Podcasts about East Village

The filmmaker Amos Poe was a guest on the podcast on two memorable occasions. The first time we sat was in a podcast studio in the East Village; Episode 385 in the Fall of 2016. For Amos’ second appearance, we sat in the downstairs lobby of the Roxy Hotel in Tribeca outside the screening room; that was Episode 520 in the Fall of 2018. Poe was a major influence in the underground filmmaking scene of Downtown NYC —aka the No Wave movement— beginning in the mid-1970’s. Of that community, which included folks like Jim Jarmusch, Bette Gordon and Eric Mitchell among others, Poe was often credited as being the first to pick up a camera. He would go on to make such films as “The Blank Generation” and “Unmade Beds”. I had heard he was ill for the past bunch of years and had reached out to him about returning, but he understandably had more important things to do with his time. He passed away on Christmas Day after a prolonged battle with cancer and is survived by his wife Claudia Summers and daughter Lisa Poe.

Frank Kabatas came to the U.S. in the late 90s, and his first experience with New York style pizza was as a delivery guy for East Village Pizza. He eventually moved to the West Side, working for a different pizzeria, then eventually returned to the East Side, when he bought the business in 2003. It wasn't easy. Kabatas had to learn English, and figure out how to stay afloat in a very competitive environment, but now more than 20 years on, his business is thriving. Note: this is the FINAL show of 2025 and for our podcast. I've decided after seven years, we've covered pretty much all there is to say about pizza right now. I hope you've enjoyed this run, we sure have.

Pam from Paterson, NJ, called Curtis to mention that she and he have something in common when it comes to cats, specifically, in relation to WOR's competitor further down the dial. Stewart from the East Village called in to tell Curtis that it's a shame there isn't a shot Mayor-Elect Zohran Mamdani could take to cure him of his anti-Semitic views.

Pam from Paterson, NJ, called Curtis to mention that she and he have something in common when it comes to cats, specifically, in relation to WOR's competitor further down the dial. Stewart from the East Village called in to tell Curtis that it's a shame there isn't a shot Mayor-Elect Zohran Mamdani could take to cure him of his anti-Semitic views.See omnystudio.com/listener for privacy information.

Pope Leo XIV has named Joliet, Illinois Bishop Ron Hicks to replace Archbishop Timothy Dolan at the Archdiocese of New York. Plus, a long lost piece of music and its unlikely journey to an East Village record store.

Beacon filmmaker chronicles origins of raucous crawl Sitting in an East Village watering hole around the holidays several years ago, Seth Porges and his friend, Scott Beale, began talking about Santacon, the international bar crawl where men and women dress in Santa suits and related holiday apparel. It often gets a bad rap for the "Santanic" mayhem that happens every December when crowds collide with too much alcohol. "I figured it began with some drunken frat boys," says Porges, a filmmaker who moved to Beacon in 2016. "But Scott tells me, no, he and his friends started it in the mid-1990s, and he had the videotapes." Porges says he thought it sounded like "the stupidest thing in the world," but he discovered that the footage was "like the Zapruder tape - if it had no meaning or bearing in history." In his new documentary, Santacon, which premiered in November at the NYC DOC festival, Porges stays classy by covering the obligatory shots of fighting, puking and public urination by people in Santa suits with concision and hilarity via sensationalist TV news clips. Then he lets an amazing story breathe by lingering on the extensive video documentation of the founders' first Santacons, which took place in four cities during the mid-1990s, including the alleged theft of a mall stanchion's velvet rope at the initial event that tarnished the concept. As the U.S. became more homogenized and corporatized after the greedy 1980s, a group of weirdos in San Francisco created the Cacophony Society, which devised outlandish ideas and sometimes acted them out. In one incendiary incident that teetered toward performance art, they mocked PETA by throwing pig heads and chicken guts into the crowd during a staged parade. The group spread to other cities without any organizational structure, but the San Francisco chapter published a zine, Roughdraft. "Reading through old copies, you'd see little items and go, 'Whoa, that's the original idea for Burning Man, or that's the one for Santacon,' " says Porges. Burning Man became a commercial venture disavowed almost immediately by Cacophony. Santacon blew up into something they never intended to control or copyright, a decentralized phenomenon that benefits bars, restaurants and clothing stores. It began after Rob Schmitt, a member of the Cacophony Society, saw a postcard of Santas playing pool and said, "We should do this." A prescient post in the December 1994 issue of Roughdraft reads: "Imagine a bunch of cheap-suit Santas singing bawdy carols, staggering drunk, fighting in the street, mooning cable cars and other such mischief." On Dec. 20 of that year, participants paid $35 for a Santa costume and a seat on the "specially decorated" bus. BYOB and "don't forget the elf-throwing contest." Handheld camcorders captured the bewildered faces of bystanders as the Santas invaded a mall and a high-end restaurant. The cops clamped down during the second go-round, so Cacophony moved it from San Francisco to Portland, where the police shadowed them and warned against entering Macy's. One scene in the film shows the fat red line deciding not to mess with the thin blue line. The footage felt like "unlocking the Rosetta Stone for this underground movement that led to things like Jackass and The Rehearsal," says Porges. "They invented the flash mob, and Santacon is one of the first things to go viral worldwide." During the final Cacophony-sponsored soiree in 1998, Santas are shown in New York City joking around with the police. The event ended on a high note when some lunatic Santas climbed the Brooklyn Bridge. "It had nothing to do with fame or fortune," says Porges. "They were just merry pranksters seeking tribes of odd people to do new and interesting things and have fun in the moment with their friends. Back then, they did prank culture for art's sake. Now it's for clicks." For more info, see santacondoc.com. The film is making the festival circuit, but two of Porges' documentaries can be streamed: Cla...

Legendary filmmaker Darren Aronofsky and cinematographer Matthew Libatique, ASC, LPS, join us to reflect on their three decades of creative partnership: from “Pi,” “Requiem for a Dream,” “Black Swan,” and “The Whale,” to their newest collaboration, “Caught Stealing.” In this wide-ranging conversation, they discuss the evolution of their visual language, how technology continues to reshape the craft, and the inspirations behind the kinetic, East-Village-in-the-'90s aesthetic of “Caught Stealing.” And as the industry stands on the brink of profound transformation, Aronofsky shares why he believes the future is full of opportunities for new kinds of innovative storytelling. “I think how we make films is about to change more than any other time in history. And there's many ways that can go, many possibilities. So I think for storytellers, it's really exciting because there's a lot of discovery ahead of us. There's the potential for lots of very specific, individual types of films. But I think there's an absolute need for storytellers to be inventive and to be looking forward.” —Darren Aronofsky, Director and Producer, “Caught Stealing” Be sure to check out “Caught Stealing,” now streaming on Netflix, in Dolby Vision® and Dolby Atmos®. Please subscribe to Dolby Creator Talks wherever you get your podcasts. You can also check out the video for this episode on YouTube. Learn more about Sundance Collab here. Learn more about the Dolby Creator Lab and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn.

Send us a textThis week on the ole pod john: Hinge dating mishaps, altostratus clouds, and advice from Jimmy Carr and Lena Dunham. Happy holidays and what not! Support the showThanks for listening! Listen, rate, subscribe and other marketing type slogans! Here's my Insta: @dannypalmernyc @thedannypalmershow@blackcatcomedy (NYC stand-up show every Friday at 9 pm. 172 Rivington St.) And subscribe to my Patreon? Maybe? If you know how to? I don't know how it works. Let's just leave this thing be: https://www.patreon.com/thedannypalmershow

We welcome back Stuart Moore to discuss his new Marvel Age of Comics book, Doctor Strange: A Decade of Dark Magic. Stuart explores Doctor Strange's first ten years from his 1963 debut through the early '70s, examining how the Steve Ditko/Stan Lee stories' trippy, philosophical approach influenced 1960s counterculture, and how that counterculture in turn shaped the minds of later creators like Steve Englehart and Frank Brunner. We dive into his research on the East Village location of the Sanctum Sanctorum, the succession of writers and artists including Roy Thomas, Gene Colan, Gardner F. Fox, and Marie Severin who expanded on Ditko's mind-bending concepts, and Strange's evolving roles as mystic, super hero, and leader of the Defenders. Take a listen to Stuart's first DBB appearance: https://www.buzzsprout.com/1817176/episodes/15313491.Support the show___________________Check out video versions of this and other episodes on YouTube: youtube.com/dollarbinbandits!If you like this podcast, please rate, review, and subscribe on Apple Podcasts or wherever you found this episode. And if you really like this podcast, become a member of the Dollar Bin Boosters on Patreon: patreon.com/DollarBinBoosters.You can follow us @dollarbinbandits on Facebook, Instagram, and Bluesky, or @DBBandits on X. You can email us at dollarbinbandits@gmail.com.___________________Dollar Bin Bandits is the official podcast of TwoMorrows Publishing. Check out their fine publications at twomorrows.com. ___________________ Thank you to Sam Fonseca for our theme music, Sean McMillan for our graphics, and Pat McGrath for our logo.

Gabrielle Hamilton's father always told his five kids they had to do something practical with their lives and whatever they did, they had to be excellent at it. Mediocrity was a family sin. In 1999 Hamilton opened Prune, a 30-seat restaurant in the East Village, to rave reviews. She was honored with a James Beard award for Best Chef in New York City in 2011, followed by Outstanding Chef in 2018. Hamilton was also featured on the PBS series The Mind of a Chef. She realized her dream of becoming a writer with her best-selling memoir Blood, Bones and Butter. Now, she's got a new book called Next of Kin. We talk about dysfunctional families and the pressures of life both inside and outside the kitchen. "Now What?" is produced with the help of Steve Zimmer, Lucy Little and Jackie Schwartz. Audio production is by Nick Ciavatta.

The rent is too damn high! With housing costs rising across the globe, the comedy horror eVil Sublet (2023) will chill you as a couple finds an apartment in the East Village priced for horror! Stacie is joined by star of the film Jennifer Leigh Houston and writer/director Allan Piper to talk about making a movie in their own apartment during the pandemic.Stay tuned at the end of the episode to meet the new cohost.Rent or buy eVil Sublet from Amazon Prime or Fandango at Home.Watch for free on Fawesome.tv or Plex or Tubi.Follow Allan Piper on Instagram.Follow Jennifer Leigh Houston on Instagram.Follow eVil Sublet on Facebook.

John's monologue this time is about the competition groups for the FIFA world cup having a ceremony that involved bestowing a brand-new Peace Prize to Donald Trump. Then, he welcomes back Rev. Dr. Jacqui Lewis who is the Senior Minister for Public Theology and Transformation at Middle Church in New York City's East Village. She is a womanist whose preaching, teaching, speaking, writing, and activism are aimed at racial equality, gun control, economic justice, and equal rights for all sexual orientations and genders. And then, TV's Frank Conniff jokes with John and listeners about the latest news and Trump's twisted trickery.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Trusting the process is a really important way to free yourself, and the film, to discover what it is.Viridiana Lieberman is an award-winning documentary filmmaker. She recently edited the Netflix sensation The Perfect Neighbor.In this interview we talk:* Viri's love of the film Contact* Immersion as the core goal in her filmmaking* Her editing tools and workflow* Film school reflections* The philosophy and process behind The Perfect Neighbor — crafting a fully immersive, evidence-only narrative and syncing all audio to its original image.* Her thoughts on notes and collaboration* Techniques for seeing a cut with fresh eyesYou can see all of Viri's credits on her IMD page here.Thanks for reading The Creativity, Education, and Leadership Newsletter! Subscribe for free to receive new posts and support my work.Here is an AI-generated transcript of our conversation. Don't come for me.BEN: Viri, thank you so much for joining us today.VIRI: Oh, thank you for having me. I'm excited to be here.BEN: And I always like to start with a fun question. So senior year of high school, what music were you listening to?VIRI: Oh my goodness. Well, I'm class of 2000, so I mean. I don't even know how to answer this question because I listen to everything.I'm like one of those people I was raving, so I had techno in my system. I have a lot of like, um. The, like, everything from Baby Ann to Tsta. Like, there was like, there was a lot, um, Oak and like Paul Oak and Full, there was like techno. Okay. Then there was folk music because I loved, so Ani DeFranco was the soundtrack of my life, you know, and I was listening to Tori Amos and all that.Okay. And then there's like weird things that slip in, like fuel, you know, like whatever. Who was staying? I don't remember when they came out. But the point is there was like all these intersections, whether I was raving or I was at Warp Tour or I was like at Lili Fair, all of those things were happening in my music taste and whenever I get to hear those songs and like that, that back late nineties, um, rolling into the Ox.Yeah.BEN: I love the Venn diagram of techno and folk music.VIRI: Yeah.BEN: Yeah. What, are you a fan of the film inside Lou and Davis?VIRI: Uh, yes. Yes. I need to watch it again. I watched it once and now you're saying it, and I'm like writing it on my to-dos,BEN: but yes, it, it, the first time I saw it. I saw in the East Village, actually in the theater, and I just, I'm a Cohen Brothers fan, but I didn't love it.Mm-hmm. But it, it stayed on my mind and yeah. Now I probably rewatch it once a year. It might, yeah. In my, in my, on my list, it might be their best film. It's so good. Oh,VIRI: now I'm gonna, I'm putting it on my, I'm literally writing it on my, um, post-it to watch it.BEN: I'mVIRI: always looking for things to watch in the evening.BEN: What, what are some of the docs that kind of lit your flame, that really turned you on?VIRI: Uh, this is one of those questions that I, full transparency, get very embarrassed about because I actually did not have a path of documentary set for me from my film Loving Passion. I mean, when I graduated film school, the one thing I knew I didn't wanna do was documentary, which is hilarious now.Hilarious. My parents laugh about it regularly. Um. Because I had not had a good documentary education. I mean, no one had shown me docs that felt immersive and cinematic. I mean, I had seen docs that were smart, you know, that, but, but they felt, for me, they didn't feel as emotional. They felt sterile. Like there were just, I had seen the most cliched, basic, ignorant read of doc.And so I, you know, I dreamed of making space epics and giant studio films. Contact was my favorite movie. I so like there was everything that about, you know, when I was in film school, you know, I was going to see those movies and I was just chasing that high, that sensory high, that cinematic experience.And I didn't realize that documentaries could be. So it's not, you know, ever since then have I seen docs that I think are incredible. Sure. But when I think about my origin tale, I think I was always chasing a pretty. Not classic, but you know, familiar cinematic lens of the time that I was raised in. But it was fiction.It was fiction movies. And I think when I found Docs, you know, when I was, the very long story short of that is I was looking for a job and had a friend who made docs and I was like, put me in coach, you know, as an editor. And she was like, you've never cut a documentary before. I love you. Uh, but not today.But no, she hired me as an archival producer and then I worked my way up and I said, no, okay, blah, blah, blah. So that path showed me, like I started working on documentaries, seeing more documentaries, and then I was always chasing that cinema high, which by the way, documentaries do incredibly, you know, and have for many decades.But I hadn't met them yet. And I think that really informs. What I love to do in Docs, you know, I mean, I think like I, there's a lot that I like to, but one thing that is very important to me is creating that journey, creating this, you know, following the emotion, creating big moments, you know, that can really consume us.And it's not just about, I mean, not that there are films that are important to me, just about arguments and unpacking and education. At the same time, we have the opportunity to do so much more as storytellers and docs and we are doing it anyway. So that's, that's, you know, when, it's funny, when light my fire, I immediately think of all the fiction films I love and not docs, which I feel ashamed about.‘cause now I know, you know, I know so many incredible documentary filmmakers that light my fire. Um, but my, my impulse is still in the fiction world.BEN: Used a word that it's such an important word, which is immersion. And I, I first saw you speak, um, a week or two ago at the doc NYC Pro panel for editors, documentary editors about the perfect neighbor, which I wanna talk about in a bit because talk about a completely immersive experience.But thank you first, uh, contact, what, what is it about contact that you responded to?VIRI: Oh my goodness. I, well, I watched it growing up. I mean, with my dad, we're both sci-fi people. Like he got me into that. I mean, we're both, I mean he, you know, I was raised by him so clearly it stuck around contact for me. I think even to this day is still my favorite movie.And it, even though I'm kind of a style nut now, and it's, and it feels classic in its approach, but. There's something about all the layers at play in that film. Like there is this crazy big journey, but it's also engaging in a really smart conversation, right? Between science and faith and some of the greatest lines from that film.Are lines that you can say to yourself on the daily basis to remind yourself of like, where we are, what we're doing, why we're doing it, even down to the most basic, you know, funny, I thought the world was what we make it, you know, it's like all of these lines from contact that stick with me when he says, you know, um, did you love your father?Prove it. You know, it's like, what? What is proof? You know? So there were so many. Moments in that film. And for me, you know, climbing into that vessel and traveling through space and when she's floating and she sees the galaxy and she says they should have sent a poet, you know, and you're thinking about like the layers of this experience and how the aliens spoilers, um, you know, show up and talk to her in that conversation herself.Anyways, it's one of those. For me, kind of love letters to the human race and earth and what makes us tick and the complexity of identity all in this incredible journey that feels so. Big yet is boiled down to Jody Foster's very personal narrative, right? Like, it's like all, it just checks so many boxes and still feels like a spectacle.And so the balance, uh, you know, I, I do feel my instincts normally are to zoom in and feel incredibly personal. And I love kind of small stories that represent so much and that film in so many ways does that, and all the other things too. So I'm like, how did we get there? But I really, I can't, I don't know what it is.I can't shake that film. It's not, you know, there's a lot of films that have informed, you know, things I love and take me out to the fringe and take me to the mainstream and, you know, on my candy and, you know, all those things. And yet that, that film checks all the boxes for me.BEN: I remember seeing it in the theaters and you know everything you said.Plus you have a master filmmaker at the absolute top Oh god. Of his class. Oh my,VIRI: yes,BEN: yes. I mean, that mirror shot. Know, know, I mean, my jaw was on the ground because this is like, right, right. As CGI is started. Yes. So, I mean, I'm sure you've seen the behind the scenes of how theyVIRI: Yeah.BEN: Incredible.VIRI: Years.Years. We would be sitting around talking about how no one could figure out how he did it for years. Anybody I met who saw contact would be like, but how did they do the mirror shot? Like I nobody had kind of, yeah. Anyways, it was incredible. And you know, it's, and I,BEN: I saw, I saw it just with some civilians, right?Like the mirror shot. They're like, what are you talking about? The what? Huh?VIRI: Oh, it's so funny you bring that up because right now, you know, I went a friend, I have a friend who's a super fan of Wicked. We went for Wicked for Good, and there is a sequence in that film where they do the mirror jot over and over and over.It's like the, it's like the. Special device of that. It feels that way. That it's like the special scene with Glenda and her song. And someone next to me was sitting there and I heard him under his breath go,wow.Like he was really having a cinematic. And I wanted to lean over and be like, watch contact, like, like the first time.I saw it was there and now it's like people have, you know, unlocked it and are utilizing it. But it was, so, I mean, also, let's talk about the opening sequence of contact for a second. Phenomenal. Because I, I don't think I design, I've ever seen anything in cinema in my life like that. I if for anybody who's listening to this, even if you don't wanna watch the entire movie, which of course I'm obviously pitching you to do.Watch the opening. Like it, it's an incredible experience and it holds up and it's like when, yeah. Talk about attention to detail and the love of sound design and the visuals, but the patience. You wanna talk about trusting an audience, sitting in a theater and that silence Ah, yeah. Heaven film heaven.BEN: I mean, that's.That's one of the beautiful things that cinema does in, in the theater. Right. It just, you're in, you're immersed in this case, you know, pulling away from earth through outer space at however many, you know, hundreds of millions of miles an hour. You can't get that anywhere else. Yeah. That feeling,VIRI: that film is like all the greatest hits reel of.Storytelling gems. It's like the adventure, the love, the, you know, the, the complicated kind of smart dialogue that we can all understand what it's saying, but it's, but it's doing it through the experience of the story, you know, and then someone kind of knocks it outta the park without one quote where you gasp and it's really a phenomenal.Thing. Yeah. I, I've never, I haven't talked about contact as much in ages. Thank you for this.BEN: It's a great movie. It's there, and there were, there were two other moments in that movie, again when I saw it, where it's just like, this is a, a master storyteller. One is, yeah. When they're first like trying to decode the image.Mm-hmm. And you see a swastika.VIRI: Yeah. Oh yeah. And you're like,BEN: what the, what the f**k? That was like a total left turn. Right. But it's, it's, and I think it's, it's from the book, but it's like the movie is, it's, it's, you know, it's asking these questions and then you're like totally locked in, not expecting.You know, anything from World War II to be a part of this. And of course in the movie the, go ahead.VIRI: Yeah, no, I was gonna say, but the seed of thatBEN: is in the first shot,VIRI: scientifically educating. Oh yes. Well, the sensory experience, I mean, you're like, your heart stops and you get full Bo chills and then you're scared and you know, you're thinking a lot of things.And then when you realize the science of it, like the first thing that was broadcast, like that type of understanding the stakes of our history in a space narrative. And, you know, it, it just, there's so much. You know, unfurling in your mind. Yeah. In that moment that is both baked in from your lived experiences and what you know about the world, and also unlocking, so what's possible and what stakes have already been outside of this fiction, right?Mm-hmm. Outside of the book, outside of the telling of this, the reality of what has already happened in the facts of it. Yeah. It's really amazing.BEN: And the other moment we're just, and now, you know, being a filmmaker, you look back and I'm sure this is, it falls neatly and at the end of the second act. But when Tom scars, you know, getting ready to go up on the thing and then there's that terrorist incident or whatever, and the whole thing just collapses, the whole, um, sphere collapses and you just like, wait, what?Is that what's gonna happen now?VIRI: Yeah, like a hundred million dollars in it. It does too. It just like clink pun. Yeah. Everything.BEN: Yeah.VIRI: Think they'll never build it again. I mean, you just can't see what's coming after that and how it went down, who it happened to. I mean, that's the magic of that film, like in the best films.Are the ones where every scene, every character, it has so much going into it. Like if somebody paused the film there and said, wait, what's happening? And you had to explain it to them, it would take the entire movie to do it, you know, which you're like, that's, we're in it. Yeah. Anyway, so that's a great moment too, where I didn't, and I remember when they reveal spoilers again, uh, that there's another one, but when he is zooming in, you know, and you're like, oh, you know, it just, it's, yeah.Love it. It's wonderful. Now, I'm gonna watch that tonight too. IBEN: know, I, I haven't probably, I probably haven't watched that movie in 10 years, but now I gotta watch it again.VIRI: Yeah.BEN: Um, okay, so let's talk doc editing. Yes. What, um, I always like to, I heard a quote once that something about when, when critics get together, they talk meaning, and when artists get together, they talk paint.So let's talk paint for a second. What do you edit on?VIRI: I cut mainly on Avid and Premier. I, I do think of myself as more of an avid lady, but there's been a lot of probably the films that have done the most. I cut on Premier, and by that I mean like, it's interesting that I always assume Avid is my standard yet that most of the things that I love most, I cut on Premiere right now.I, I toggle between them both multiple projects on both, on both, um, programs and they're great. I love them equal for different reasons. I'm aBEN: big fan of Avid. I think it gets kind of a, a bad rap. Um, what, what are the benefits of AVID versus pr? I've never used Premier, but I was a big final cut seven person.So everybody has said that. Premier kind of emulates Final cut. Seven.VIRI: I never made a past seven. It's funny, I recently heard people are cutting on Final Cut Pro again, which A adds off. But I really, because I thought that ship had sailed when they went away from seven. So with, I will say like the top line things for me, you know, AVID forces you to control every single thing you're doing, which I actually think it can feel hindering and intimidating to some folks, but actually is highly liberating once you learn how to use it, which is great.It's also wonderful for. Networks. I mean, you can send a bin as a couple kilobyte. Like the idea that the shared workflow, when I've been on series or features with folks, it's unbeatable. Uh, you know, it can be cumbersome in like getting everything in there and stuff like that and all, and, but, but it kind of forces you to set up yourself for success, for online, for getting everything out.So, and there's a lot of good things. So then on conversely Premier. It's amazing ‘cause you can hit the ground running. You just drag everything in and you go. The challenge of course is like getting it out. Sometimes that's when you kind of hit the snaps. But I am impressed when I'm working with multiple frame rates, frame sizes, archival for many decades that I can just bring it into Premier and go and just start cutting.And you know, also it has a lot of intuitive nature with other Adobe Pro, you know, uh, applications and all of this, which is great. There's a lot of shortcuts. I mean, they're getting real. Slick with a lot of their new features, which I have barely met. I'm like an archival, I'm like a ancient picture editor lady from the past, like people always teach me things.They're just like, you know, you could just, and I'm like, what? But I, so I guess I, you know, I don't have all the tech guru inside talk on that, but I think that when I'm doing short form, it does feel like it's always premier long form. Always seems to avid. Team stuff feels avid, you know, feature, low budge features where they're just trying to like make ends meet.Feel Premier, and I think there's an enormous accessibility with Premier in that regard. But I still feel like Avid is a studios, I mean, a, a studio, well, who knows? I'm cut in the studios. But an industry standard in a lot of ways it still feels that way.BEN: Yeah, for sure. How did you get into editing?VIRI: I went to film school and while I was there, I really like, we did everything.You know, we learned how to shoot, we learned everything. Something about editing was really thrilling to me. I, I loved the puzzle of it, you know, I loved putting pieces together. We did these little funny exercises where we would take a movie and cut our own trailer and, you know, or they'd give us all the same footage and we cut our scene from it and.Itwas really incredible to see how different all those scenes were, and I loved finding ways to multipurpose footage, make an entire tone feel differently. You know, like if we're cutting a scene about a bank robbery, like how do you all of a sudden make it feel, you know, like romantic, you know, or whatever.It's like how do we kind of play with genre and tone and how much you can reinvent stuff, but it was really structure and shifting things anyways, it really, I was drawn to it and I had fun editing my things and helping other people edit it. I did always dream of directing, which I am doing now and I'm excited about, but I realized that my way in with editing was like learning how to do a story in that way, and it will always be my language.I think even as I direct or write or anything, I'm really imagining it as if I'm cutting it, and that could change every day, but like when I'm out shooting. I always feel like it's my superpower because when I'm filming it's like I know what I have and how I'll use it and I can change that every hour.But the idea of kind of knowing when you've got it or what it could be and having that reinvented is really incredible. So got into edit. So left film school. And then thought and loved editing, but wasn't like, I'm gonna be an editor. I was still very much on a very over, you know what? I guess I would say like, oh, I was gonna say Overhead, broad bird's eye.I was like, no, I'm gonna go make movies and then I'll direct ‘em and onward, but work, you know, worked in post houses, overnights, all that stuff and PA and try made my own crappy movies and you know, did a lot of that stuff and. It kept coming back to edit. I mean, I kept coming back to like assistant jobs and cutting, cutting, cutting, cutting, and it just felt like something that I had a skill for, but I didn't know what my voice was in that.Like I didn't, it took me a long time to realize I could have a voice as an editor, which was so dumb, and I think I wasted so much time thinking that like I was only search, you know, like that. I didn't have that to bring. That editing was just about. Taking someone else's vision. You know, I'm not a set of hands like I'm an artist as well.I think we all are as editors and I was very grateful that not, not too long into, you know, when I found the doc path and I went, okay, I think this is where I, I can rock this and I'm pretty excited about it. I ended up working with a small collection of directors who all. Respected that collaboration.Like they were excited for what I do and what I bring to it and felt, it made me feel like we were peers working together, which was my fantasy with how film works. And I feel like isn't always the constant, but I've been spoiled and now it's what I expect and what I want to create for others. And you know, I hope there's more of us out there.So it's interesting because my path to editing. Was like such a, a practical one and an emotional one, and an ego one, and a, you know, it's like, it's like all these things that have led me to where I am and the perfect neighbor is such a culmination of all of that. For sure.BEN: Yeah. And, and I want to get into it, uh, first the eternal question.Yeah. Film school worth it or not worth it?VIRI: I mean, listen, I. We'll share this. I think I've shared this before, but relevant to the fact I'll share it because I think we can all learn from each other's stories. I did not want to go to college. Okay? I wanted to go straight to la. I was like, I'm going to Hollywood.I wanted to make movies ever since I was a kid. This is what I'm gonna do, period. I come from a family of teachers. All of my parents are teachers. My parents divorced. I have my stepparent is teacher, like everybody's a teacher. And they were like, no. And not just a teacher. My mom and my dad are college professors, so they were like college, college, college.I sabotaged my SATs. I did not take them. I did not want to go to college. I was like, I am going to Los Angeles. Anyways, uh, my parents applied for me. To an accredited arts college that, and they were like, it's a three year try semester. You'll shoot on film, you can do your, you know, and they submitted my work from high school when I was in TV production or whatever.Anyways, they got me into this little college, and when I look back, I know that that experience was really incredible. I mean, while I was there, I was counting the days to leave, but I know that it gave me not only the foundation of. You know, learning, like, I mean, we were learning film at the time. I don't know what it's like now, but like we, you know, I learned all the different mediums, which was great on a vocational level, you know, but on top of that, they're just throwing cans of film at us and we're making all the mistakes we need to make to get where we need to get.And the other thing that's happening is there's also like the liberal arts, this is really, sounds like a teacher's kid, what I'm about to say. But like, there's also just the level of education To be smarter and learn more about the world, to inform your work doesn't mean that you can't. You can't skip college and just go out there and find your, and learn what you wanna learn in the stories that you journey out to tell.So I feel really torn on this answer because half of me is like. No, you don't need college. Like just go out and make stuff and learn what you wanna learn. And then the other half of me have to acknowledge that, like, I think there was a foundation built in that experience, in that transitional time of like semi-structure, semi independence, you know, like all the things that come with college.It's worth it, but it's expensive as heck. And I certainly, by the time I graduated, film wasn't even a thing and I had to learn digital out in the world. And. I think you can work on a film set and learn a hell of a lot more than you'll ever learn in a classroom. And at the same time, I really love learning.So, you know, my, I think I, my parents were right, they know it ‘cause I went back to grad school, so that was a shock for them. But I think, but yeah, so I, I get, what I would say is, it really is case, this is such a cop out of an answer, case by case basis. Ask yourself, you know, if you need that time and if you, if you aren't gonna go.You need to put in the work. You have to really like go out, go on those sets, work your tail off, seek out the books, read the stuff, you know, and no one's gonna hand you anything. And my stories are a hell of a lot, I think smarter and eloquent because of the education I had. Yeah.BEN: So you shuttle on, what was the school, by the way?VIRI: Well, it was called the, it was called the International Fine Arts College. It no longer exists because Art Institute bought it. It's now called the Miami International University of Art and Design, and they bought it the year I graduated. So I went to this tiny little arts college, uh, but graduated from this AI university, which my parents were like, okay.Um, but we were, it was a tiny little college owned by this man who would invite all of us over to his mansion for brunch every year. I mean, it was very strange, but cool. And it was mainly known for, I think fashion design and interior design. So the film kids, we all kind of had, it was an urban campus in Miami and we were all like kind of in a wado building on the side, and it was just kind of a really funky, misfit feeling thing that I thought was, now when I look back, I think was like super cool.I mean, they threw cans of film at us from the very first semester. There was no like, okay, be here for two years and earn your opportunity. We were making stuff right away and all of our teachers. All of our professors were people who were working in the field, like they were ones who were, you know, writing.They had written films and fun fact of the day, my, my cinematography professor was Sam Beam from Iron and Wine. If anybody knows Iron and Wine, like there's like, there's like we, we had crazy teachers that we now realize were people who were just probably trying to pay their bills while they were on their journey, and then they broke out and did their thing after we were done.BEN: Okay, so shooting on film. Yeah. What, um, was it 16 or 35? 16. And then how are you doing sound? No, notVIRI: 35, 16. Yeah. I mean, we had sound on Dax, you know, like we were recording all the mm-hmm. Oh, when we did the film. Yeah, yeah. Separate. Yeah, yeah, yeah. We did the Yeah. Syncs soundBEN: into a We did a,VIRI: yeah, we did, we did one.We shot on a Bolex, I think, if I remember it right. It did like a tiny, that probably was eight, you know? But the point is we did that on. The flatbed. After that, we would digitize and we would cut on media 100, which was like this. It was, I think it was called the, I'm pretty sure it was called Media 100.It was like this before avid, you know. A more archaic editing digital program that, so we did the one, the one cut and splice version of our, our tiny little films. And then we weren't on kind of beautiful steam backs or anything. It was like, you know, it was much, yeah, smaller. But we had, but you know, we raced in the changing tents and we did, you know, we did a lot of film, love and fun.And I will tell you for your own amusement that we were on set once with somebody making their short. The girl at the AC just grabbed, grabbed the film, what's, oh my God, I can't even believe I'm forgetting the name of it. But, um, whatever the top of the camera grabbed it and thought she had unlocked it, like unhinged it and just pulled it out after all the film just come spooling out on set.And we were like, everybody just froze and we were just standing there. It was like a bad sketch comedy, like we're all just standing there in silence with like, just like rolling out of the camera. I, I'll never forget it.BEN: Nightmare. Nightmare. I, you know, you said something earlier about when you're shooting your own stuff.Being an editor is a little bit of a superpower because you know, oh, I'm gonna need this, I'm gonna need that. And, and for me it's similar. It's especially similar. Like, oh, we didn't get this. I need to get an insert of this ‘cause I know I'm probably gonna want that. I also feel like, you know, I came up, um, to instill photography, 35 millimeter photography, and then when I got into filmmaking it was, um, digital, uh, mini DV tape.So, but I feel like the, um, the structure of having this, you know, you only have 36 shots in a still camera, so you've gotta be sure that that carried over even to my shooting on digital, of being meticulous about setting up the shot, knowing what I need. Whereas, you know, younger people who have just been shooting digital their whole lives that just shoot everything and we'll figure it out later.Yeah. Do do you, do you feel you had that Advant an advantage? Yes. Or sitting on film gave you some advantages?VIRI: I totally, yes. I also am a firm believer and lover of intention. Like I don't this whole, like we could just snap a shot and then punch in and we'll, whatever. Like it was my worst nightmare when people started talking about.We'll shoot scenes and something, it was like eight K, so we can navigate the frame. And I was like, wait, you're not gonna move the camera again. Like, it just, it was terrifying. So, and we passed that, but now the AI stuff is getting dicey, but the, I think that you. I, I am pretty romantic about the hands-on, I like books with paper, you know, like, I like the can, the cinematographer to capture, even if it's digital.And those benefits of the digital for me is like, yes, letting it roll, but it's not about cheating frames, you know, like it's about, it's about the accessibility of being able to capture things longer, or the technology to move smoother. These are good things. But it's not about, you know, simplifying the frame in something that we need to, that is still an art form.Like that's a craft. That's a craft. And you could argue that what we choose, you know, photographers, the choice they make in Photoshop is the new version of that is very different. Like my friends who are dps, you know, there's always like glasses the game, right? The lenses are the game. It's like, it's not about filters In posts, that was always our nightmare, right?The old fix it and post everybody's got their version of their comic strip that says Fix it and post with everything exploding. It's like, no, that's not what this is about. And so, I mean, I, I think I'll always be. Trying to, in my brain fight the good fight for the craftiness of it all because I'm so in love with everything.I miss film. I'm sad. I miss that time. I mean, I think I, it still exists and hopefully someday I'll have the opportunity that somebody will fund something that I'm a part of that is film. And at the same time there's somewhere in between that still feels like it's honoring that freshness. And, and then now there's like the, yeah, the new generation.It's, you know, my kids don't understand that I have like. Hand them a disposable camera. We'll get them sometimes for fun and they will also like click away. I mean, the good thing you have to wind it so they can't, they can't ruin it right away, but they'll kind of can't fathom that idea. And um, and I love that, where you're like, we only get 24 shots.Yeah, it's veryBEN: cool. So you said you felt the perfect neighbor, kind of, that was the culmination of all your different skills in the craft of editing. Can you talk a little bit about that?VIRI: Yes. I think that I spent, I think all the films, it's like every film that I've had the privilege of being a part of, I have taken something like, there's like some tool that was added to the tool belt.Maybe it had to do with like structure or style or a specific build to a quote or, or a device or a mechanism in the film, whatever it is. It was the why of why that felt right. That would kind of be the tool in the tool belt. It wouldn't just be like, oh, I learned how to use this new toy. It was like, no, no.There's some kind of storytelling, experience, technique, emotion that I felt that Now I'm like, okay, how do I add that in to everything I do? And I want every film to feel specific and serve what it's doing. But I think a lot of that sent me in a direction of really always approaching a project. Trying to meet it for like the, the work that only it can do.You know, it's like, it's not about comps. It's not about saying like, oh, we're making a film that's like, fill in the blank. I'm like, how do we plug and play the elements we have into that? It's like, no, what are the elements we have and how do we work with them? And that's something I fought for a lot on all the films I've been a part of.Um, and by that I mean fight for it. I just mean reminding everybody always in the room that we can trust the audience, you know, that we can. That, that we should follow the materials what, and work with what we have first, and then figure out what could be missing and not kind of IME immediately project what we think it needs to be, or it should be.It's like, no, let's discover what it is and then that way we will we'll appreciate. Not only what we're doing in the process, but ultimately we don't even realize what it can do for what it is if we've never seen it before, which is thrilling. And a lot of those have been a part of, there have been pockets of being able to do that.And then usually near the end there's a little bit of math thing that happens. You know, folks come in the room and they're trying to, you know, but what if, and then, but other people did. Okay, so all you get these notes and you kind of reel it in a little bit and you find a delicate balance with the perfect neighbor.When Gita came to me and we realized, you know, we made that in a vacuum like that was we, we made that film independently. Very little money, like tiny, tiny little family of the crew. It was just me and her, you know, like when we were kind of cutting it together and then, and then there's obviously producers to kind of help and build that platform and, and give great feedback along the way.But it allowed us to take huge creative risks in a really exciting way. And I hate that I even have to use the word risks because it sounds like, but, but I do, because I think that the industry is pushing against, you know, sometimes the spec specificity of things, uh, in fear of. Not knowing how it will be received.And I fantasize about all of us being able to just watch something and seeing how we feel about it and not kind of needing to know what it is before we see it. So, okay, here comes the perfect neighbor. GTA says to me early on, like, I think. I think it can be told through all these materials, and I was like, it will be told through like I was determined and I held us very strict to it.I mean, as we kind of developed the story and hit some challenges, it was like, this is the fun. Let's problem solve this. Let's figure out what it means. But that also came within the container of all this to kind of trust the audience stuff that I've been trying to repeat to myself as a mantra so I don't fall into the trappings that I'm watching so much work do.With this one, we knew it was gonna be this raw approach and by composing it completely of the evidence, it would ideally be this kind of undeniable way to tell the story, which I realized was only possible because of the wealth of material we had for this tracked so much time that, you know, took the journey.It did, but at the same time, honoring that that's all we needed to make it happen. So all those tools, I think it was like. A mixed bag of things that I found that were effective, things that I've been frustrated by in my process. Things that I felt radical about with, you know, that I've been like trying to scream in, into the void and nobody's listening.You know, it's like all of that because I, you know, I think I've said this many times. The perfect neighbor was not my full-time job. I was on another film that couldn't have been more different. So I think in a, in a real deep seated, subconscious way, it was in conversation with that. Me trying to go as far away from that as possible and in understanding what could be possible, um, with this film.So yeah, it's, it's interesting. It's like all the tools from the films, but it was also like where I was in my life, what had happened to me, you know, and all of those. And by that I mean in a process level, you know, working in film, uh, and that and yes, and the values and ethics that I honor and wanna stick to and protect in the.Personal lens and all of that. So I think, I think it, it, it was a culmination of many things, but in that approach that people feel that has resonated that I'm most proud of, you know, and what I brought to the film, I think that that is definitely, like, I don't think I could have cut this film the way I did at any other time before, you know, I think I needed all of those experiences to get here.BEN: Oh, there's so much there and, and there's something kind of the. The first part of what you were saying, I've had this experience, I'm curious if you've had this experience. I sort of try to prepare filmmakers to be open to this, that when you're working with something, especially Doc, I think Yeah. More so Doc, at a certain point the project is gonna start telling you what it wants to be if you, if you're open to it.Yes. Um, but it's such a. Sometimes I call it the spooky process. Like it's such a ephemeral thing to say, right? Like, ‘cause you know, the other half of editing is just very technical. Um, but this is like, there's, there's this thing that's gonna happen where it's gonna start talking to you. Do you have that experience?VIRI: Yes. Oh, yes. I've also been a part of films that, you know, they set it out to make it about one person. And once we watched all the footage, it is about somebody else. I mean, there's, you know, those things where you kind of have to meet the spooky part, you know, in, in kind of honoring that concept that you're bringing up is really that when a film is done, I can't remember cutting it.Like, I don't, I mean, I remember it and I remember if you ask me why I did something, I'll tell you. I mean, I'm very, I am super. Precious to a fault about an obsessive. So like you could pause any film I've been a part of and I'll tell you exactly why I used that shot and what, you know, I can do that. But the instinct to like just grab and go when I'm just cutting and I'm flowing.Yeah, that's from something else. I don't know what that is. I mean, I don't. People tell me that I'm very fast, which is, I don't know if that's a good or a bad thing, but I think it really comes from knowing that the job is to make choices and you can always go back and try different things, but this choose your own adventure novel is like just going, and I kind of always laugh about when I look back and I'm like, whoa, have that happen.Like, you know, like I don't even. And I have my own versions of imposter syndrome where I refill mens and I'm like, oh, got away with that one. Um, or every time a new project begins, I'm like, do I have any magic left in the tank? Um, but, but trusting the process, you know, to what you're socking about is a really important way to free yourself and the film to.Discover what it is. I think nowadays because of the algorithm and the, you know, I mean, it's changing right now, so we'll see where, how it recalibrates. But for a, for a while, over these past years, the expectations have, it's like shifted where they come before the film is like, it's like you create your decks and your sizzles and you write out your movie and you, and there is no time for discovery.And when it happens. It's like undeniable that you needed to break it because it's like you keep hitting the same impasse and you can't solve it and then you're like, oh, that's because we have to step outta the map. But I fear that many works have suffered, you know, that they have like followed the map and missed an opportunity.And so, you know, and for me as an editor, it's always kinda a red flag when someone's like, and here's the written edit. I'm like, what? Now let's watch the footage. I wanna know where There's always intention when you set up, but as people always say, the edit is kind of the last. The last step of the storytelling process.‘cause so much can change there. So there is, you know, there it will reveal itself. I do get nerdy about that. I think a film knows what it is. I remember when I was shooting my first film called Born to Play, that film, we were. At the championship, you know, the team was not, thought that they were gonna win the whole thing.We're at the championship and someone leaned over to me and they said, you know, it's funny when a story knows it's being filmed. And I was like, ah. I think about that all the time because now I think about that in the edit bay. I'm like, okay, you tell me, you know, what do you wanna do? And then you kind of like, you match frame back to something and all of a sudden you've opened a portal and you're in like a whole new theme.It's very cool. You put, you know, you put down a different. A different music temp, music track, and all of a sudden you're making a new movie. I mean, it's incredible. It's like, it really is real world magic. It's so much fun. Yeah,BEN: it is. It's a blast. The, so, uh, I saw you at the panel at Doc NYC and then I went that night or the next night and watched Perfect Neighbor blew me away, and you said something on the panel that then blew me away again when I thought about it, which is.I think, correct me if I'm wrong, all of the audio is syncedVIRI: Yeah. To the footage.BEN: That, to me is the big, huge, courageous decision you made.VIRI: I feel like I haven't said that enough. I don't know if folks understand, and it's mainly for the edit of that night, like the, I mean, it's all, it's, it's all that, but it was important.That the, that the sound would be synced to the shock that you're seeing. So when you're hearing a cop, you know, a police officer say, medics, we need medics. If we're in a dashboard cam, that's when it was, you know, echoing from the dashboard. Like that's what, so anything you're hearing is synced. When you hear something coming off from the per when they're walking by and you hear someone yelling something, you know, it's like all of that.I mean, that was me getting really strict about the idea that we were presenting this footage for what it was, you know, that it was the evidence that you are watching, as you know, for lack of a better term, unbiased, objectively as possible. You know, we're presenting this for what it is. I, of course, I have to cut down these calls.I am making choices like that. That is happening. We are, we are. Composing a narrative, you know, there, uh, that stuff is happening. But to create, but to know that what you're hearing, I'm not applying a different value to the frame on, on a very practical syn sound way. You know, it's like I'm not gonna reappropriate frames.Of course, in the grand scheme of the narrative flow with the emotions, you know, the genre play of this horror type film, and there's a lot happening, but anything you were hearing, you know, came from that frame. Yeah.BEN: That's amazing. How did you organize the footage and the files initially?VIRI: Well, Gita always likes to laugh ‘cause she is, she calls herself my first ae, which is true.I had no a, you know, I had, she was, she had gotten all that material, you know, she didn't get that material to make a film. They had originally, this is a family friend who died and when this all happened, they went down and gathered this material to make a case, to make sure that Susan didn't get out. To make sure this was not forgotten.You know, to be able to utilize. Protect the family. And so there was, at first it was kind of just gathering that. And then once she got it, she realized that it spanned two years, you know, I mean, she, she popped, she was an editor for many, many years, an incredible editor. She popped it into a system, strung it all out, sunk up a lot of it to see what was there, and realized like, there's something here.And that's when she called me. So she had organized it, you know, by date, you know, and that, that originally. Strung out a lot of it. And then, so when I came in, it was just kind of like this giant collection of stuff, like folders with the nine one calls. How long was the strung out? Well, I didn't know this.Well, I mean, we have about 30 hours of content. It wasn't one string out, you know, it was like there were the call, all the calls, and then the 9 1 1 calls, the dash cams. The ring cams. Okay. Excuse me. The canvassing interviews, audio only content. So many, many. Was about 30 hours of content, which honestly, as most of us editors know, is not actually a lot I've cut.You know, it's usually, we have tons more than that. I mean, I, I've cut decades worth of material and thousands of hours, you know, but 30 hours of this type of material is very specific, you know, that's a, that's its own challenge. So, so yeah. So the first, so it was organized. It was just organized by call.Interview, you know, some naming conventions in there. Some things we had to sync up. You know, the 9 1 1 calls would overlap. You could hear it in the nine one one call center. You would hear someone, one person who called in, and then you'd hear in the background, like the conversation of another call. It's in the film.There's one moment where you can hear they're going as fast as they can, like from over, from a different. So there was so much overlap. So there was some syncing that we kind of had to do by ear, by signals, by, you know, and there's some time coding on the, on the cameras, but that would go off, which was strange.They weren't always perfect. So, but that, that challenge unto itself would help us kind of really screen the footage to a finite detail, right. To like, have, to really understand where everybody is and what they're doing when,BEN: yeah. You talked about kind of at the end, you know, different people come in, there's, you know, maybe you need to reach a certain length or so on and so forth.How do you, um, handle notes? What's your advice to young filmmakers as far as navigating that process? Great question.VIRI: I am someone who, when I was a kid, I had trouble with authority. I wasn't like a total rebel. I think I was like a really goody goody too. She was borderline. I mean, I had my moments, but growing up in, in a journey, an artistic journey that requires you to kind of fall in love with getting critiques and honing things and working in teams.And I had some growing pains for a long time with notes. I mean, my impulse was always, no. A note would come and I'd go, no, excuse me. Go to bed, wake up. And then I would find my way in and that would be great. That bed marinating time has now gone away, thank goodness. And I have realized that. Not all notes, but some notes have really changed the trajectory of a project in the most powerful waves.And it doesn't always the, to me, what I always like to tell folks is it's, the notes aren't really the issues. It's what? It's the solutions people offer. You know? It's like you can bring up what you're having an issue with. It's when people kind of are like, you know what I would do? Or you know what you think you should do, or you could do this.You're like, you don't have to listen to that stuff. I mean, you can. You can if you have the power to filter it. Some of us do, some of us don't. I've worked with people who. Take all the notes. Notes and I have to, we have to, I kind of have to help filter and then I've worked with people who can very quickly go need that, don't need that need, that, don't need that.Hear that, don't know how to deal with that yet. You know, like if, like, we can kind of go through it. So one piece of advice I would say is number one, you don't have to take all the notes and that's, that's, that's an honoring my little veary. Wants to stand by the vision, you know, and and fight for instincts.Okay. But the second thing is the old classic. It's the note behind the note. It's really trying to understand where that note's coming from. Who gave it what they're looking for? You know, like is that, is it a preference note or is it a fact? You know, like is it something that's really structurally a problem?Is it something that's really about that moment in the film? Or is it because of all the events that led to that moment that it's not doing the work you think it should? You know, the, the value is a complete piece. So what I really love about notes now is I get excited for the feedback and then I get really excited about trying to decipher.What they mean, not just taking them as like my to-do list. That's not, you know, that's not the best way to approach it. It's really to get excited about getting to actually hear feedback from an audience member. Now, don't get me wrong, an audience member is usually. A producer in the beginning, and they have, they may have their own agenda, and that's something to know too.And maybe their agenda can influence the film in an important direction for the work that they and we all wanted to do. Or it can help at least discern where their notes are coming from. And then we can find our own emotional or higher level way to get into solving that note. But, you know, there's still, I still get notes that make me mad.I still get notes where I get sad that I don't think anybody was really. Watching it or understanding it, you know, there's always a thought, you know, that happens too. And to be able to read those notes and still find that like one kernel in there, or be able to read them and say, no kernels. But, but, but by doing that, you're now creating the conviction of what you're doing, right?Like what to do and what not to do. Carrie, equal value, you know, so you can read all these notes and go, oh, okay, so I am doing this niche thing, but I believe in it and. And I'm gonna stand by it. Or like, this one person got it and these five didn't. And I know that the rules should be like majority rules, but that one person, I wanna figure out why they got it so that I can try to get these, you know, you get what I'm saying?So I, I've grown, it took a long time for me to get where I am and I still have moments where I'm bracing, you know, where I like to scroll to see how many notes there are before I even read them. You know, like dumb things that I feel like such a kid about. But we're human. You know, we're so vulnerable.Doing this work is you're so naked and you're trying and you get so excited. And I fall in love with everything. I edit so furiously and at every stage of the process, like my first cut, I'm like, this is the movie. Like I love this so much. And then, you know, by the 10th root polling experience. I'm like, this is the movie.I love it so much. You know, so it's, it's painful, but at the same time it's like highly liberating and I've gotten a lot more flowy with it, which was needed. I would, I would encourage everybody to learn how to really enjoy being malleable with it, because that's when you find the sweet spot. It's actually not like knowing everything right away, exactly what it's supposed to be.It's like being able to know what the heart of it is. And then get really excited about how collaborative what we do is. And, and then you do things you would've never imagined. You would've never imagined, um, or you couldn't have done alone, you know, which is really cool. ‘cause then you get to learn a lot more about yourself.BEN: Yeah. And I think what you said of sort of being able to separate the idea of, okay, something maybe isn't clicking there, versus whatever solution this person's offering. Nine times outta 10 is not gonna be helpful, but, but the first part is very helpful that maybe I'm missing something or maybe what I want to connect is not connecting.VIRI: And don't take it personally. Yeah. Don't ever take it personally. I, I think that's something that like, we're all here to try to make the best movie we can.BEN: Exactly.VIRI: You know? Yeah. And I'm not gonna pretend there aren't a couple sticklers out there, like there's a couple little wrenches in the engine, but, but we will, we all know who they are when we're on the project, and we will bind together to protect from that.But at the same time, yeah, it's, yeah. You get it, you get it. Yeah. But it's really, it's an important part of our process and I, it took me a while to learn that.BEN: Last question. So you talked about kind of getting to this cut and this cut and this cut. One of the most important parts of editing, I think is especially when, when you've been working on a project for a long time, is being able to try and see it with fresh eyes.And of course the, one of the ways to do that is to just leave it alone for three weeks or a month or however long and then come back to it. But sometimes we don't have that luxury. I remember Walter Merch reading in his book that sometimes he would run the film upside down just to, mm-hmm. You know, re re redo it the way his brain is watching it.Do you have any tips and tricks for seeing a cut with fresh eyes? OhVIRI: yeah. I mean, I mean, other than stepping away from it, of course we all, you know, with this film in particular, I was able to do that because I was doing other films too. But I, one good one I always love is take all the music out. Just watch the film without music.It's really a fascinating thing. I also really like quiet films, so like I tend to all of a sudden realize like, what is absolutely necessary with the music, but, but it, it really, people get reliant on it, um, to do the work. And you'd be pleasantly surprised that it can inform and reinvent a scene to kind of watch it without, and you can, it's not about taking it out forever, it's just the exercise of watching what the film is actually doing in its raw form, which is great.Switching that out. I mean, I can, you know, there's other, washing it upside down, I feel like. Yeah, I mean like there's a lot of tricks we can trick our trick, our brain. You can do, you could also, I. I think, I mean, I've had times where I've watched things out of order, I guess. Like where I kind of like go and I watch the end and then I click to the middle and then I go back to the top, you know?And I'm seeing, like, I'm trying to see if they're all connecting, like, because I'm really obsessed with how things begin and how they end. I think the middle is highly important, but it really, s**t tells you, what are we doing here? Like what are we set up and where are we ending? And then like, what is the most effective.Journey to get there. And so there is a way of also kind of trying to pinpoint the pillars of the film and just watching those moments and not kind, and then kind of reverse engineering the whole piece back out. Yeah, those are a couple of tricks, but more than anything, it's sometimes just to go watch something else.If you can't step away from the project for a couple of weeks, maybe watch something, you could, I mean, you can watch something comparable in a way. That tonally or thematically feels in conversation with it to just kind of then come back and feel like there's a conversation happening between your piece and that piece.The other thing you could do is watch something so. Far different, right? Like, even if you like, don't like, I don't know what I'm suggesting, you'd have to, it would bend on the project, but there's another world where like you're like, all right, I'm gonna go off and watch some kind of crazy thrill ride and then come back to my slow burn portrait, you know, and, and just, just to fresh the pal a little bit, you know?I was like that. It's like fueling the tanks. We should be watching a lot of stuff anyways, but. That can happen too, so you don't, you also get to click off for a second because I think we can get, sometimes it's really good to stay in it at all times, but sometimes you can lose the force for the, you can't see it anymore.You're in the weeds. You're too close to it. So how do we kind of shake it loose? Feedback sessions, by the way, are a part, is a part of that because I think that when you sit in the back of the room and you watch other people watch the film, you're forced to watch it as another person. It's like the whole thing.So, and I, I tend to watch people's body language more than, I'm not watching the film. I'm like watching for when people shift. Yeah, yeah. I'm watching when people are like coughing or, you know, or when they, yeah. Whatever. You get it. Yeah. Yeah. That, that, soBEN: that is the most helpful part for me is at a certain point I'll bring in a couple friends and I'll just say, just want you to watch this, and I'm gonna ask you a couple questions afterwards.But 95% of what I need is just sitting there. Watching them and you said exactly. Watching their body language.VIRI: Yeah. Oh man. I mean, this was shoulder, shoulder shooks. There's, and you can tell the difference, you can tell the difference between someone's in an uncomfortable chair and someone's like, it's like whenever you can sense it if you're ever in a theater and you can start to sense, like when they, when they reset the day, like whenever we can all, we all kind of as a community are like, oh, this is my moment.To like get comfortable and go get a bite of popcorn. It's like there's tells, so some of those are intentional and then some are not. Right? I mean, if this is, it goes deeper than the, will they laugh at this or will they be scared at this moment? It really is about captivating them and feeling like when you've, when you've lost it,BEN: for sure.Yeah. Very. This has been fantastic. Oh my God, how fun.VIRI: I talked about things here with you that I've haven't talked, I mean, contact so deeply, but even film school, I feel like I don't know if that's out there anywhere. So that was fun. Thank you.BEN: Love it. Love it. That, that that's, you know, that's what I hope for these interviews that we get to things that, that haven't been talked about in other places.And I always love to just go in, you know, wherever the trail leads in this case. Yeah. With, uh, with Jody Foster and Math McConaughey and, uh, I mean, go see it. Everybody met this. Yeah. Uh, and for people who are interested in your work, where can they find you?VIRI: I mean, I don't update my website enough. I just go to IMDB.Look me up on IMDB. All my work is there. I think, you know, in a list, I've worked on a lot of films that are on HBO and I've worked on a lot of films and now, you know, obviously the perfect neighbor's on Netflix right now, it's having an incredible moment where I think the world is engaging with it. In powerful ways beyond our dreams.So if you watch it now, I bet everybody can kind of have really fascinating conversations, but my work is all out, you know, the sports stuff born to play. I think it's on peacock right now. I mean, I feel like, yeah, I love the scope that I've had the privilege of working on, and I hope it keeps growing. Who knows.Maybe I'll make my space movie someday. We'll see. But in the meantime, yeah, head over and see this, the list of credits and anything that anybody watches, I love to engage about. So they're all, I feel that they're all doing veryBEN: different work. I love it. Thank you so much.VIRI: Thank you. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit benbo.substack.com

Today's guest is Lucie Franc de Ferriere, the self-taught baker and founder of From Lucie, the beloved East Village bakery known for its whimsical, flower-festooned cakes and other treats. Raised in the French countryside, Lucie grew up eating her mother's homemade cakes, but it wasn't until decades later, when she was living in New York working in the art world, that she discovered her love for baking. Today, her creations are always in demand, and she's one of the cover stars of Cherry Bombe's new Cake Issue.Lucie joins host Jessie Sheehan to talk about her journey from art history student to full-time baker, the pop-ups that helped launch her business, and the serendipitous beginnings of her signature decorating style. She shares memories from her childhood in France and discusses the creative process behind her upcoming debut cookbook, “Cake From Lucie.” Then, Lucie walks Jessie through one of the bakery's bestsellers: Salted Dark Chocolate Espresso Cake. It's her spin on the ultimate birthday cake, and it's covered in a luscious buttercream, complete with mini chocolate chips tucked between the layers.Thank you to Diamond Nuts, California Prunes, and King Arthur Baking for their support. Order The Cake IssueJubilee NYC 2026 tickets hereVisit cherrybombe.com for subscriptions, show transcripts, and tickets to upcoming events.More on Lucie: Instagram, pre-order “Cake From Lucie” cookbookMore on Jessie: Instagram, “Salty, Cheesy, Herby, Crispy Snackable Bakes” cookbook

The House of Blues, The Late Show w David Letterman American Bandstand, PBSThose are just SOME of the place you have seen "La La" ,Dolores Brooks, the original lead singer of top hits of the girl group the Crystals and Broadway & Film actress. She is best known as the lead vocalist on the Crystals' hits "Then He Kissed Me" and "Da Doo Ron Ron", "Santa Claus is Coming to Town" & many others.Ms. Brooks also sang lead on three songs on the album A Christmas Gift for You, one of only two Christmas albums inducted in the Grammy Hall of Fame.In 1968, she appeared in the original Broadway production of the musical Hair, where she performed the song "Aquarius". She would later appear in the Broadway show Two Gentlemen of Verona in 1971. She also toured with and recorded for various artists (such as the Neville Brothers, Bobby Womack and Isaac Hayes); made short appearances in films; and contributed songs to different movie soundtracks (including the 1970 film Cotton Comes to Harlem).In 1983, she and her family moved to London, England, where she and Idris continued their careers in music. In 1990, they moved to Vienna, Austria where she continued singing and writing songs with her husband Idris Muhammad and also hosted a local radio show; they lived in Vienna until 1997.Andrew Edge sang backing vocals on her BMG (Austria) CD LaLa Brooks & Friends in 1994. Brooks moved back to the United States at the turn of the century and resides in the East Village. She is now a grandmother of three, has her own band and is still performing. Her music compilation's is called "All or Nothing!! © 2025 Building Abundant Success!!2025 All Rights ReservedJoin Me on ~ iHeart Media @ https://tinyurl.com/iHeartBASSpot Me on Spotify: https://tinyurl.com/yxuy23baAmazon Music ~ https://tinyurl.com/AmzBASAudacy:  https://tinyurl.com/BASAud  

In this special episode on brand building, Itir sits down with Talia Tutak, founder and head baker of Sixteen Mill Bakeshop, a beloved Brooklyn bakery that's completely vegan, gluten-free, and refined sugar-free. Talia shares her journey from baking sourdough bread in a tiny Midwood apartment to building a recognizable brand in New York's competitive bakery scene—all without formal baking training or significant financial backing. Talia opens up about the personal health crisis that led her to gluten-free baking, and how a farmer's market booth became the testing ground for her recipes and business model. She discusses the decision to focus solely on gluten-free products, and why that ultimately drove her success. They also explore the practical realities of running a small bakery—from sourcing ingredients directly from mills and maple syrup producers, to why Talia handles all social media herself, to the emotional challenge of reading Google reviews. Talia explains why she pulled out of opening a second location in the East Village, based on her belief that "less is more"—even when it comes to investment offers—when it comes to scaling her food business. She also shares the advice that's deeply influenced how she thinks about building her brand: "When you listen closely to your customers, they will always lead the way." Talia Tutak is the owner and head baker of Sixteen Mill Bakeshop, a 100% vegan, gluten-free, and refined-sugar-free bakery in Brooklyn. She's dedicated to reimagining classic baked goods with a modern, nourishing twist—focusing on sustainability, seasonality, and supporting small farms and local businesses. Watch the full episode on YouTube: https://youtu.be/GuF3rq5QWJE Learn more about Sixteen Mill Bakeshop: https://sixteenmill.com Connect with Talia Tak on Instagram: @sixteen.mill If you have any questions about brands and marketing, connect with the host of this channel, Itir Eraslan, on LinkedIn: https://www.linkedin.com/in/itireraslan/

Episode Description: In this episode of Backstage Bay Area, host Steven Roby sits down with Frank London, trumpeter and founding member of the Grammy Award-winning band The Klezmatics.For four decades, The Klezmatics have been the world's leading voice in blending traditional Yiddish roots with the energy of punk, jazz, and gospel. Frank shares stories from the band's origins in New York's gritty East Village scene of the 1980s and discusses their landmark collaboration with the Woody Guthrie estate—a project that unearthed lost Hanukkah lyrics by the American folk icon.We also get an exclusive preview of their upcoming album, We Were Made for These Times, and discuss why bringing "happy, joyous" energy to the stage is a necessary form of activism today.In This Episode, We Cover:·       The East Village Spark: How the 1980s avant-garde and punk scenes helped launch a global klezmer revival.·       Woody Guthrie's Lost Lyrics: The incredible story of how Nora Guthrie discovered her father's Jewish-themed writings and tapped The Klezmatics to bring them to life.·       40 Years of Music: How the band has kept its core lineup together and evolved its sound over four decades.·       New Music Preview: Frank discusses the socially conscious themes behind their upcoming 2026 album, We Were Made for These Times.·       Live at SFJAZZ: Why the band goes "full throttle" on improvisation when they play the Miner Auditorium.Featured Music:·       "Spin Dreydl Spin"·       "(Do The) Latke Flip-Flip"Links & Resources:·       Tickets: The Klezmatics at SFJAZZ (Dec 15)·       Website: The Klezmatics Official Site·       Album: Woody Guthrie's Happy Joyous Hanukkah (Vinyl Reissue out now)Connect with Backstage Bay Area:·       Website: Backstagebayarea.com·       Instagram: @BackstageBayArea·       Host: Steven Roby

Andre Haghverdian, East Village Times Talks SDSU Football And More. More On The Padres.

Penny Arcade—poet, actress, essayist, spoken word, video and theatre maker—discusses her trajectory from an immigrant family, originally from Basilicata, Italy, to her upbringing in a working-class Connecticut town to her entry into the art world of New York's East Village. Looking back on her life as a homeless teen in the Village, her discovery by Jamie Andrews who introduced her to John Vaccaro's Playhouse of The Ridiculous, becoming a Warhol Factory Superstar, and her departure to Amsterdam, Arcade narrates the story of how she set off for Formentera, in Spain's Balearic Islands, where she started a school for children there, some of whom were children of drug smugglers. Recounting her return to New York City in 1981 and her split from Vaccaro, which marked the beginning of her independent work, Arcade recollects the state of the various art scenes in New York City during the Reagan era, the loss of friends to AIDS, and the censorship of the era. She vituperates the class divisions within the art world and the Manhattan Downtown art scene into which she never fit neatly, while underscoring her desire to “create theatre for people who had no theatre,” a fact which made her extremely unpopular within academia and among arts administrators because her work challenges these very elite systems. Pondering the values she espouses in her art and the fact that her audience has always been unique in maintaining a shared investment in her performances, Arcade considers how the catharsis in reaction to her art takes place well beyond the theatre hall. As an outsider to the art scene, noting how she hasn't received institutional support and has operated without funding, legacy media coverage, or any form of academic sponsorship, Arcade criticises the state of art funding from even before the 1980s, when the Moral Majority took aim at the art world and at the NEA (National Endowment for the Arts) funding structures. Calling out the academic art world as a “pyramid scheme,” Arcade observes how the academic-produced genre of “emerging arts” has become a way for the elite class to ensure that their children would have a guaranteed “entry level position” post-graduation in the arts akin to the professional tracks for finance and law, proclaiming: “Art is not a profession—it's a vocation.” She also delves into the problems of identity politics that have permeated into arts funding and the art world and culture at large, remarking how these institutions recycle not only the same personas and narratives, ultimately limiting the “professionalised” scope of art. Responding to the recent “queering” of Marsha P Johnson, Arcade argues that Johnson was not transgender but was a drag queen, contending that the only reason why Johnson was recategorised as “trans” is because “Marsha is dead and black.” Get full access to Savage Minds at savageminds.substack.com/subscribe

Updated numbers put Park City mayoral race within recount margin, Wasatch County Manager Dustin Grabau previews this week's county council meeting, Park City Board of Realtors Philanthropy Foundation's JanaLee Jacobson and Graham Harter talk about the Park City Turkey Drive, Park City Mountain delays opening day for lack of snow, Park City Council and Deer Valley revisit partnership to fund offsite parking, Basin Recreation welcomes new district director, Recycle Utah Director of Operations Troy Holding and Director of Education Chelsea Hafer share the latest on the search for a new director and Deer Valley targets mid-December to open East Village terrain.

Gabrielle Hamilton is the chef/owner of Prune restaurant in New York's East Village and is the author of the New York Times best-selling memoir Blood, Bones & Butter: The Inadvertent Education of a Reluctant Chef and the cookbook Prune. Her moving new memoir Next of Kin is an unflinching portrait of her dynamic family and its dramatic dissolution through death, betrayal, and time. It is a chef's memoir with barely any food but plenty of propulsive writing. Today on the show, Gabrielle shares how she wrote this deeply personal book, how Prune is operating as a private restaurant today, and much more. Also on the show, we catch up with Nicola Olivieri, the CEO of Italian bakery Olivieri 1882. The topic is panettone, which is one of our favorite holiday traditions. Nicola runs the bakery with his brother Andrea and has an amazing story about growing their business and making our favorite panettone around. The Wirecutter agrees.    Subscribe to This Is TASTE: ⁠⁠Apple Podcasts⁠⁠, ⁠⁠Spotify⁠⁠, ⁠⁠YouTube⁠⁠  Learn more about your ad choices. Visit megaphone.fm/adchoices

Legendary resort designer Chris Cushing joins Last Chair to share stories from a lifetime spent shaping ski areas around the world, including Deer Valley's new East Village. From learning the craft alongside his father to watching families enjoy the terrain he built, Chris offers a rare look into the art and heart behind designing the mountains we love to ski

Legendary resort designer Chris Cushing joins Last Chair to share stories from a lifetime spent shaping ski areas around the world, including Deer Valley's new East Village. From learning the craft alongside his father to watching families enjoy the terrain he built, Chris offers a rare look into the art and heart behind designing the mountains we love to ski

The BanterThe Guys discuss a restaurant experience that let the rabbit out the hat.The ConversationThe Restaurant Guys catch up with buddy Jeff Bell to discuss the bar scene in New York. From humble beginnings as a barback at PDT to owning it and several other of the coolest places in NYC, Jeff tells about his experiences of becoming a business owner, including (the requisite) major disaster during his first year. The Inside TrackThe Guys have known Jeff for years and were taken by his wisdom of bartending preparing him for fatherhood. “ Being a bartender for years is just absolutely great training for parenthood. There is this volatility you get from people drinking [of] the highs and lows where they can just start laughing for no reason or crying for no reason… or have a bodily fluid mistake,” Jeff Bell on The Restaurant Guys Podcast 2025BioJeff Bell has been bartending and running bars for over 15 years. At Please Don't Tell (commonly known as PDT) in the East Village of NYC, he started as a bar-back, worked his way up to head bartender and, eventually, owner. He is also a managing partner in PDT Hong Kong.In 2025, Jeff co-launched a new venture: a bar concept called Mixteca, an agave-forward cocktail bar in the West Village. The concept is rooted in tequila and mezcal. He will be opening Kees bar, a different concept in the same location, later this year.He also was in charge of restoring Peacock Alley in the Waldorf Astoria to “its original grandeur” reviving the space and cocktail offerings from the hotel's rich historyThroughout his tenure at PDT Jeff has earned numerous accolades including Spirited Award: American Bartender of the Year 2017.InfoMixteca bar, NYChttps://cocteleriamixteca.com/The Restaurant Guys will be podcasting from the Food & Wine Classic in Charleston Nov 14-16! Stop by and say hello!Get tickets https://foodandwineclassicincharleston.com/ Become a Restaurant Guys' Regular!https://www.buzzsprout.com/2401692/subscribeMagyar Bankhttps://www.magbank.com/Withum Accounting https://www.withum.com/restaurantOur Places Stage Left Steakhttps://www.stageleft.com/ Catherine Lombardi Restauranthttps://www.catherinelombardi.com/ Stage Left Wineshophttps://www.stageleftwineshop.com/ To hear more about food, wine and the finer things in life:https://www.instagram.com/restaurantguyspodcast/https://www.facebook.com/restaurantguysReach Out to The Guys!TheGuys@restaurantguyspodcast.com**Become a Restaurant Guys Regular and get two bonus episodes per month, bonus content and Regulars Only events.**Click Below!https://www.buzzsprout.com/2401692/subscribe

Jess is joined by indie cinema queen GUINEVERE TURNER (@guinevereturner)! Topics — writing & appearing in THE L WORD, being caught on HBO's TAXICAB CONFESSIONS in 1994 right as her debut film (GO FISH) was in theaters, inspiring Kevin Smith's CHASING AMY, the iconic East Village lesbian / rock bar Meow Mix and co-writing the Christian Bale film AMERICAN PSYCHO. Plus — her experiences dating Portia de Rossi, Tracy Chapman and Kd Lang... and more! 

From culinary classrooms to cocktail culture, Sother Teague has built one of the most distinctive bars in the world... Amor y Amargo in New York's East Village by doing what few dared: saying no to juice, sugar and shakers, and saying yes to bitter, spirit-forward drinks built on precision and hospitality.In this episode, Damian sits down with the bartender, author and educator to talk about how a career that began in kitchens shaped his approach behind the bar, why “bitterness is the grown-up flavour,” and how a 240-square-foot pop-up turned into a global benchmark for flavour integrity and service culture.

Nick Tamburo and Nikita Malhotra are the chef and wine director of Smithereens, a New England-style seafood spot in the East Village. Their thoughtful, imaginative takes on regional culinary traditions and their own cravings result in a totally singular restaurant—and today on the show, we're unpacking how food and drinks combine at Smithereens. And at the top of the show, we have a great conversation with Will Thompson. He's co-owner of the modern steakhouse Sunny's in Miami. He gives us his top five meals that have inspired his long career working in bars and restaurants. This is part of a new recurring segment with Resy, where Resy editors, writers, and partner chefs discuss compelling stories and discuss the latest in food and dining culture. The views expressed in this podcast are those of the speakers – not of Resy—and do not constitute professional advice. Learn more about your ad choices. Visit megaphone.fm/adchoices

Take 20% off a paid annual ‘Storm' subscription through Monday, Oct. 27, 2025.WhoJared Smith, Chief Executive Officer of Alterra Mountain CompanyRecorded onOctober 22, 2025About Alterra Mountain CompanyAlterra is skiing's Voltron, a collection of super-bots united to form one super-duper bot. Only instead of gigantic robot lions the bots are gigantic ski areas and instead of fighting the evil King Zarkon they combined to battle Vail Resorts and its cackling mad Epic Pass. Here is Alterra's current ski-bot stable:Alterra of course also owns the Ikon Pass, which for the 2025-26 winter gives skiers all of this:Ikon launched in 2018 as a more-or-less-even competitor to Epic Pass, both in number and stature of ski areas and price, but long ago blew past its mass-market competitor in both:Those 89 total ski areas include nine that Alterra added last week in Japan, South Korea, and China. Some of these 89 partners, however, are so-called “bonus mountains,” which are Alterra's Cinderellas. And not Cinderella at the end of the story when she rules the kingdom and dines on stag and hunts peasants for sport but first-scene Cinderella when she lives in a windowless tower and wears a burlap dress and her only friends are talking mice. Meaning skiers can use their Ikon Pass to ski at these places but they are not I repeat NOT on the Ikon Pass so don't you dare say they are (they are).While the Ikon Pass is Alterra's Excalibur, many of its owned mountains offer their own season passes (see Alterra chart above). And many now offer their own SUPER-DUPER season passes that let skiers do things like cut in front of the poors and dine on stag in private lounges:These SUPER-DUPER passes don't bother me though a lot of you want me to say they're THE END OF SKIING. I won't put a lot of effort into talking you off that point so long as you're all skiing for $17 per day on your Ikon Passes. But I will continue to puzzle over why the Ikon Session Pass is such a very very bad and terrible product compared to every other day pass including those sold by Alterra's own mountains. I am also not a big advocate for peak-day lift ticket prices that resemble those of black-market hand sanitizer in March 2020:Fortunately Vail and Alterra seem to have launched a lift ticket price war, the first battle of which is The Battle of Give Half Off Coupons to Your Dumb Friends Who Don't Buy A Ski Pass 10 Months Before They Plan to Ski:Alterra also runs some heli-ski outfits up in B.C. but I'm not going to bother decoding all that because one reason I started The Storm was because I was over stories of Bros skiing 45 feet of powder at the top of the Chugach while the rest of us fretted over parking reservations and the $5 replacement cost of an RFID card. I know some of you are like Bro how many stories do you think the world needs about chairlifts but hey at least pretty much anyone reading this can go ride them.Oh and also I probably lost like 95 percent of you with Voltron because unless you were between the ages of 7 and 8 in the mid-1980s you probably missed this:One neat thing about skiing is that if someone ran headfirst into a snowgun in 1985 and spent four decades in a coma and woke up tomorrow they'd still know pretty much all the ski areas even if they were confused about what's a Palisades Tahoe and why all of us future wussies wear helmets. “Damn it, Son in my day we didn't bother and I'm just fine. Now grab $20 and a pack of smokes and let's go skiing.”Why I interviewed himFor pretty much the same reason I interviewed this fellow:I mean like it or not these two companies dominate modern lift-served skiing in this country, at least from a narrative point of view. And while I do everything I can to demonstrate that between the Indy Pass and ski areas not in Colorado or Utah or Tahoe plenty of skier choice remains, it's impossible to ignore the fact that Alterra's 17 U.S. ski areas and Vail's 36 together make up around 30 percent of the skiable terrain across America's 509 active ski areas:And man when you add in all U.S. Epic and Ikon mountains it's like dang:We know publicly traded Vail's Epic Pass sales numbers and we know those numbers have softened over the past couple of years, but we don't have similar access to Alterra's numbers. A source with direct knowledge of Ikon Pass sales recently told me that unit sales had increased every year. Perhaps some day someone will anonymously message me a screenshot code-named Alterra's Big Dumb Chart documenting unit and dollar sales since Ikon's 2018 launch. In the meantime, I'm just going to have to keep talking to the guy running the company and asking extremely sly questions like, “if you had to give us a ballpark estimate of exactly how many Ikon Passes you sold and how much you paid each partner mountain and which ski area you're going to buy next, what would you say?”What we talked aboutA first-to-open competition between A-Basin and Winter Park (A-Basin won); the allure of skiing Japan; Ikon as first-to-market in South Korea and China; continued Ikon expansion in Europe; who's buying Ikon?; bonus mountains; half-off friends tickets; reserve passes; “one of the things we've struggled with as an industry are the dynamics between purchasing a pass and the daily lift ticket price”; “we've got to find ways to make it more accessible, more affordable, more often for more people”; Europe as a cheaper ski alternative to the West; “we are focused every day on … what is the right price for the right consumer on the right day?”; “there's never been more innovation” in the ski ticket space; Palisades Tahoe's 14-year-village-expansion approval saga; America's “increasingly complex” landscape of community stakeholders; and Deer Valley's massive expansion.What I got wrong* We didn't get this wrong, but when we recorded this pod on Wednesday, Smith and I discussed which of Alterra's ski areas would open first. Arapahoe Basin won that fight, opening at 3 p.m. on Saturday, Oct. 25, which was yesterday unless you're reading this in the future.* I said that 40 percent of all Epic, Ikon, and Indy pass partners were outside of North America. This is inaccurate: 40 percent (152) of those three passes' combined 383 partners is outside the United States. Subtracting their 49 Canadian ski areas gives us 103 mountains outside of North America, or 27 percent of the total.* I claimed that a ski vacation to Europe is “a quarter of the price” of a similar trip to the U.S. This was hyperbole, and obviously the available price range of ski vacations is enormous, but in general, prices for everything from lift tickets to hotels to food tend to be lower in the Alps than in the Rocky Mountain core.* It probably seems strange that I said that Deer Valley's East Village was great because you could drive there from the airport without hitting a spotlight and also said that the resort would be less car-dependent. What I meant by that was that once you arrive at East Village, it is – or will be, when complete – a better slopeside pedestrian village experience than the car-oriented Snow Park that has long served as the resort's principal entry point. Snow Park itself is scheduled to evolve from parking-lot-and-nothing-else to secondary pedestrian village. The final version of Deer Valley should reduce the number of cars within Park City proper and create a more vibrant atmosphere at the ski area.Questions I wish I'd askedThe first question you're probably asking is “Bro why is this so short aren't your podcasts usually longer than a Superfund cleanup?” Well I take what I can get and if there's a question you can think of related to Ikon or Alterra or any of the company's mountains, it was on my list. But Smith had either 30 minutes or zero minutes so I took the win.Podcast NotesOn Deer ValleyI was talking to the Deer Valley folks the other day and we agreed that they're doing so much so fast that it's almost impossible to tell the story. I mean this was Deer Valley two winters ago:And this will be Deer Valley this winter:Somehow it's easier to write 3,000 words on Indy Pass adding a couple of Northeast backwaters than it is to frame up the ambitions of a Utah ski area expanding by as much skiable acreage as all 30 New Hampshire ski areas combined in just two years. Anyway Deer Valley is about to be the sixth-largest ski area in America and when this whole project is done in a few years it will be number four at 5,700 acres, behind only Vail Resorts' neighboring Park City (7,300 acres), Alterra's own Palisades Tahoe (6,000 acres), and Boyne Resorts' Big Sky (5,850 acres).On recent Steamboat upgradesYes the Wild Blue Gondola is cool and I'm sure everyone from Baton-Tucky just loves it. But everything I'm hearing out of Steamboat over the past couple of winters indicates that A) the 650-acre Mahogany Ridge expansion adds a fistfighting dimension to what had largely been an intermediate ski resort, and that, B) so far, no one goes over there, partially because they don't know about it and partially because the resort only cut one trail in the whole amazing zone (far looker's left):I guess just go ski this one while everyone else still thinks Steamboat is nothing but gondolas and Sunshine Peak.On Winter Park being “on deck”After stringing the two sides of Palisades Tahoe together with a $75 trillion gondola and expanding Steamboat and nearly tripling the size of Deer Valley, all signs point to Alterra next pushing its resources into actualizing Winter Park's ambitious masterplan, starting with the gondola connection to town (right side of map):On new Ikon Pass partners for 2025-26You can read about the bonus partners above, but here are the write-ups on Ikon's full seven/five-day partners:On previous Alterra podcastsThis was Smith's second appearance on the pod. Here's number one, from 2023:His predecessor, Rusty Gregory, appeared on the show three times:I've also hosted the leaders of a bunch of Alterra leaders on the pod, most recently A-Basin and Mammoth:And the heads of many Ikon Pass partners – most recently Killington and Sun Valley:On U.S. passes in JapanEpic, Ikon, Indy, and Mountain Collective are now aligned with 48 ski areas in Japan – nearly as many as the four passes have signed in Canada:On EuropeAnd here are the European ski areas aligned with Epic, Ikon, Indy, and Mountain Collective – the list is shorter than the Japanese list, but since each European ski area is made up of between one and 345 ski areas, the actual skiable acreage here is likely equal to the landmass of Greenland:On skier and ski area growth in ChinaChina's ski industry appears to be developing rapidly - I'm not sure what to make of the difference between “ski resorts” and “ski resorts with aerial ropeways.” Normally I'd assume that means with or without lifts, but that doesn't make a lot of sense and sometimes nations frame things in very different ways.On the village at Palisades TahoeThe approval process for a village expansion on the Olympic side of Palisades Tahoe was a very convoluted one. KCRA sums the outcome up well (I'll note that “Alterra” did not call for anything in 2011, as the company didn't exist until 2017):Under the initial 2011 application, Alterra had called for the construction of 2,184 bedrooms. That was reduced to 1,493 bedrooms in a 2014 revised proposal where 850 housing units — a mix of condominiums, hotel rooms and timeshares — were planned. The new agreement calls for a total of 896 bedrooms.The groups that pushed this downsizing were primarily Keep Tahoe Blue and Sierra Watch. Smith is very diplomatic in discussing this project on the podcast, pointing to the “collaboration, communication, and a little bit of compromise” that led to the final agreement.I'm not going to be so diplomatic. Fighting dense, pedestrian-oriented development that could help reconfigure traffic patterns and housing availability in a region that is choking on ski traffic and drowning in housing costs is dumb. The systems for planning, approving, and building anything that is different from what already exists in this nation are profoundly broken. The primary issue is this: these anti-development crusaders position themselves as environmental defenders without acknowledging (or, more likely, realizing), that the existing traffic, blight, and high costs driving their resistance is a legacy of haphazard development in past decades, and that more thoughtful, human-centric projects could mitigate, rather than worsen, these concerns. The only thing an oppose-everything stance achieves is to push development farther out into the hinterlands, exacerbating sprawl and traffic.British Columbia is way ahead of us here. I've written about this extensively in the past, and won't belabor the point here except to cite what I wrote last year about the 3,711-home city sprouting from raw wilderness below Cypress Mountain, a Boyne-owned Ikon Pass partner just north of Vancouver:Mountain town housing is most often framed as an intractable problem, ingrown and malignant and impossible to reset or rethink or repair. Too hard to do. But it is not hard to do. It is the easiest thing in the world. To provide more housing, municipalities must allow developers to build more housing, and make them do it in a way that is dense and walkable, that is mixed with commerce, that gives people as many ways to move around without a car as possible.This is not some new or brilliant idea. This is simply how humans built villages for about 10,000 years, until the advent of the automobile. Then we started building our spaces for machines instead of for people. This was a mistake, and is the root problem of every mountain town housing crisis in North America. That and the fact that U.S. Americans make no distinction between the hyper-thoughtful new urbanist impulses described here and the sprawling shitpile of random buildings that are largely the backdrop of our national life. The very thing that would inject humanity into the mountains is recast as a corrupting force that would destroy a community's already-compromised-by-bad-design character.Not that it will matter to our impossible American brains, but Canada is about to show us how to do this. Over the next 25 years, a pocket of raw forest hard against Cypress' access road will sprout a city of 3,711 homes that will house thousands of people. It will be a human-scaled, pedestrian-first community, a city neighborhood dropped onto a mountainside. A gondola could connect the complex to Cypress' lifts thousands of feet up the mountain – more cars off the road. It would look like this (the potential aerial lift is not depicted here):Here's how the whole thing would set up against the mountain:And here's what it would be like at ground level:Like wow that actually resembles something that is not toxic to the human soul. But to a certain sort of Mother Earth evangelist, the mere suggestion of any sort of mountainside development is blasphemous. I understand this impulse, but I believe that it is misdirected, a too-late reflex against the subdivision-off-an-exit-ramp Build-A-Bungalow mentality that transformed this country into a car-first sprawlscape. I believe a reset is in order: to preserve large tracts of wilderness, we should intensely develop small pieces of land, and leave the rest alone. This is about to happen near Cypress. We should pay attention.Given the environmental community's reflexive and vociferous opposition to a recent proposal to repurpose tracts of not-necessarily-majestic wilderness for housing, I'm not optimistic that we possess the cultural brainpower to improve our own lives through policy. Which is why I've been writing more about passes and less about our collective ambitions to make everything from the base of the lifts outward as inconvenient and expensive as possible.The Storm explores the world of lift-served skiing year-round. Join us for 20% off the annual rate through Monday, Oct. 27, 2025. Get full access to The Storm Skiing Journal and Podcast at www.stormskiing.com/subscribe

David Wojnarowicz was an influential New York artist and AIDS activist who established himself in the East Village scene in the 70s and 80s. The Leslie-Lohman Museum of Art, which curates work from LGBTQ+ artists, has organized a new exhibition around a series Wojnarowicz made inspired by French poet Arthur Rimbaud. Curator Antonio Sergio Bessa details what you can see in the show, "David Wojnarowicz: Arthur Rimbaud in New York," on view through January 18, 2026.

What's happening with America's largest ski resort expansion in decades? Deer Valley Resort is upping the game with 10 new lifts, 80+ new ski runs, and the debut of the all-new Deer Valley East Village, only 40 minutes from Salt Lake City International Airport.In this episode of Last Chair presented by High West, we ride high atop Bald Mountain at Snowshoe Tommy's Cabin with:- Steve Graff, VP of Mountain Operations, Deer Valley Resort- Garrett Lang, Deer Valley Mountain Operations- Shawn Marquardt, Doppelmayr Ski LiftsHear how the new East Village Express gondola links Park Peak via Big Dutch, get insider details on cutting-edge lift technology, and find out which new Deer Valley runs should be on your hit list this winter.

What's happening with America's largest ski resort expansion in decades? Deer Valley Resort is upping the game with 10 new lifts, 80+ new ski runs, and the debut of the all-new Deer Valley East Village, only 40 minutes from Salt Lake City International Airport.In this episode of Last Chair presented by High West, we ride high atop Bald Mountain at Snowshoe Tommy's Cabin with:- Steve Graff, VP of Mountain Operations, Deer Valley Resort- Garrett Lang, Deer Valley Mountain Operations- Shawn Marquardt, Doppelmayr Ski LiftsHear how the new East Village Express gondola links Park Peak via Big Dutch, get insider details on cutting-edge lift technology, and find out which new Deer Valley runs should be on your hit list this winter.

The world learned about Kiersten Rickenbach Cerveny in October 2015 when she was found dead in an East Village apartment. A wealthy Long Island dermatologist and mother of three kids, Kiersten's life looked flawless from the outside. Lena and Alissa discuss Kiersten's life and death, the disconnect between private vs. public life, and what it means to party when you're in your 40s.  This episode was first published on 12/26/2019. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

New York's highest court has upheld a law moving town and county elections to even-numbered years, rejecting a Republican challenge that claimed the change was unconstitutional. Meanwhile, about 1,200 dogs and their owners are expected to hit the East Village this Sunday for the 35th annual Tompkins Square Halloween Dog Parade. And four years after New York City began requiring salary ranges in job postings, a new proposal would expand pay transparency rules to include current employees.

Trails report from Mountain Trails Foundation, Summit County wastewater shows no detection of measles and low levels of COVID-19, Midway construction to close Center Street, Summit County Councilmember Tonja Hanson recaps Wednesday's council meeting, Local MIDA board adds $60M bond for East Village infrastructure, PCSD Superintendent Lyndsay Huntsman and board member Meredith Reed discuss the district's strategic goals, Miners end regular season with a blowout win and Wasps lose, Park City High School Mountain Bike Team prepares for state champs, Mountain Mediation Center board member and attorney Anne Cameron and Executive Director Gretchen Lee share details on the upcoming divorce options workshop, Recycle Utah will move to Silver Summit after summer 2026, Park City Council still formulating Bonanza Park plans and smoke from prescribed burn to drift into Summit County.

Andre Haghverdian, East Village Times Joins the Show To Recap The Aztecs Big Road Win Vs Nevada.

When Alissa Quart's 90-year-old mother received a terminal diagnosis, she faced a daunting question: what to do with 400 paintings created over three decades. Her solution was unconventional, distributing the work directly to neighbors, friends, and anyone who wanted to live with her mother's art. The story she shares with host Alyson Stanfield touches on something much larger: what artists actually need to sustain their practice and how we think about legacy when the traditional art world isn't an option. You'll learn: How to approach inventorying and distributing an artist's work when they can no longer do it themselves Why affordable housing is critical infrastructure for artists and what happens when creative communities are priced out The legal and economic barriers that prevent cities from supporting working artists How one New York Times article elevated an artist's work in ways decades of painting couldn't When to stop building an artist's legacy and how to set boundaries around the work HIGHLIGHTS 01:30 Barbara Quart's journey from East Village bohemian to 30 years of daily painting  05:40 The horror story that sparked a mission to honor her mother's wishes 08:20 Looking for external validation through local gallery shows in the Berkshires 10:40 The circumstances that allowed 30 years of sustained art practice 12:50 Why artists need community, not just queen bees but worker ants too 14:40 Legal barriers that restrict housing developments for artists 17:00 How art production creates billions in economic activity 23:10 Starting with an inventory and creating a catalog system 26:30 Women who inherit their husband's art and sacrifice their own lives 29:20 The art destruction party where artists let go of their work 34:10 How one piece in the New York Times changed everything 38:10 Barbara started painting again after the article's positive response 42:00 Collective joy and questioning the myth of individualism 44:00 The promise that consciousness can persist beyond the hand that picked up the brush

Andre Haghverdian, East Village Times Joins Us To Talk SDSU FB.

Don't forget to subscribe to our newsletter, Hyphenly; it's our no-fluff love letter with hot takes, heartfelt stories, and all the feels of living in between cultures. Come for the nuance, stay for the vibes! Link below https://hyphenly.beehiiv.com What happens when an engineer trades equations for macaroni? Immigrantly host Saadia Khan sits down with Sarita Ekya, co-founder of S'MAC, the iconic East Village spot that turned mac & cheese into a cultural phenomenon. In this episode, Sarita shares her experiences growing up as an immigrant kid in Canada, taking a leap of faith in New York City, and how comfort food became her canvas for creativity and community. From winning Food Network's Chopped to running a community fridge during the pandemic, she proves that food is never just about eating—it's about identity, belonging, and a whole lot of fun. Join us as we create new intellectual engagement for our audience. You can find more information at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠http://immigrantlypod.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Please share the love and leave us a review on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Apple Podcasts⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ & ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Spotify⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ to help more people find us!  You can connect with Saadia on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠IG @itssaadiak⁠⁠ Email: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠saadia@immigrantlypod.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Host & Producer: Saadia Khan I Content Writer: Saadia Khan I Editorial review: Shei Yu I Sound Designer & Editor: Lou Raskin I Immigrantly Theme Music: Simon Hutchinson | Other Music: Epidemic Sound Immigrantly Podcast is an Immigrantly Media Production. For advertising inquiries, contact us at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠info@immigrantlypod.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Don't forget to subscribe to our Apple Podcasts⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ channel ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠for insightful podcasts. Follow us on social media for updates and behind-the-scenes content. Learn more about your ad choices. Visit megaphone.fm/adchoices

Fardad Khayami, the chef-owner of Muse in Santa Monica, has a really great story. Raised in London, and a restaurant fan basically from birth, Fardad attended University of Southern California and started hosting his own pop-up dinners, first for friends and then for ticket holders. The waiting list reached over 6,000 names, and he eventually channeled that love for hospitality into his own restaurant—all before the age of 25. Muse is creative, a little cheffy, and a name to remember. We talk about Fardad's journey and one crazy first year of operating. At the top of the show, Eric Valdez completes the Resy Questionnaire. Eric is the chef at Naks, a high-energy Filipino restaurant in New York's East Village. We talk about food movies, dream dinner parties, and the best pizza in NYC. It's part of a new segment where Resy's editors, writers, and partner chefs will share compelling stories and discuss the latest in food and dining culture. The views expressed in this podcast are those of the speakers – not Resy - and do not constitute professional advice. Learn more about your ad choices. Visit megaphone.fm/adchoices

Hey Slaycaters, welcome to what might be the most insane case we've ever covered on this show. Which is really saying a lot. Not only does this case take place literally in our backyard of the East Village of New York City, at a time (late 80's/early 90's) when all three of us were in and around the area — but what actually transpired is beyond the scope of any nightmare you could imagine. The less you know the better — but let's just say poor Monika Beerle, a 26-year old dancer from Switzerland could not have found a worse roommate situation…or a worse roommate than Daniel Rakowitz, a man known for walking around Tompkins Square Park with his pet rooster. Please be warned — this one gets intense. As always thanks for Slaycating with us & please choose the people you decide to live with carefully! Slaycation is recorded at the Brooklyn Podcasting Studio by Josh Wilcox Editing is by Kelley Marcano MORE KIM!:  Subscribe to SLAYCATION PLUS and get weekly ‘More Kim' bonus episodes. SUBSCRIBE to SLAYCATION PLUS right in Apple Podcasts, or on our website: ⁠⁠https://plus.slaycation.wtf/supporters/pricing⁠⁠ SLAYCATERS ONLY:  Interact with the Hosts and get behind the scenes info, photos and more in our FACEBOOK GROUP: ⁠⁠https://www.facebook.com/groups/394778366758281⁠⁠ MERCH!  Top quality ‘Pack Your Body Bags" tote bags, as well as Slaycation T-shirts, towels, sandals, fanny packs, stickers and more available at:  ⁠⁠https://plus.slaycation.wtf/collections/all⁠⁠ MORE INFO:  to learn more about Slaycation, the Hosts go to: ⁠⁠www.slaycation.wtf⁠⁠ EMAIL:  ⁠⁠info@slaycation.wtf⁠⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

Andre Haghverdian, East Village Times Joins the Guys To Talk Aztecs Football.

Today's New York neighborhood called NoHo, wedged between Greenwich Village and the East Village, holds the stories of many people and places that then went on to become deeply associated with the great Gilded Age.The Astor family began their dynasty here in both investment and real estate as did the well-known Dutch-American merchant family the Schermerhorns.Caroline Schermerhorn, who became the famed Mrs. Astor, grew up right here on Bond Street along with many members of her family. NoHo today still contains many remnants of its early 19th-century glamorous past and sites where the tensions between the wealthy residents of the Lafayette Place neighborhood clashed with the growing immigrant population just one street away on the Bowery. Bowery Boys Walks tour guide Aaron Schielke joins Carl Raymond of the Gilded Gentleman podcast for a look at this fascinating neighborhood, which includes stories of the rich and famous, as well as the macabre details of a grisly 19th-century murder that took place on Bond Street that remains unsolved to this day. Take a Bowery Boys Walks tour with Aaron! Find dates to his NoHo tours here and other walking tours here.This episode was originally released in the Gilded Gentleman feed in March 2025. The show was edited and produced by Kieran Gannon.

New York City has endless cuisine options, but possibly the strongest represented category is Italian restaurants. In this episode, we'll cover the 10 best Italian restaurants in NYC, at least according to us.

Austin Butler, Zoë Kravitz and Bad Bunny star in Caught Stealing, the new grungy, throwback film from Darren Aronofsky. Butler plays Hank, a sad sack bartender at a sticky East Village dive bar in the 1990s. When his British punk neighbor Russ, played by Matt Smith, asks him to cat sit, Hank finds himself in the wrong place at the wrong time. His life comes apart as the criminal underworld becomes convinced he knows where a huge cache of stolen cash can be found. Will Hank fight back? Can he? Follow Pop Culture Happy Hour on Letterboxd at letterboxd.com/nprpopculture Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

In this episode, Kelly is joined by the founder of "NYC for Free", Rebeka Getty to discuss all of the free things that New York has to offer.  Kelly asks Rebeka how she got started on her content journey: What her origin story was, the challenges of getting a page going during covid, and how she finds the events she posts about.  Rebeka tells kelly about her favorite free events in the city, from shakesphere in the park, to gorgeous city views, to sponsored pop up events!  Rebeka talks about all of the free concerts that happen in the city. She remembers the time she saw Ed Sheeran perform live on the streets of SoHo, and tells everyone how she found out early about the Jonas Brothers Concert on the Ferry. Kelly tells her about the time that he saw Jimmy Fallon and Alanis Morissette perform live at a subway station.  Kelly asks Rebeka about content creation: What are some of the challenges she faces, if she works with a team of creators, and how does she deal with the hate that they get from people in the comments.  Finishing the show off, Kelly asks Rebeka some rapid fire questions about her opinions on classic NYC topics: Pizza or Bagel, Subway or walking, Favoirte park in the city.   But above all else; Rebeka Getty is a New Yorker.   Kelly Kopp's Social Media: @NewYorkCityKopp   Rebeka Getty's Social Media: NYC_ForFree Chapters (00:00:00) - New Yorkers: The Podcast(00:01:04) - Rebeka Getty on NYC for Free(00:01:49) - Rebeka's NYC for Free Instagram Story(00:03:31) - How Covid Pandemic Affected My Account(00:07:13) - Beyond Social Media, Do You Have a Plan for the Weekend?(00:08:00) - Do You Know You Are A Leo?(00:09:47) - Free NYC Experience You Didn't Know About(00:11:29) - Ed Sheeran Performs Unplanned Free Event(00:12:53) - Jay Goes Bonkers At The Jonas Brothers Concert(00:16:23) - "It's All Meant to Be..." In New York City(00:17:21) - How Do You Find New York City's Best Events?(00:18:16) - Have Free Events In NYC Popped Up?(00:19:37) - Free Things to Do in NYC(00:21:40) - Which Season Is the Best for Free Activities in NYC?(00:22:57) - The New Yorkers' Love of NYC(00:25:09) - hidden gem: community gardens in East Village(00:28:01) - NYC is a very expensive city, but so many free things(00:31:52) - How To Get Your Husband to Attend an Event(00:32:34) - How to Run NYC For Free(00:35:12) - Rebeka Getty on Working With New York City Institutions(00:36:18) - Subway Q&A(00:38:29) - Favorite NYC Neighborhoods(00:40:03) - What It Means to Be a New Yorker(00:40:59) - The New Yorkers Podcast: Episode 291

Today's guest is Shilpa Uskokovic, senior food editor at Bon Appétit and co-owner of Hani's Bakery in New York City. Shilpa is a Chennai-born CIA grad who worked in fine dining restaurants before transitioning to the test kitchen. She and her husband, Miro, own and operate Hani's, a bakery in the East Village with nostalgic and seasonal treats.Shilpa joins host Jessie Sheehan to talk about her first bake (a Victoria sponge cake), the magic of Chennai tea stalls, Bon Appétit's Bake Club, and why Hani's location means so much to her. Then, the duo dive into her Peanut Butter Rice Crispy Treats With Brown Butter (with two secret ingredients!) and the story behind Hani's pistachio halvah version.Click here for Shilpa's Peanut Butter Rice Crispy Treats With Brown Butter recipe on Bon Appétit.Thank you to California Prunes for their support. Jubilee L.A. tickets are on sale now!Subscribe here to get The Italy Issue, out this September.Visit cherrybombe.com for subscriptions, show transcripts, and tickets to upcoming events.More on Shilpa: Instagram, Hani's Bakery, Bon Appétit recipesMore on Jessie: Instagram, “Salty, Cheesy, Herby, Crispy Snackable Bakes” cookbook

We like to picture Theodore Roosevelt as this vigorous, energetic, hyper-manly guy. And he was. But he didn't start that way. He began as a bedridden, asthma-stricken boy in New York's East Village. He went through a lot to become the guy who led the charge up San Juan Hill and served as our 36th president.

What if your favorite hidden gem of a café never really existed—or hasn't in decades? In this eerie time slip encounter, a traveler visiting New York City in 1999 stumbles into a charming 1960s-style coffeehouse in the East Village. The food is amazing, the prices shockingly low, and the staff and customers all seem perfectly in tune with another era. But when he returns the next night for dinner, he finds nothing but a boarded-up, burned-out storefront—abandoned since the 1970s. Was it a glitch in time? A haunting? Or something that refuses to be forgotten? If you have a real ghost story or supernatural event to report, please write into our show at http://www.realghoststoriesonline.com/ or call 1-855-853-4802! Want AD-FREE & ADVANCE RELEASE EPISODES? Become a Premium Subscriber Through Apple Podcasts now!!! https://itunes.apple.com/us/podcast/real-ghost-stories-online/id880791662?mt=2&uo=4&ls=1 Or Patreon: http://www.patreon.com/realghoststories Or Our Website: http://www.ghostpodcast.com/?page_id=118 

On this episode, Tony Brueski digs into the shadowy corners of Beetle House NYC, a Tim Burton-themed restaurant that may offer more than just eerie ambiance and ghoulish cocktails. While the décor is intentionally spooky, reports from staff and guests suggest something more uninvited is lurking behind the scenes. Cold spots, whispers, and a well-dressed phantom known only as “The Gentleman” are just the beginning.   Tony explores the building's historic past, the East Village's long-standing paranormal reputation, and the growing number of chilling experiences being documented inside the restaurant's walls. Is it all part of the performance—or is something supernatural joining the dinner party? From psychological theories to ghost hunter investigations, we dive headfirst into one of Manhattan's most unsettling modern haunts. 

On this episode, Tony Brueski digs into the shadowy corners of Beetle House NYC, a Tim Burton-themed restaurant that may offer more than just eerie ambiance and ghoulish cocktails. While the décor is intentionally spooky, reports from staff and guests suggest something more uninvited is lurking behind the scenes. Cold spots, whispers, and a well-dressed phantom known only as “The Gentleman” are just the beginning.   Tony explores the building's historic past, the East Village's long-standing paranormal reputation, and the growing number of chilling experiences being documented inside the restaurant's walls. Is it all part of the performance—or is something supernatural joining the dinner party? From psychological theories to ghost hunter investigations, we dive headfirst into one of Manhattan's most unsettling modern haunts.