ago.Petra Paredez: Yea. It's sounding farther and farther away. That's for sure. Yeah. My parents started their pie business sort of out of desperation. They had been farming for a while. Their small farm operation went under and they noticed that there was a dearth of good pies at the farmer's market. And my dad being the sort of analytical guy with strong opinions that, "Oh I can probably do that" not having been a professional baker in the past. He and my mom, they started making pies in their house and selling them at the farmer's market. And before they knew it, it was popular enough that they had to define themselves as a brand and a company. And they decided to call it Mom's Apple Pie Company, thinking that it sort of conveyed this sense of, I don't know, sort of like an Americana, some sort of, you know, wholesome family values, Mom and Apple Pie, but really, they were just like pretty destitute hippies without stable housing who didn't know what else to do. And, you know, my Dad was guided by his strong opinions of what a good pie should taste like and he was able to use that to guide him towards his goal of making those pies. And people responded really well. But I would say that my upbringing was quite different from, you know, my peers and that I, I knew exactly what my parents did for a living. They made pies. Every Thanksgiving I would take the week off of school and work alongside my parents at the bakery. And it wasn't that we were valuable workers when we were, you know, 8, 10, 14 it's more that they didn't have the time to take us to school. So they were doing a lot of, you know, all nighters and probably wasn't even safe for them to drive around at that point. And so we were alongside them, wrapping up pies, taking them to customers, doing all of the little odd jobs, but feeling very important about it too.Suzy Chase: Okay. So when you used to go to the restaurants, your dad would critique the crust of other pies.Petra Paredez: We still do it.Suzy Chase: Oh my gosh.Petra Paredez: Yeah. It's a really funny habit. I mean you know, it's one way of taking your work with you wherever you go. If you're a cook or a baker, um, you can't help, but observe these things. If you go out to eat at a restaurant, but he was pretty funny about it. His brow gets really furrowed and it looks super serious and he's like looking at the crust up close and feeling it with his fingers. It can be a little bit embarrassing except we're all kind of into it. So it's not that he's judgemental it's just that he gets puzzled because he knows how good pie can be, but you're just so much more often able to find mediocre pie than really excellent pie. So he's just wondering why put it on the menu if it's not going to be really great. And he's of course always looking for a super flaky crust and super juicy and flavorful filling. And for him, I think it comes down to like the quality of the fruit. He's super picky about those things. So those are all things that I took with me to, to my business when I started my own thing in New York City with my husband, just those super high standards and wanting to get local fruit that's in season, rather than just, you know, have everything available year round. You know, I'm looking for certain things that in my relationship with those farms and it's mostly just I'll take the ugly fruit as long as it's really nice and bright, rather than all the stuff that looks really good, but might not taste as good.Suzy Chase: Well, that leads us to your high pie standards and your five tenants of a good pie. Let's start with the crust. You say it should be flavorful and plastic fork tender.Petra Paredez: Yeah. That means that if you are eating it on a plate, you should be able to eat it with a plastic fork and have no problem getting right through the crust. Crust used to be more of a vehicle for the pie and a vessel for the pie, for the filling of the pie. But we don't have to carry pies on long journeys overseas or in a pocket or whatever we can just make a really good crust that we want to eat. I mean, to me, the best crust is butter crust. It should be tender and flaky, like so flaky that it shatters. That's what I'm going for.Suzy Chase: You have 7 types of pie crust in this cookbook. I didn't think there were seven types of pie crust.Petra Paredez: Yeah. I wanted it to be accessible to people with different diets. So most of the filling recipes are gluten free. So there's a gluten free crust option and there's a vegan option as well because all of the fruit pies with the exception of like one or two fillings, all of the fruit pies in there are also vegan. So when I say pie for everyone, I really do want it to be accessible for everybody. And I also think that while the butter crust works great with savory pies, it's definitely the most versatile crust out of all of them. It's nice to have a whole grain crust. Sometimes it makes it feel like a much heartier meal if you're having a whole wheat crust or a rye crust, for example, with a savory pie.Suzy Chase: So you touched on this just a little bit just now, but what should we be looking for in fruit?Petra Paredez: You just want to be the fullest expression of itself. So fruit at the height of its season is really what you should want or fruit that's been frozen at the height of its ripeness. You know, if you were to freeze fruit in the summer and use it in the winter, that's going to be so much better than buying that same fruit in the winter. If it's out of season where you live and what I want in a fruit filling is just for those natural flavors to be amplified. And if you just add sugar, you're not really going to amplify it. You have to add sweetness and acidity in good measures. Something that is missing often in fruit fillings is sufficient acidity. To me, lemon juice is always just the best, best source of acidity to add to a fruit pie.Suzy Chase: Talk a little bit about the historic precedence of spices in pies.Petra Paredez: Yeah, well, I've been noticing some pie filling choices that, you know, I might not always agree with. And I would have these like knee jerk reactions to spices with berries, for example, for some reason that never really, that idea never really appealed to me. And then I was reading, um, Amelia Simmons, I'm sure you're familiar with American Cookery, like the first American cookbook, right and I noticed that she is equally as opinionated as I am about this, and she advises cinnamon and mace other sort of warm spices to treat fruit like apples. But she says that every species of fruits such as plums, raspberries, blackberries may only be sweetened without spices. And I thought that was really interesting just to lay it down like a hard and fast rule. That's how I feel about it. I mean, ultimately to each her own but I liked that she laid that down so that I didn't have to.Suzy Chase: What should we be thinking about when making chess, nut and custard pies,Petra Paredez: Those pies are so heavily based on like nice fatty ingredients, like chess and nut pies are based on eggs, butter, and sugar. And then you have custard pies, which are based on a variety of dairy, usually like cream and milk and, and eggs and sugar. And so to balance out those flavors, I think that you need a nice amount of salt, but they also just need to be made out of really quality ingredients. So just really good butter. And I also think that nut pies, like in a pecan pie, for example, using something other than corn syrup, I know that it's a traditional ingredient and pecan pie, but it's also sort of a bizarre invented food that doesn't really exist in nature at all and it doesn't exist by any natural means. It's made by a sort of treating sort of a cornstarch slurry with enzymes that they get from bacteria and fungi. It's just all too weird for me. So I like to use a nice natural sweetener with more character than corn syrup. The only character that corn syrup has is his character that's added through vanilla or molasses. So if you like those things, then you might as well use sweeteners that have molasses in them naturally like a cane sugar and molasses or use use honey use maple syrup. Those things will add so much more depth and character to a nut pie.Suzy Chase: And last, what are the do's and don'ts with filling flavors,Petra Paredez: I've noticed a lot more sort of herbs being added to fruit pies and spices added to Berry pies and I think that sometimes those things might sound more appealing than the end result. I just think that you should let your palate be your guide rather than driving to make something unique or, or going for a sort of..what ends up being sort of a gimmick you know, a classic pie done right will always sort of beat a bizarre combination any day. And so don't combine things based on how they sound more based on how they might look aesthetically, think about how their flavors balance each other out and contribute to a more balanced filling of a nice amount of acidity and sweetness and touch of salt. Those are better considerations when you're putting together ideas for a filling.Suzy Chase: So how is your pie technique different from your Dad's?Petra Paredez: I learned so much from my Dad and I think his butter crust is phenomenal, but when I started making my pies here in New York City, I was making them with local ingredients and I found that I was learning little things along the way and modifying the crust recipe along the way in ways that suit my ingredients better. But ultimately the biggest change was I was just like adding more and more butter. I was seeing how, how far I could push it. So in the crust, I have even more butter and my butter that I get up here, I get mostly from Kriemhild Dairy, which is upstate and Ronnybrook Dairy also upstate. So I get super high fat content butter, and that makes the crust really excellent. For the longest time, my lemon chess and almond chess recipes didn't diverge from my Dad's at all and then I thought, maybe I can see if there's a way to have this nice chess pie texture with less sugar, because I know that the palate of people in New York city is a lot less inclined towards sweetness as compared to in Virginia. So that's one thing that I changed. It meant that I had to sort of add more egg yolk as an emulsifier and keep that filling nice and solid. But I was able to reduce sugar and let some of those other flavors come through in the chess pies and maintain that really lovely chess pie texture.Suzy Chase: Okay. Here's the hundred thousand dollar question. Okay. Here we go. What is your favorite pie?Petra Paredez: Oh gosh. Okay. I mean, I have two favorites for different occasions. Is that all right?Suzy Chase: I mean like today, like right now.Petra Paredez: I just actually, Coconut Custard I've loved since I was a kid and I just love coconut desserts. I always loved coconut desserts. My step-grandmother was from Thailand and I spent so much time with her when I was little and I ate so much coconut stuff with her. So you know going to my parent's bakery after spending the day with her I really liked Coconut Custard Pie. And that, to me, it's sort of an underdog. Although I think I talk about it enough that it's gotten more popular at our bakery over the years. And I think that the very best pie that we make is the Berry Dream Pie. Like that's the one that when people try it, it just consistently knocks their socks off. It's just a Berry explosion. It's so super fresh, super vibrant. Like the tartness is just like at that sort of maximum where it's still like really tasty and dessert, like, but it just really lights up your palate.Suzy Chase: I got the Coconut Custard over the weekend, which is my favorite kind of pie too. I love anything coconut.Petra Paredez: Yea, oh cool. Just the nice flan-like quality, my Dad, they make it with that more easy to find like angel flake type coconut which I love, I love that stuff, but it kind of tastes a little far removed from coconut now that I'm an adult. And so I like using unsweetened coconut cause then like unsweetened, organic coconut is in tinier pieces. It dries out a little more but it's a little easier to slice and more of that pure coconut flavor comes through.Suzy Chase: Now to my segment called Last Night's Dinner where I ask you what you had last night for dinner.Petra Paredez: So last night my husband makes the most amazing carnitas and they're so good. And we've realized lately that the only way our 2 year old will finish his dinner is if he's eating Mexican food. So now we have to just constantly have tortillas available, constantly have beans cooking. I'll do beans in the pressure cooker when I forget that I haven't made dinner yet I'll just do beans in the pressure cooker real quick. And so we'll just do tacos with carnitas and it's so good.Suzy Chase: Oh man. I'm with your son. I'll be right over tonight!Petra Paredez: Yea it's like Taco Tuesday every day now because they never get sick of it and it's not worth making a meal that my husband and I will enjoy and then like trying to feed it to the kids. And then your ego is shattered because you're like, everybody loves my cooking except you. So yeah, taco Tuesday every night.Suzy Chase: Where can we find you on the web social media and in New York City? So @peteespie on Instagram, if you are in New York City on the Lower East Side, we're on Delancey Street we've been there coming up on 6 years at Thanksgiving time. And we have a beautiful cafe in Clinton Hill on Myrtle Avenue in Brooklyn as well now.Suzy Chase: Well, this was so awesome. Thank you so much, Petra for coming on Cookery by the Book Podcast.Petra Paredez: Thank you so much, Suzy. I had a lot of funOutro: Subscribe over on CookerybytheBook.com and thanks for listening to the number one cookbook podcast, Cookery by the Book.

Today's guest is Aaron Ho, the founder of Sour Mouse NYC, which is a game hall nestled in the Lower East Side that seeks to build community for artists. Aaron is a full time professor and entrepreneur and values giving back to his community and making a positive difference. With a humble upbringing and being raised by supportive immigrant parents, Aaron explains his work ethic and love for helping others. His first business was Black Cat, which is an espresso bar in the Lower East Side. From the very beginning, Aaron has always had an interest in creating a space for people to come together. Sour Mouse aims to do the same. Aaron opens up about how this business idea started, the realities of being an entrepreneur and the honest struggles that comes with being a business owner, especially during these unprecedented times. It would be greatly appreciate it if you guys can follow @sourmousenyc on Instagram and support this local business whose main mission is to simply create a space where people can come together and have fun. If you are also in NYC, feel free to visit Sour Mouse at 100 Delancey Street. Operating hours: Monday - Friday, 4:00 pm - 12:00 midnight Saturday & Sunday, 3:00 pm - 12 midnight. Please also direct any questions, comments or feedback regarding this episode to thecityconfessions@gmail.com. --- Support this podcast: https://anchor.fm/thecityconfessions/support

Dave Durocher is the Executive Director of The Other Side Academy, a training school that saves lives by changing behavior. Before helping to launch The Other Side Academy, Dave was at Delancey Street for eight years where he rose to become the Managing Director of their 250-person Los Angeles facility.  Dave got into Delancey Street after a Judge gave him a chance to change his life when he was at the brink of a 29-year prison sentence. He first got arrested at age 13 and by the time he was 38, he had been to prison four times for a total of 15 years.  Today, Dave has moved on to the next chapter in his life. He's the Executive Director of The Other Side Academy in Salt Lake City. In this episode… Saving lives by changing behaviors isn’t impossible. However, it requires a lot of hardwork and dedication from the individual and from the support system who will help him get to where he wants to be. This positive shift is the expected outcome from the program of a two and a half year re-education facility. Their members are those with a long history of entanglement with the law; in fact, a lot of those who are working with this facility have been arrested over 25 times and would often be cast out as hopeless.  But The Other Side Academy is committed to transforming the lives of long term drug addicts who have records for a multitude of other crimes. It’s led by Dave Durocher, who himself got on the bad side of life and was given a chance to change things for the better and turn his entire life around. They not only turn these people’s lives around, they turn them from being inclined to criminal behavior to being productive members of society. The best part? They are doing it for free. does.  Join Dr. Jeremy Weisz on this episode of the Inspired Insider as he talks with Dave Durocher, the Executive Director at The Other Side Academy, about his powerful and inspiring story on how shifting your mindset can change your life. Dave shares his criminal past and journey to transformation with Dr. Weisz. They also discussed how Dave got into Delancey Street, his initial rejection and what being in the program meant for him, and how his life has changed since then. Stay tuned.

Dave Durocher was arrested for the first time at the age of thirteen. By the time he was 38, he had been to prison four times for a total of fifteen years. Dave was arrested yet again, and this time he was facing a twenty-nine-year prison sentence. In what the judge called “the chance of a lifetime” he afforded Dave the opportunity to go to Delancey Street instead of prison but reminded Dave in no uncertain terms that if he didn’t complete his commitment at Delancey Street he would be spending the rest of his life in prison.   Dave is tenacious, interpersonally skilled, a good manager, and an inspiring public speaker. He had helped countless others regain their dignity and their lives before he moved on to enjoy his own success as the person he had become.   Now Dave has moved on to the next chapter in his life as the Executive Director of The Other Side Academy, in Salt Lake City, a two-year Life Skills Academy similar to Delancey Street, where men and women can come to learn about honesty, accountability, integrity hard work, and self-respect. All the traits that will insulate them from a life like the one Dave had and enable them to become the kind of person Dave is today.   #TOSA #strong #confident #honest #integrity #accountability #choice #change #powerful #beliefcast #tsinspires

Because she was so great, I had to bring Mary Carouba back to talk about a subject I am inordinately interested in – prisons. Instead of dreaming of getting married or becoming a doctor or lawyer or famous artist, Mary spent her childhood scheming how to survive in prison! She was convinced she was headed there, and it was only the Delancey Street Foundation that saved her. Part of the philosophy at Delancey Street was to “Act as if” and Mary describes how she used this to completely change her outlook on life. This also helped when Mary took a Delancey Street initiative into prisons. She gives a fascinating glimpse into what daily life is like in prison, how gangs totally rule, how inmates are treated really badly, but also how successful the initiative has been in stopping violence and giving inmates some self-respect.

Equine animals have roamed the earth for over 40 million years. Homo sapiens, a scant 300 thousand.The image of power, pride, and soulfulness horses represent has deep meaning. They hold a unique place in our history, stories and myths. Yet, it has only been 6 thousand years since we began domesticating them. How they think and behave is still a legendary mystery to us. Most of us.Ginger Gaffney is a respected horse trainer, and the author of Half Broke: A Memoir. It’s the story of her time working with horses and residents at an alternative prison facility-- a New Mexico ranch run by the Delancey Street Foundation.Gaffney says she is shy: “I grew up an extreme introvert, and like many introverts, I felt an early comfort and kinship with animals. As far back as I can remember the language of movement has been my native language. Whether I am in a round pen or a crowded room, I’m scanning the intimacies of bodily movement.”Here, she tells the story of “the most dangerous horse situation I had ever encountered” and the chance at redemption the ranch embodies.The story of what the people and horses who find themselves at this ranch can achieve serves as a remarkable lesson of recovery.Gaffney was joined by former Delancey Street resident Ayla Jarvis.Ginger Gaffney and Ayla Jarvis spoke at the Seattle Public Library Central Library on February 25. Elliott Bay Book Company co-presented the event. KUOW’s Sonya Harris provided our recording.Please note: This recording contains brief language of an adult nature.

There have been many studies on the links between creative people and drug and alcohol abuse. And while many of these studies are somewhat outdated or inconclusive, the fact is that in the state of North Carolina, about 233,000 individuals aged 12 or older abuse illicit drugs each year. So, to help me unpack what abuse and recovery look like, particularly in the performing arts community, I reached out to Beau Clark. Beau, who attended the Cincinnati College-Conservatory of Music or CCM, was a member of this theater community and was last seen in NEXT TO NORMAL at North Raleigh Arts and Creative Theatre last year. Hear what he has to say on this episode of the RDU on Stage podcast about abuse, addiction, and his journey to the other side. About the Guest Beau Clark’s life prior to Delancey Street was a whirlwind of drugs, alcohol and reckless behavior. As a professional theater actor turned singer in a rock band – Beau found immediate and pervasive access to party culture and he took advantage of that access to an excessive degree. His selfish, manipulative and morally bankrupt lifestyle led him to homelessness, heroin addiction and complete reliance on others for even rudimentary survival. He sat on the bench at The Delancey Street Foundation’s New York facility a broken husk of a man, with no sense of personal responsibility, accountability or boundaries. After his graduation from Delancey Street in 2014, Beau remained intimately connected with both the organization and the people who taught him to live a life with character, honesty, and integrity. As a result, he has found success in both business and philanthropic tropes. Professionally, Beau became Service Coordinator for the prestigious “Faust Harrison Pianos” in New York City and was able to grow a small, mostly outsourced team into a profitable and renowned staff of piano technicians. Outside of work, he carried the Delancey Street philosophy of “A helps B, and A gets better” long after his graduation. He led the charge for A Doorway to Hope’s Angel Tree Project, coordinating Christmases for over 100 underprivileged children each year. Additionally, he volunteered regularly with the Food Bank, The Croton Falls Fire Department, Sonorous Road Theater, North Raleigh Arts Creative Theater, The Walkabout Chorus, Activate Good and Unchain Durham. Beau was happy with his life and assumed he would retire in the piano industry and continue volunteering his free time– until he learned of the magic happening in Salt Lake City. His love of the process he learned at Delancey Street led to a curious visit to The Other Side Academy. Over the course of that weekend, it became abundantly clear to Beau that this is where he belonged. Resources https://www.theothersideacademy.com/ (The Other Side Academy) http://www.delanceystreetfoundation.org/ (The Delancey Street Foundation) https://healing-transitions.org/ (Healing Transitions) https://www.llfnc.org/ (Lavare Leith Foundation) http://www.oxfordhousenc.org/ (Oxford House of North Carolina) http://www.aanc32.org/ (North Carolina Alcoholics Anonymous) https://www.fellowshiphall.com/ (Fellowship Hall) https://www.trosainc.org/ (TROSA) Connect with RDU on Stage Facebook – @rduonstage Twitter – @rduonstage Instagram – @rduonstage Web http://www.rduonstage.com/ (www.rduonstage.com) Support this podcast

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Hey listeners today we investigate the CULT that is Delancey Street Foundation, and we also give some Reddit advice. Thank you for your continued support!

Dave Durocher was arrested for the first time at the age of 13. By the time he was 38, he had been to prison four times for a total of 15 years. When he was given the option to go to Delancey Street in Los Angeles, he was facing 29 years in prison. Dave was at Delancey Street for 8 years and became the Managing Director of their 250 person Los Angeles facility for the last 5 of those years. He was able to double revenues in their Training School businesses while he was there and when he left, he had tripled their earnings from when he had taken over the facility. In 2015, Dave helped launch The Other Side Academy as its Managing Director in Salt Lake City, Utah.  Today he is devoting his life to create a place where the most lost among us can come to learn about integrity, honesty, hard work and self-respect and become the type of person Dave has become.  Dave is an avid baseball fan and loves the LA Angels.  He also loves collecting rare coins.  Dave is most passionate about helping others change their behaviors so they can change their life.  #davepower #homerun

GrandMixer DXT is an American musician. He was formerly known as Grand Mixer D.ST. "D.ST" is a reference to Manhattan, New York City's Delancey Street on the Lower East Side. He was featured in the influential hip hop film Wild Style.Widely recognized as a pioneer, Grand Mixer DXT is credited as being the first turntablist.[citation needed] He was the first person to establish the turntable as a fully performable and improvisational musical instrument (Alberts 2002).[full citation needed] Especially important is his technique of altering the pitch of the note or sound on the record.He is also credited with greatly helping to popularize DJing through his scratching on Herbie Hancock's single "Rockit" from the Bill Laswell and Material produced album Future Shock.[1][better source needed] He is featured in the 2001 documentary, Scratch "Turntablism to be Taught at Berklee College of Music". Synthtopia. March 1, 2004. Retrieved November 13, 2010.Jump up^ Hollis, Kim (March 1, 2002). "Scratch Movie Preview, Starring Afrika Bambaataa and Grand Mixer DXT, Directed by Doug Pray". Archived from the original on September 28, 2011. Retrieved November 13, 2010. Birth nameDerek ShowardAlso known asGrandMixer D.STOriginNew York City, New York, United StatesOccupation(s)Musician DJ, producerInstrumentsTurntables, Drums, Keyboards, Vocals, musical instrumentAssociated actsInfinity Squad aka iSquad, Herbie Hancock & The Rocket Band, Material, Praxis See acast.com/privacy for privacy and opt-out information.

This week on StoryWeb: Anzia Yezierska’s essay “America and I.” Every American has heard stories of Eastern European and Southern European immigration to the United States in the late nineteenth and early twentieth centuries. Indeed, I’m sure that many StoryWeb listeners are descended from those immigrants. The stories are legion, the images unforgettable. Without a doubt, every American needs to visit Ellis Island at least once. (If you’re going for the first time, plan to spend the entire day. There is so much to see, touch, feel, explore – and so many, many stories to hear as you listen to the headphones on your self-guided tour.) Likewise, everyone should make it a point to visit the Tenement Museum at 97 Orchard Street on the Lower East Side of Manhattan. This outstanding, award-winning museum was created when construction workers uncovered a boarded-up, untouched tenement building. The tenement was home to nearly 7,000 immigrants. Visitors to the museum tour the four apartments, each telling the story of a different family who actually lived in the building. Neighborhood walking tours and “Tenement Talks” are also available. Another source for learning the powerful history of immigration, tenements, and sweatshops is Ric Burns’s series New York: A Documentary Film. You’ll find episodes 3 and 4 especially relevant. All of these resources are great ways to learn about immigration, but this week I want to pay homage to one particular immigrant: writer Anzia Yezierska, who hailed from Russian Poland. Yezierska immigrated with her Jewish family to the United States in the early 1890s. Her 1923 essay, “American and I,” tells the story of her struggle to move beyond working as a domestic servant and as a shirtwaist maker in sweatshops to working with her “head.” When she goes to a vocational counselor, she is told that she should become the best shirtwaist maker she can be and slowly rise from job to job. But she counters with, “I want to do something with my head, my feelings. All day long, only with my hands I work.” Yezierska feels she is “different,” that she has more to offer. Ultimately, Yezierska was able to work with her head, her feelings. She mastered the English language and began to write novels, short stories, and autobiographical essays. As works like “America and I” demonstrate, she wrote in a dialect of Yiddish-flavored English. We hear the Polish immigrant: she comes through on the page. Like many others, I have often bemoaned the plight of the immigrants who flooded through Ellis Island, crowded into the tenements of the Lower East Side, and toiled in sweatshops like the Triangle Shirtwaist Factory (the site of the worst industrial accident in American history). How wretched their lives must have been, I have thought more than once. But a dear friend who is descended from Italian immigrants to New York tells me that he thinks the immigrants were quite successful. In just two generations, his family moved out of the Lower East Side to Little Italy in the Bronx and then to White Plains, New York. Their great-grandson is now a professor at a liberal arts college in New York City. Such rapid success is, to my friend, mind-boggling! If you want to hear firsthand what the journey was like for one immigrant, be sure to read Anzia Yezierska’s essay “America and I.” You can read the short essay online – or buy the collection, How I Found America, which includes the essay. If you’re ready to read more of Yezierska’s writing, you’ll definitely want to check out her 1925 novel, The Bread Givers, widely considered to be her masterpiece. You might also want to explore a bit of Yezierska’s biography. She ended up earning a scholarship to Columbia University and was later involved in a romantic relationship with Columbia professor John Dewey. You can read about their relationship in Love in the Promised Land: The Story of Anzia Yezierska and John Dewey. Yezierska’s only child, Louise Levitas Henriksen, wrote a biography of her mother, Anzia Yezierska: A Writer’s Life. In From Hester Street to Hollywood: The Life and Work of Anzia Yezierska, biographer Bettina Berch looks at Yezierska’s written works as well as her work as a screenwriter for Hollywood. An excellent student paper, “Anzia Yezierska: Being Jewish, Female, and New in America,” Is a great (and short!) introduction to Yezierska and her work. Other useful overviews of Yezierska and her work can be found at Jewish Women’s Archive and My Jewish Learning. Visit thestoryweb.com/yezierska for links to all these resources. Listen now as I read Anzia Yezierska’s essay “America and I” in its entirety.   As one of the dumb, voiceless ones I speak. One of the millions of immigrants beating, beating out their hearts at your gates for a breath of understanding. Ach! America! From the other end of the earth from where I came, America was a land of living hope, woven of dreams, aflame with longing and desire. Choked for ages in the airless oppression of Russia, the Promised Land rose up—wings for my stifled spirit— sunlight burning through my darkness—freedom singing to me in my prison—deathless songs tuning prison-bars into strings of a beautiful violin. I arrived in America. My young, strong body, my heart and soul pregnant with the unlived lives of generations clamoring for expression. What my mother and father and their mother and father never had a chance to give out in Russia, I would give out in America. The hidden sap of centuries would find release; colors that never saw light—songs that died unvoiced—romance that never had a chance to blossom in the black life of the Old World. In the golden land of flowing opportunity I was to find my work that was denied me in the sterile village of my forefathers. Here I was to be free from the dead drudgery for bread that held me down in Russia. For the first time in America, I’d cease to be a slave of the belly. I’d be a creator, a giver, a human being! My work would be the living job of fullest self-expression. But from my high visions, my golden hopes, I had to put my feet down on earth. I had to have food and shelter. I had to have the money to pay for it. I was in America, among the Americans, but not of them. No speech, no common language, no way to win a smile of understanding from them, only my young, strong body and my untried faith. Only my eager, empty hands, and my full heart shining from my eyes! God from the world! Here I was with so much richness in me, but my mind was not wanted without the language. And my body, unskilled, untrained, was not even wanted in the factory. Only one of two chances was left open to me: the kitchen, or minding babies. My first job was as a servant in an Americanized family. Once, long ago, they came from the same village from where I came. But they were so well-dressed, so well-fed, so successful in America, that they were ashamed to remember their mother tongue. “What were to be my wages?” I ventured timidly, as I looked up to the well-fed, well-dressed “American” man and woman. They looked at me with a sudden coldness. What have I said to draw away from me their warmth? Was it so low for me to talk of wages? I shrank back into myself like a low-down bargainer. Maybe they’re so high up in well-being they can’t any more understand my low thoughts for money. From his rich height the man preached down to me that I must not be so grabbing for wages. Only just landed from the ship and already thinking about money when I should be thankful to associate with “Americans.” The woman, out of her smooth, smiling fatness assured me that this was my chance for a summer vacation in the country with her two lovely children. My great chance to learn to be a civilized being, to become an American by living with them. So, made to feel that I was in the hands of American friends, invited to share with them their home, their plenty, their happiness, I pushed out from my head the worry for wages. Here was my first chance to begin my life in the sunshine, after my long darkness. My laugh was all over my face as I said to them: “I’ll trust myself to you. What I’m worth you’ll give me.” And I entered their house like a child by the hand. The best of me I gave them. Their house cares were my house cares. I got up early. I worked till late. All that my soul hungered to give I put into the passion with which I scrubbed floors, scoured pots, and washed clothes. I was so grateful to mingle with the American people, to hear the music of the American language, that I never knew tiredness. There was such a freshness in my brains and such a willingness in my heart I could go on and on—not only with the work of the house, but work with my head—learning new words from the children, the grocer, the butcher, the iceman. I was not even afraid to ask for words from the policeman on the street. And every new word made me see new American things with American eyes. I felt like a Columbus, finding new worlds through every new word. But words alone were only for the inside of me. The outside of me still branded me for a steerage immigrant. I had to have clothes to forget myself that I’m a stranger yet. And so I had to have money to buy these clothes. The month was up. I was so happy! Now I’d have money. My own, earned money. Money to buy a new shirt on my back—shoes on my feet. Maybe yet an American dress and hat! Ach! How high rose my dreams! How plainly I saw all that I would do with my visionary wages shining like a light over my head! In my imagination I already walked in my new American clothes. How beautiful I looked as I saw myself like a picture before my eyes! I saw how I would throw away my immigrant rags tied up in my immigrant shawl. With money to buy—free money in my hands—I’d show them that I could look like an American in a day. Like a prisoner in his last night in prison, counting the seconds that will free him from his chains, I trembled breathlessly for the minute I’d get the wages in my hand. Before dawn I rose. I shined up the house like a jewel-box. I prepared breakfast and waited with my heart in my mouth for my lady and gentleman to rise. At last I heard them stirring. My eyes were jumping out of my head to them when I saw them coming in and seating themselves by the table. Like a hungry cat rubbing up to its boss for meat, so I edged and simpered around them as I passed them the food. Without my will, like a beggar, my hand reached out to them. The breakfast was over. And no word yet from my wages. “Gottuniu!” I thought to myself. “Maybe they’re so busy with their own things, they forgot it’s the day for my wages. Could they who have everything know what I was to do with my first American dollars? How could they, soaking in plenty, how could they feel the longing and the fierce hunger in me, pressing up through each visionary dollar? How could they know the gnawing ache of my avid fingers for the feel of my own, earned dollars? My dollars that I could spend like a free person. My dollars that would make me feel with everybody alike!” Lunch came. Lunch passed. Oi-i weh! Not a word yet about my money. It was near dinner. And not a word yet about my wages. I began to set the table. But my head—it swam away from me. I broke a glass. The silver dropped from my nervous fingers. I couldn’t stand it any longer. I dropped everything and rushed over to my American lady and gentleman. “Oi weh! The money—my money—my wages!” I cried breathlessly. Four cold eyes turned on me. “Wages? Money?” The four eyes turned into hard stone as they looked me up and down. “Haven’t you a comfortable bed to sleep, and three good meals a day? You’re only a month here. Just came to America. And you already think about money. Wait till you’re worth any money. What use are you without knowing English? You should be glad we keep you here. It’s like a vacation for you. Other girls pay money yet to be in the country.” It went black for my eyes. I was so choked no words came to my lips. Even the tears went dry in my throat. I left. Not a dollar for all my work. For a long, long time my heart ached and ached like a sore wound. If murderers would have robbed me and killed me it wouldn’t have hurt me so much. I couldn’t think through my pain. The minute I’d see before me how they looked at me, the words they said to me—then everything began to bleed in me. And I was helpless. For a long, long time the thought of ever working in an “American” family made me tremble with fear, like the fear of wild wolves. No—never again would I trust myself to an “American” family, no matter how fine their language and how sweet their smile. It was blotted out in me all trust in friendship from “Americans.” But the life in me still burned to live. The hope in me still craved to hope. In darkness, in dirt, in hunger and want, but only to live on! There had been no end to my day—working for the “American” family. Now rejecting false friendships from higher-ups in America, I turned back to the Ghetto. I worked on a hard bench with my own kind on either side of me. I knew before I began what my wages were to be. I knew what my hours were to be. And I knew the feeling of the end of the day. From the outside my second job seemed worse than the first. It was in a sweatshop of a Delancey Street basement, kept up by an old, wrinkled woman that looked like a black witch of greed. My work was sewing on buttons. While the morning was still dark I walked into a dark basement. And darkness met me when I turned out of the basement.     Day after day, week after week, all the contact I got with America was handling dead buttons. The money I earned was hardly enough to pay for bread and rent. I didn’t have a room to myself. I didn’t even have a bed. I slept on a mattress on the floor in a rat-hole of a room occupied by a dozen other immigrants. I was always hungry—oh, so hungry! The scant meals I could afford only sharpened my appetite for real food. But I felt myself better off than working in the “American” family where I had three good meals a day and a bed to myself. With all the hunger and darkness of the sweat-shop, I had at least the evening to myself. And all night was mine. When all were asleep, I used to creep up on the roof of the tenement and talk out my heart in silence to the stars in the sky. “Who am I? What am I? What do I want with my life? Where is America? Is there an America? What is this wilderness in which I’m lost?” I’d hurl my questions and then think and think. And I could not tear it out of me, the feeling that America must be somewhere, somehow—only I couldn’t find it—my America, where I would work for love and not for a living. I was like a thing following blindly after something far off in the dark! “Oi weh.” I’d stretch out my hand up in the air. “My head is so lost in America. What’s the use of all my working if I’m not in it? Dead buttons is not me.” Then the busy season started in the shop. The mounds of buttons grew and grew. The long day stretched out longer. I had to begin with the buttons earlier and stay with them till later in the night. The old witch turned into a huge greedy maw for wanting more and more buttons. For a glass of tea, for a slice of herring over black bread, she would buy us up to stay another and another hour, till there seemed no end to her demands. One day, the light of self-assertion broke into my cellar darkness. “I don’t want the tea. I don’t want your herring,” I said with terrible boldness “I only want to go home. I only want the evening to myself!” “You fresh mouth, you!” cried the old witch. “You learned already too much in America. I want no clockwatchers in my shop. Out you go!” I was driven out to cold and hunger. I could no longer pay for my mattress on the floor. I no longer could buy the bite in my mouth. I walked the streets. I knew what it is to be alone in a strange city, among strangers. But I laughed through my tears. So I learned too much already in America because I wanted the whole evening to myself? Well America has yet to teach me still more: how to get not only the whole evening to myself, but a whole day a week like the American workers. That sweat-shop was a bitter memory but a good school. It fitted me for a regular factory. I could walk in boldly and say I could work at something, even if it was only sewing on buttons. Gradually, I became a trained worker. I worked in a light, airy factory, only eight hours a day. My boss was no longer a sweater and a blood-squeezer. The first freshness of the morning was mine. And the whole evening was mine. All day Sunday was mine. Now I had better food to eat. I slept on a better bed. Now, I even looked dressed up like the American-born. But inside of me I knew that I was not yet an American. I choked with longing when I met an American-born, and I could say nothing. Something cried dumb in me. I couldn’t help it. I didn’t know what it was I wanted. I only knew I wanted. I wanted. Like the hunger in the heart that never gets food. An English class for foreigners started in our factory. The teacher had such a good, friendly face, her eyes looked so understanding, as if she could see right into my heart. So I went to her one day for an advice: “I don’t know what is with me the matter,” I began. “I have no rest in me. I never yet done what I want.” “What is it you want to do, child?” she asked me. “I want to do something with my head, my feelings. All day long, only with my hands I work.” “First you must learn English.” She patted me as if I was not yet grown up. “Put your mind on that, and then we’ll see.” So for a time I learned the language. I could almost begin to think with English words in my head. But in my heart the emptiness still hurt. I burned to give, to give something, to do something, to be something. The dead work with my hands was killing me. My work left only hard stones on my heart. Again I went to our factory teacher and cried out to her: “I know already to read and write the English language, but I can’t put it into words what I want. What is it in me so different that can’t come out?” She smiled at me down from her calmness as if I were a little bit out of my head. “What do you want to do?” “I feel. I see. I hear. And I want to think it out. But I’m like dumb in me. I only know I’m different— different from everybody.” She looked at me close and said nothing for a minute. “You ought to join one of the social clubs of the Women’s Association,” she advised. “What’s the Women’s Association?” I implored greedily. “A group of American women who are trying to help the working-girl find herself. They have a special department for immigrant girls like you.” I joined the Women’s Association. On my first evening there they announced a lecture: “The Happy Worker and His Work,” by the Welfare director of the United Mills Corporation. “Is there such a thing as a happy worker at his work?” I wondered. Happiness is only by working at what you love. And what poor girl can ever find it to work at what she loves? My old dreams about my America rushed through my mind. Once I thought that in America everybody works for love. Nobody has to worry for a living. Maybe this welfare man came to show me the real America that till now I sought in vain. With a lot of polite words the head lady of the Women’s Association introduced a higher-up that looked like the king of kings of business. Never before in my life did I ever see a man with such a sureness in his step, such power in his face, such friendly positiveness in his eye as when he smiled upon us. “Efficiency is the new religion of business,” he began. “In big business houses, even in up-to-date factories, they no longer take the first comer and give him any job that happens to stand empty. Efficiency begins at the employment office. Experts are hired for the one purpose, to find out how best to fit the worker to his work. It’s economy for the boss to make the worker happy.” And then he talked a lot more on efficiency in educated language that was over my head. I didn’t know exactly what it meant—efficiency—but if it was to make the worker happy at his work, then that’s what I had been looking for since I came to America. I only felt from watching him that he was happy by his job. And as I looked on the clean, well-dressed, successful one, who wasn’t ashamed to say he rose from an office-boy, it made me feel that I, too, could lift myself up for a person. He finished his lecture, telling us about the Vocational-Guidance Center that the Women’s Association started. The very next evening I was at the Vocational Guidance Center. There I found a young, college-looking woman. Smartness and health shining from her eyes! She, too, looked as if she knew her way in America. I could tell at the first glance: here is a person that is happy by what she does. “I feel you’ll understand me,” I said right away. She leaned over with pleasure in her face: “I hope I can.” “I want to work by what’s in me. Only, I don’t know what’s in me. I only feel I’m different.” She gave me a quick, puzzled look from the corner of her eyes. “What are you doing now?” “I’m the quickest shirtwaist hand on the floor. But my heart wastes away by such work. I think and think, and my thoughts can’t come out.” “Why don’t you think out your thoughts in shirtwaists? You could learn to be a designer. Earn more money.” “I don’t want to look on waists. If my hands are sick from waists, how could my head learn to put beauty into them?” “But you must earn your living at what you know, and rise slowly from job to job.” I looked at her office sign: “Vocational Guidance.” “What’s your vocational guidance?” I asked. “How to rise from job to job—how to earn more money?” The smile went out from her eyes. But she tried to be kind yet. “What do you want?” she asked, with a sigh of last patience. “I want America to want me.” She fell back in her chair, thunderstruck with my boldness. But yet, in a low voice of educated self-control, she tried to reason with me: “You have to show that you have something special for America before America has need of you.” “But I never had a chance to find out what’s in me, because I always had to work for a living. Only, I feel it’s efficiency for America to find out what’s in me so different, so I could give it out by my work.” Her eyes half closed as they bored through me. Her mouth opened to speak, but no words came from her lips. So I flamed up with all that was choking in me like a house on fire: “America gives free bread and rent to criminals in prison. They got grand houses with sunshine, fresh air, doctors and teachers, even for the crazy ones. Why don’t they have free boarding-schools for immigrants—strong people— willing people? Here you see us burning up with something different, and America turns her head away from us.” Her brows lifted and dropped down. She shrugged her shoulders away from me with the look of pity we give to cripples and hopeless lunatics. “America is no Utopia. First you must become efficient in earning a living before you can indulge in your poetic dreams.” I went away from the vocational guidance office with all the air out of my lungs. All the light out of my eyes. My feet dragged after me like dead wood. Till now there had always lingered a rosy veil of hope over my emptiness, a hope that a miracle would happen. I would open up my eyes some day and suddenly find the America of my dreams. As a young girl hungry for love sees always before her eyes the picture of lover’s arms around her, so I saw always in my heart the vision of Utopian America. But now I felt that the America of my dreams never was and never could be. Reality had hit me on the head as with a club. I felt that the America that I sought was nothing but a shadow—an echo—a chimera of lunatics and crazy immigrants.     Stripped of all illusion, I looked about me. The long desert of wasting days of drudgery stared me in the face. The drudgery that I had lived through, and the endless drudgery still ahead of me rose over me like a withering wilderness of sand. In vain were all my cryings, in vain were all frantic efforts of my spirit to find the living waters of understanding for my perishing lips. Sand, sand was everywhere. With every seeking, every reaching out I only lost myself deeper and deeper in a vast sea of sand. I knew now the American language. And I knew now, if I talked to the Americans from morning till night, they could not understand what the Russian soul of me wanted. They could not understand me any more than if I talked to them in Chinese. Between my soul and the American soul were worlds of difference that no words could bridge over. What was that difference? What made the Americans so far apart from me? I began to read the American history. I found from the first pages that America started with a band of Courageous Pilgrims. They had left their native country as I had left mine. They had crossed an unknown ocean and landed in an unknown country, as I. But the great difference between the first Pilgrims and me was that they expected to make America, build America, create their own world of liberty. I wanted to find it ready made. I read on. I delved deeper down into the American history. I saw how the Pilgrim Fathers came to a rocky desert country, surrounded by Indian savages on all sides. But undaunted, they pressed on—through danger— through famine, pestilence, and want—they pressed on. They did not ask the Indians for sympathy, for understanding. They made no demands on anybody, but on their own indomitable spirit of persistence. And I—I was forever begging a crumb of sympathy, a gleam of understanding from strangers who could not understand. I, when I encountered a few savage Indian scalpers, like the old witch of the sweat-shop, like my “Americanized” countryman, who cheated me of my wages—I, when I found myself on the lonely, untrodden path through which all seekers of the new world must pass, I lost heart and said: “There is no America!” Then came a light—a great revelation! I saw America—a big idea—a deathless hope—a world still in the making. I saw that it was the glory of America that it was not yet finished. And I, the last comer, had her share to give, small or great, to the making of America, like those Pilgrims who came in the Mayflower. Fired up by this revealing light, I began to build a bridge of understanding between the American-born and myself. Since their life was shut out from such as me, I began to open up my life and the lives of my people to them. And life draws life. In only writing about the Ghetto I found America. Great chances have come to me. But in my heart is always a deep sadness. I feel like a man who is sitting down to a secret table of plenty, while his near ones and dear ones are perishing before his eyes. My very joy in doing the work I love hurts me like secret guilt, because all about me I see so many with my longings, my burning eagerness, to do and to be, wasting their days in drudgery they hate, merely to buy bread and pay rent. And America is losing all that richness of the soul. The Americans of tomorrow, the America that is every day nearer coming to be, will be too wise, too open-hearted, too friendly-handed, to let the least lastcomer at their gates knock in vain with his gifts unwanted.  

Hablamos hoy del proyecto The Low Line, que pretende en Delancey Street, en el Lower East Side neoyorkino, convertir una abandonada estación subterránea de tranvía en el primer parque subterráneo con vegetación sostenida gracias al sistema de iluminación solar remota o "Remote skylights". https://vimeo.com/112530890 Métodos de contacto: email: unminutoennuevayork@gmail.com Web: http://un-minuto-en-nueva-york.tumblr.com/ Facebook: https://www.facebook.com/unminutoennuevayorkpodcast Twitter: @unminutoenNY Instagram: @unminutoennuevayork

Hablamos hoy del proyecto The Low Line, que pretende en Delancey Street, en el Lower East Side neoyorkino, convertir una abandonada estación subterránea de tranvía en el primer parque subterráneo con vegetación sostenida gracias al sistema de iluminación solar remota o "Remote skylights".https://vimeo.com/112530890Métodos de contacto:email: unminutoennuevayork@gmail.comWeb: http://un-minuto-en-nueva-york.tumblr.com/ Facebook: https://www.facebook.com/unminutoennuevayorkpodcastTwitter: @unminutoenNY Instagram: @unminutoennuevayork

September 3, 2015 - Read the full Forbes article and watch the interview here: http://onforb.es/1JCaiNj. Subscribe to this podcast on iTunes by clicking here: http://bit.ly/ymotwitunes or on Stitcher by clicking here: http://bit.ly/ymotwstitcher. Tim Stay, one of Utah’s leading tech entrepreneurs and executives, recently launched a new venture with successful entrepreneur Joseph Grenny. They’ve chosen several ex-convicts to run the new business, The Other Side Academy. [Jump to page 2 to watch the live interview.] This may not be such an odd choice. You see, the new venture, modeled closely on Delancey Street Foundation, is a nonprofit that will work to really rehabilitate convicts. Stay explained to me recently that our prisons “provide criminals with a masters degree in criminology” rather than rehabilitating them.” He elaborates, “The problem is that there is a portion of the criminal population that doesn’t get better by doing time. Many of them are repeat offenders, spending their lives in and out of jail and prison. They usually have substance abuse problems and many times find themselves unable to secure or keep a job and eventually wind up on the streets, being involved in criminal activity, and going back to jail. And this cycle continues at great expense to taxpayers. These people are living lives of increasingly destructive behaviors to themselves, to their families, and to society.” He says that TOSA, as everyone involved in The Other Side Academy quickly abbreviates, will “provide a two-year live-in educational program for ex-convicts, drug abusers, homeless and others that have hit rock bottom that teaches our participants how to live successful, productive lives free from crime and substance abuse.” Dave Durocher, TOSA’s managing director, explains further, “Our mission is to address the issues of drug addiction and criminality and improve the dismal record of the rehabilitative community when it comes to addressing the issues of relapse and recitivism. We belive that a long term “theraputic community” approach is what works best. While there are mixed and often conflicting statistics in this regard we know from first hand experience that it can work.” Durocher and his colleagues Alan Fahringer and Lola Zagey, know first hand, “We know this because [we] have over 25 combined years residing in arguably the most successful theraputic community in the world, Delancey Street, which is the model we are replicating with a few twists that we believe can make The Other Side Academy even more successful.” Please consider whether a friend or colleague might benefit from this piece and, if so, share it. Please consider whether a friend or colleague might benefit from this piece and, if so, share it.

This week on A Taste of the Past, host Linda Pelaccio is delving into some delicious food memories, using theJewish cuisine on Delancey Street in New York City, as a guide. Welcoming Aaron Rezny, Jordan Schaps, Arthur Schwartz and Cara De Silva to the show, they are the authors and contributors to the book “Eating Delancey: A Celebration of Jewish Food.” Delancey Street conjures up an entire world of Yiddishkeit, or, “the quality of being Jewish; the Jewish way of life or its customs and practices.” Delancey, and the streets that cross it in the Lower East Side—Ludlow, Essex, Orchard, Rivington, and its “sister” street to the north, Houston Street—are the historical home of Jewish immigrants and thus a cradle of that unique Jewish experience. The group discusses how all the foods that were brought to America in the early 20th century by Jews during the great emigration from Europe came to the Lower East Side: knishes, bagels, lox, pastrami, whitefish, dill pickles, kasha, herring, egg creams, and much more. It is an area that continues to undergo rapid change but Eating Delancey hopes to capture forever the Jewish cuisine of the Lower East Side. Tune in to hear the book’s background details by those who know it best. This is a wonderfully informative and lively show! This program was brought to you by Whole Foods Market. “Food is about the most powerful identity market that there is.” [16:50] —Cara De Silva on A Taste of the Past “My favorite memory of Ratner’s is seeing a table of six nuns!” [28:25] —Jordan Schaps on A Taste of the Past

Sunday morning sees the award winning Indian film ‘Fire in The Blood’ at Bolivar Hall, near Warren Street; Camden Arts Centre has ‘Call and Response’, paintings based on the Harlem Six, the first exhibition in a UK gallery of the celebrated American artist Glenn Ligon; National go online week offers session at Camden and Queen’s Crescent Libraries; Have your say spending cuts at St Pancras Community Centre on Wednesday, from 6.30pm; Cooking Session for 14 to 19 year olds at Maiden Lane Youth Club; Forge in Delancey Street is joining forces with the magazine ‘The Girls Are’ to present a weekend of top female musical talent Friday 17th to Sunday 19th Read by: Ann Carroll; Freddy Chick, Joe Hughes; Marian Larragy & Mel Williams Script By: Ann Carroll Recorded & Edited: Marian Larragy Fire In The Blood & Cricklewood Craic :: Camden Arts Centre :: Public Meeting on Cuts to Camden Budget :: Maiden Lane Young People :: Learn My Way :: Get Online Week :: Where The Girls Are :: Back to Camden Community Radio :: Follow Camden Community Radio on Twitter :: File Download (5:58 min / 6 MB)