Podcasts about Eighth Avenue

 EPPY & NNPA Award-Editor & Publisher Honoree Elinor Tatum currently serves as publisher, editor-in-chief, and CEO. The newspaper launched a companion web site and online edition, amsterdamnews.com, in 2009. She was recently awarded the prestigious the EPPY Award honor excellence in digital publishing by Editor & Publisher Magazine.She is the first Owner/ Black Publisher to have won the EPPY. New York Amsterdam New has won over 30  Presitigious Awards for Oustanding Jounalism!The Amsterdam News was founded on December 4, 1909, and is headquartered in the Harlem neighborhood of Upper Manhattan. The newspaper takes its name from its original location one block east of Amsterdam Avenue, at West 65th Street and Broadway.. An investment of US$10 in 1909 (equivalent to $339 in 2023) turned the Amsterdam News into one of New York's largest and most influential Black-owned-and-operated business institutions, and one of the nation's most prominent ethnic publications. It was later reported that James Henry Anderson published the first copy: "...with a dream in mind, $10 in his pocket, six sheets of paper and two pencils."The Amsterdam News was one of about 50 black-owned newspapers in the United States at the time it was founded. It was sold for 2 cents a copy (equivalent to $1 in 2023) from Anderson's home at 132 West 65th Street, in the San Juan Hill section of Manhattan's Upper West Side. With the spread of Blacks to Harlem and the growing success of the paper, Anderson moved the Amsterdam News uptown to 17 West 135th Street in 1910. In 1916, it moved to 2293 Seventh Avenue, and in 1938, it moved again, to 2271 Seventh Avenue. In the early 1940s, the paper relocated to its present headquarters at 2340 Eighth Avenue (also known in Harlem as Frederick Douglass Boulevard).  Subscribe @ amsterdamnews.comIn August 1982, Wilbert A. Tatum, chairman of the AmNews Corporation's board of directors and the paper's editor-in-chief, became publisher and chief executive officer. Under Tatum's leadership, the Amsterdam News broadened its editorial perspective, particularly in international affairs. This expanded thrust has produced considerable interest and readership from all sectors of the local, national and international communities.In July 1996, Tatum bought out the last remaining investor, putting the future of the paper firmly in the hands of the Tatum family. In December 1997, Tatum stepped down as publisher and editor-in-chief and passed the torch to his daughter, Elinor Ruth Tatum, who at the age of 26 became one of the youngest newspaper publishers in the United States. Mr. Tatum died in 2009.© 2025 Building Abundant Success!!2025 All Rights ReservedHeart Media @ https://tinyurl.com/iHeartBASAmazon ~ https://tinyurl.com/AmzBASAudacy:  https://tinyurl.com/BASAud

"Is it the tree that's held in trust, or just the fruit?" ___ The Ps came to Court arguing that one D - a trustee, DTee - held shares in the other D, a Co, on trust for the Ps: [1], [3], [4] The Ps further sough for the shares be transferred to the Ps: [2]The Co's defence essentially put the Ps to proof - a “non admission”: [5] DTee took a more expansive approach: [5] - [8] After particulars of its defence were sought, DTee asserted that if the Ps were benefs of a trust including shares in the Co, the Ps were entitled only to the “benefit” of those shares (e.g. dividends and franking credits) rather than the shares themselves: [9], [14], [15] The assets underpinning the structure related to property development: [10] Evidence suggested the Ps had made some financial contribution, despite opacity as to the structure of the transaction: [11] In 2023, the parties entered into Declarations of Trust: [20] DTee pointed to evidence suggesting that a unit trust was contemplated by the parties abrogating the need for trust decs. The Court found that even if the trust decs were illogical or unnecessary, they bound the parties and would need to be considered: [18] Dividend statements suggesting dividends and franking credits passed to the Ps were referred to, absent an explanation as to how this was possible noting the Ps were not shareholders: [19] The trust decs and the Co's conduct were consistent with the shares, and not merely the “benefit” of the shares, being held on trust for the Ps: [21] - [23] That is: the corpus of the trust included the tree, and not merely the fruit of the tree: [20] The Ps said the trust decs unambiguously referred to the shares, and now called for their transfer whether pursuant to Saunders v Vautier or the terms of the decs themselves: [25], [26] After considering the application principles of construction, the Court founds the trust decs were clear and that (i) they extend to a trust over the shares themselves (not merely the “benefit” of them); and (ii) create a covenant to transfer the shares on demand: [29] DTee queried whether the corpus of the trust was sufficiently certain, noting DTee held a “pool” of shares and that none of the shares in the pool could be attributed precisely to an individual P: [30], [34] The Court disagreed, finding that a beneficiary could have a beneficial interest in a specified number of a larger parcel of shares: [31] - [34] Having so found, the Court considered orders transferring the shares back to the Ps (whether pursuant to Saunders v Vautier or the terms of the trust decs) were appropriate: [35] ___ Please follow James d'Apice, Coffee and a Case Note, and Gravamen on your favourite platform! www.gravamen.com.au

2024 EPPY Award-Editor & Publisher Honoree Elinor Tatum currently serves as publisher, editor-in-chief, and CEO. The newspaper launched a companion web site and online edition, amsterdamnews.com, in 2009. -She was recently awarded the prestigious 2024  EPPY, The EPPY Awards honor excellence in digital publishing by Editor & Publisher Magazine.She is the first Owner/ Black Publisher to have won the EPPY. New York Amsterdam New has won over 30  Presitigious Awards for Oustanding Jounalism in the past few years!The Amsterdam News was founded on December 4, 1909, and is headquartered in the Harlem neighborhood of Upper Manhattan. The newspaper takes its name from its original location one block east of Amsterdam Avenue, at West 65th Street and Broadway.. An investment of US$10 in 1909 (equivalent to $339 in 2023) turned the Amsterdam News into one of New York's largest and most influential Black-owned-and-operated business institutions, and one of the nation's most prominent ethnic publications. It was later reported that James Henry Anderson published the first copy: "...with a dream in mind, $10 in his pocket, six sheets of paper and two pencils."The Amsterdam News was one of about 50 black-owned newspapers in the United States at the time it was founded. It was sold for 2 cents a copy (equivalent to $1 in 2023) from Anderson's home at 132 West 65th Street, in the San Juan Hill section of Manhattan's Upper West Side. With the spread of Blacks to Harlem and the growing success of the paper, Anderson moved the Amsterdam News uptown to 17 West 135th Street in 1910. In 1916, it moved to 2293 Seventh Avenue, and in 1938, it moved again, to 2271 Seventh Avenue. In the early 1940s, the paper relocated to its present headquarters at 2340 Eighth Avenue (also known in Harlem as Frederick Douglass Boulevard).  Subscribe @ amsterdamnews.comIn August 1982, Wilbert A. Tatum, chairman of the AmNews Corporation's board of directors and the paper's editor-in-chief, became publisher and chief executive officer. Under Tatum's leadership, the Amsterdam News broadened its editorial perspective, particularly in international affairs. This expanded thrust has produced considerable interest and readership from all sectors of the local, national and international communities.In July 1996, Tatum bought out the last remaining investor, putting the future of the paper firmly in the hands of the Tatum family. In December 1997, Tatum stepped down as publisher and editor-in-chief and passed the torch to his daughter, Elinor Ruth Tatum, who at the age of 26 became one of the youngest newspaper publishers in the United States. Mr. Tatum died in 2009.© 2024 Building Abundant Success!!2024 All Rights ReservedHeart Media @ https://tinyurl.com/iHeartBASAmazon ~ https://tinyurl.com/AmzBASAudacy:  https://tinyurl.com/BASAud

Jesse Starcher and Mark Radulich present their The Deuce 2017 Season 1 TV Review!The Deuce is an American drama television series created by David Simon and George Pelecanos, set in New York City during the 1970s and 1980s. The series' pilot began filming in October 2015 and was commissioned in January 2016. It is broadcast by HBO in the United States and premiered on September 10, 2017. HBO made the pilot available through its streaming services and affiliates on August 25, 2017.The Deuce features a large ensemble cast including James Franco playing twins and Maggie Gyllenhaal as an ambitious former prostitute who works to become an adult filmmaker. It tells the story of the Golden Age of Porn, the legalization and rise of the porn industry in New York City that began in the 1970s. Themes explored include government and police corruption, the violence of the drug epidemic, and the real-estate booms and busts that coincided with the change. The show's title is derived from the nickname for 42nd Street between Seventh Avenue and Eighth Avenue.Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network.Mark Radulich and his wacky podcast on all the things:https://linktr.ee/markkind76alsoFB Messenger: Mark Radulich LCSWTiktok: @markradulichtwitter: @MarkRadulich

PREVIEW: Asking what future for the migrants lining Manhattan Eighth Avenue in a heat wave? Chris Riegel, CEO, Scala.com Photo: 1915

#ScalaReport: Hundreds of migrants sitting on the sidewalk of Eighth Avenue, children playing. Chris Riegel, CEO, Scala.com https://www.nationalreview.com/corner/on-illegal-immigration-mayor-eric-adams-is-an-incoherent-mess/

This is Stephen Schmidt from the Gazette Digital News Desk, and I'm here with your update for August 10, 2023.According to the National Weather Service there will be some areas of dense fog before 10 a.m. in the Cedar Rapids area. Otherwise it will be mostly sunny, with a high near 88 degrees. There will be a slight chance of rain overnight Thursday into Friday.The Swisher pickup driver accused of hitting abortion protesters at a June 24, 2022, demonstration testified Wednesday that his vehicle didn't hit anyone.The pickup driver, David Alan Huston, 54, is on trial this week in Linn County District Court on charges of assault by use of a dangerous weapon-vehicle, an aggravated misdemeanor, and leaving the scene of a personal injury accident. If convicted, he faces up to two years in prison.Huston said he didn't know about the court ruling and that he didn't know about the protest.Huston said he had stopped at the Second Street SE intersection behind a car.The traffic light cycled twice as protesters crossed Eighth Avenue. When the light was green again, he said, the car in front of him moved forward and then stopped, so he went into the other lane to go around the car that was in the intersection.The prosecution showed a surveillance video of the incident several times throughout the trial, which shows the truck driving into the crowd and continuing to move forward with demonstrators in front of it.Assistant Black Hawk County Attorney Heather Jackson, during cross-examination, asked if Huston was frustrated because he'd had to wait through two traffic light cycles. He said he wasn't.Jackson asked if he hadn't told Cedar Rapids police Sgt. Ryan Dunbar that he had “laid on the horn because people needed to get out of the road and this had gone on long enough.” He denied saying that until Jackson played him the police recording.Huston then admitted he had made those statements during a July 5, 2022, interview. He also later admitted telling police he was going at a “slow rate of speed, and if they would have had a brain, they would have gotten out of the way.”The jury will begin deliberating the case Thursday morning.A Washington County woman was killed Monday after the car she was driving was hit by a pickup truck in Iowa City.Kristina Pearson, 30, of Wellman, was driving north on Boyrum Street just before 1 p.m. Monday when her vehicle was hit by a truck heading east on Highway 6, causing her car to hit a third vehicle, according to the Iowa City Police Department.Pearson and a passenger in her car were taken to the University of Iowa Hospitals and Clinics, where Pearson died later that day. The passenger remains in critical condition, according to a Wednesday morning news release from police. No other injuries were reported.The driver of the truck — Drake Brezina, 24, of Riverside — was cited for a red light violation. The crash remains under investigation and additional charges are possible, authorities said.

On May 8, 1999, Nadine Gurczenski's body was discovered near the intersection of Victoria Avenue and Eighth Avenue, 8 km south of Vineland, Ontario. She was face up in the ditch, wearing nothing but knee-high stockings and no attempt had been made to conceal or cover her body. Nadine was primarily living in Toronto at the time of her death, but her body was found in the Niagara Region, nearly 100 km away. If you have any information about the unsolved murder of Nadine Gurczenski, please contact the Niagara Regional Police Homicide Unit online or by phone at 905-688-4111, extension 4200. To leave an anonymous tip, contact Crime Stoppers of Niagara online or by phone at 1-800-222-TIPS.   Sources: Dark Adaptation Podcast Instagram To Catch a Killer Cold Case #99-42125: Nadine Gurczenski Crime Stoppers Niagara Facebook Blueline Thorold Today Niagara Falls Review Freight Relocators Police Release Composite of Slaying Suspect

On June 19, 1909 the body of Miss Elsie Sigel, who worked as a missionary with her mother, was found murdered in a trunk on the top floor of 782 Eighth Avenue. She had been strangled by a rope, which was found tightly wound around her neck. This story has everything from overt racism to love triangles. Available wherever you stream podcasts! Be sure to Subscribe, Rate, & Review on iTunes! Support the show by becoming a sponsor on our Patreon: ⁠⁠⁠www.Patreon.com/NYMysteryMachine⁠⁠⁠ Buy NY Mystery Machine Tees: ⁠⁠⁠www.BelowTheCollar.com/NYMysteryMachine⁠⁠⁠ Don't forget to follow us on all the socials: Instagram: ⁠⁠⁠@NYMysteryMachine⁠⁠⁠ | TikTok: ⁠⁠⁠@NYMysteryMachine⁠⁠⁠ | Twitter: ⁠⁠⁠@NYMysteries⁠⁠⁠ | Facebook: ⁠⁠⁠@NYMysteryMachine⁠⁠⁠ THANK YOU TO OUR SPONSORS: BARKBOX: Use the link ⁠⁠⁠www.barkbox.com/NYMysteryMachine⁠⁠⁠ to get a Free Extra Month of BarkBox (valued at $35) when you sign up for multi-length plans. HUNT A KILLER: Receive 20% off your first Hunt a Killer subscription box at www.HuntAKiller.com with the code NYMYSTERYMACHINE at checkout!

A month before the August 1919 steel strike in Homestead, Pennsylvania, Mother Jones was arrested for addressing a large crowd on Eighth Avenue. And on August 26, 1919, Mine Workers organizer Fannie Sellins and miner Joseph Starzeleski were murdered by coal company guards on a picket line in Brackenridge, Pennsylvania. You'll hear their stories today from Charlie's Monday Marker, hosted by Dr. Charles McCollester and produced by the Battle of Homestead Foundation. Charlie's Monday Marker delves into the fascinating stories behind the more than 60 historical markers listed in "Labor History Sites in the Pittsburgh Region", a book authored by Dr. McCollester and Howard Scott in 2016 and published by Allegheny County Labor Council. Also on today's show, from Labor History in 2:00: The 1934 Filipino Lettuce Workers Strike, and The Man You've Probably Never Heard Of, But Should Have. Got a questions, comments or suggestions welcome, and to find out how you can be a part of Labor History Today, email us at LaborHistoryToday@gmail.com Labor History Today is produced by Union City Radio and the Kalmanovitz Initiative for Labor and the Working Poor. Hosted and produced by Chris Garlock.  #LaborRadioPod #History #WorkingClass #ClassStruggle @GeorgetownKILWP #LaborHistory @UMDMLA @ILLaborHistory @AFLCIO @StrikeHistory #LaborHistory @HomesteadFdn

Drummer Lars Ulrich was born into an upper-middle-class family in Gentofte, Denmark, on December 26, 1963. The son of Lone and tennis player Torben Ulrich. In February of 1973, Lars' father obtained passes for five of his friends to check out a Deep Purple (Smoke On the Water) concert held in the same stadium in Copenhagen as one of his tennis tournaments. When one of the dad's friends couldn't go, they gave their ticket to the nine-year-old Lars, who fell in love with the band and ran out and bought their album Fireball the next day. The concert and album greatly impacted Lars, inspiring the start of his music career. He received his first drum kit, a Ludwig, from his grandmother around 12 or 13. Lars initially intended to follow in his father's footsteps and become a badass tennis player, so he moved to Newport Beach, California, in the summer of 1980. Despite being ranked in the top ten tennis players of his age group in Denmark, Lars failed to make it into the seven-man Corona del Mar High School tennis team, solidifying his decision to focus on music.    So, while living in Los Angeles in late 1981, Lars placed an ad in the L.A. newspaper, The Recycler, which read, "Drummer looking for other metal musicians to jam with. Tygers of Pan Tang, Diamond Head and Iron Maiden."    Guitarists James Hetfield and Hugh Tanner of Leather Charm answered the advertisement.    James Alan Hetfield was born on August 3, 1963, in Downey, California, the son of Cynthia Bassett, a light opera singer, and Virgil Lee Hetfield, a truck driver. James was nine years old when he first began piano lessons. He then started jamming on his half-brother David's drums, and finally, at 14, he began to play guitar with Robert Okner. He was also in a few bands as a teenager – one was "Leather Charm" with Hugh Tanner, and another was "Obsession." James said that Aerosmith was his primary musical influence as a child and that they were why he wanted to play guitar. His parents divorced in 1976 when he was 13. They were devout Christian Scientists, and following their beliefs, they strongly disapproved of medicine or any other medical treatment and remained loyal to their faith, even as James' mother, Cynthia, was dying from cancer. This lifestyle inspired many of his lyrics during his career with Metallica. For example, the songs "Dyers Eve" and "The God That Failed" from the albums "...And Justice for All" and "Metallica" touch on those topics. His mother, Cynthia, died of cancer in 1979 when Hetfield was 16 years old. After her death, James went to live with his older half-brother David.   Although he had not formed a band, Lars asked Metal Blade Records founder Brian Slagel if he could record a song for the label's upcoming compilation album, Metal Massacre. Slagel accepted, and Ulrich recruited Hetfield to sing and play rhythm guitar. Lars and James officially formed the band known as "Metallica" on October 28, 1981, five months after they first met.   A funny story; James' and Lars' first encounter was anything but promising. As Mick Wall wrote in his biography of the band "Enter Night", "neither James nor Hugh had anything good to say about [Lars]. The kid was 'weird' and 'smelled funny' [and] he couldn't even really play drums." Deeming the entire encounter something of a waste, James later recalled (in Wall's bio) that "we ate McDonald's, he ate herring. [Lars'] father was famous. He was very well off. Spoiled – that's why he's got his mouth. He know what he wants, he goes for it and he's gotten it his whole life."   When asked what Lars remembers about their first meet up, in a Blabbemouth.com interview, he said:   "I remember connecting with him," Lars responded. "I could see that, even though he was painfully shy or whatever, that there were some distinctive similarities. I spent six months talking to people about heavy metal, and they'd mention STYX, JOURNEY, KISS or whatever. I'd talk about ANGEL WITCH, DIAMOND HEAD or TYGERS OF PAN TANG. He had a connection to the music and the things I was throwing out there that seemed a little more authentic or trustworthy. Not much happened during that first meeting because he was kind of the wing man, or the plus one, for a guy named Hugh. If James was sitting here, he'd tell you that the drum kit I showed up with was in such bad shape that every time I hit the cymbal, it kept falling over — which is accurate. Hetfield and I ended up staying in touch, and when I came back from travelling in Europe a few months later, I called him up and said, 'Hey, do you want to play and see what happens?' And he was up for it."   The band name, "Metallica," came from Lars' friend Ron Quintana, who was brainstorming names for a fanzine and was considering MetalMania or Metallica. After hearing the two monikers, Lars wanted Metallica for his band, so he suggested Quintana use MetalMania instead. That magazine wound up being a U.S. monthly magazine focusing on heavy metal music, which was published between 1985 and 1991   Guitarist Dave Mustaine replied to an advertisement for a lead guitarist where Lars and James asked him to join after seeing his expensive guitar equipment. In early 1982, Metallica recorded its first original song, "Hit the Lights," for the Metal Massacre I compilation. James Hetfield played bass, and rhythm guitar and sang, while Lloyd Grant was credited with a guitar solo and Lars Ulrich played drums. Lloyd was a Jamaican guitarist who was never officially in the band. Lloyd has said:   "Me and Lars was jammin' down there in Orange County, California and we jam with a few people and we lookin' other people to jam with..." they met through The Recycler. "We were playing for a long time and he came down to my place my apartment once and he says and he keep asking me to come jam with the band, but I was really busy doing other stuff and I went down and play with them-me and him and James. That's three of us. James was playing bass, I was playing guitar and Lars was playing drums and we rehearse that "Hit The Lights" song, but way before that Lars had let me hear that song. We were hanging out watching soccer and he says "hey I met this guy blah blah blah and he's exactly what we want to jam with and he played this one song and it was great and that's how I was first was introduced to "Hit The Lights." After that I went over and jam a few times and he called me and say they gonna be in this compilation album and he brought over a tape of "Hit The Lights" recording on a four track asked me to play some solo for that and they were going to bring the four track down and they were going to bring it down and dump it on the compilation album."   Metal Massacre I was released on June 14, 1982. The early pressings listed the band incorrectly as "Mettallica," pissing the band off. However, the song "Hit The Lights," generated a buzz, and Metallica played their first live performance on March 14, 1982, at Radio City in Anaheim, California. The lineup consisted of James Hetfield, Lars Ulrich, Dave Mustaine, and newly recruited bassist Ron McGovney, who had been in James' previous band, "Leather Charm." Their first live success happened as they were chosen to open for British heavy metal band Saxon at one gig of their 1982 U.S. tour. This show was Metallica's second gig. In addition, Metallica recorded its first demo, Power Metal, whose name was inspired by Quintana's early business cards in early 1982.   In late 1982, Ulrich and Hetfield attended a show at the West Hollywood nightclub Whisky a Go Go, which featured bassist Cliff Burton in the band Trauma.  Clifford Lee Burton was born on February 10, 1962, in Castro Valley, California, to Ray and Jan Burton. Cliff's interest in music began when his father introduced him to classical music, and he began taking piano lessons. In his teenage years, he developed an interest in Rock, classical, country, and heavy metal. He began playing the bass at 13, after the death of his brother. His parents quoted him as saying, "I'm going to be the best bassist for my brother." He practiced up to six hours daily (even after joining Metallica). Besides classical and jazz, Burton's other early influences varied from Southern Rock and country to the blues. Cliff has cited Geddy Lee, Geezer Butler, Stanley Clarke, Lemmy Kilmister, and Phil Lynott as significant influences on his style of bass playing.   James and Lars were "blown away" by Cliff's use of a wah-wah pedal and asked him to join Metallica. The two leaders wanted Ron McGovney to leave because they thought he "didn't contribute anything, he just followed."  According to McGovney, his time in Metallica was reportedly tumultuous, as he often clashed with Ulrich and Mustaine. In addition, he felt that, aside from using the connections he made as an amateur photographer, his role was that of a money man and transportation provider rather than a respected band member. He ultimately quit on December 10, 1982, due to growing tensions. After leaving Metallica, McGovney became uninterested in playing music and sold most of his equipment.   Although Cliff Burton initially declined the offer to join Metallica, by the end of the year, he had accepted on the condition that the band moves to El Cerrito in the San Francisco Bay Area of California. Metallica's first live performance with Cliff was at the nightclub "The Stone" in March 1983, and the first recording to feature Burton was the Megaforce demo (1983).   Metallica was ready to record their debut album, but they began looking for other options when Metal Blade could not cover the cost. Concert promoter Jonathan "Jonny Z" Zazula, who had heard the demo No Life 'til Leather (1982), offered to broker a record deal between Metallica and New York City-based record labels. After those record labels showed no interest, Zazula borrowed enough money to cover the recording budget and signed Metallica to his label, Megaforce Records.   In May 1983, Metallica traveled to Rochester, New York, to record its debut album, Metal Up Your Ass, which Paul Curcio produced. Unfortunately, the other members of Metallica decided to eject Mustaine from the band because of his drug and alcohol abuse and violent behavior just before the recording sessions on April 11, 1983. About this time, Mustaine told Loudwire magazine:   "When you're around a lot of people that like to drink and get silly, they just want to have fun," Mustaine explains. "I would drink and have fun until someone would refute something I had said. And then that was war, baby. I'd be aggressive and confrontational because I was a violent drunk. I lost all inhibitions when I was drinking, and that didn't go over to well in the end." The end came on April 11, 1983, and it came without warning for Mustaine. Metallica had already hired Kirk Hammett as their new lead guitarist.  At around 9AM that morning, James, Lars, and Cliff woke up Mustaine, suffering from a tremendous hangover, and told him he was out of the band. "The thing that really upset me was that they never gave me a warning and I never got a second chance," Mustaine says. "It was just, 'Hey man. You're out. See ya later."   When Mustaine asked when his flight back to California was, he was told he wasn't flying. He was taking a four-day bus ride. Even worse, the bus was scheduled to leave one hour after he was fired. Mustaine scrambled to pack a travel bag, and James drove him from the Music Building in Queens to 42nd Street and Eighth Avenue in Manhattan.   During the seemingly endless bus ride, according to Livewire.com, he was rightfully pissed for a while and then decided to write some new lyrics. Since he didn't have any paper, he wrote on the back of a handbill from Senator Alan Cranston. A message on the front of the card referred to the stockpiling of nuclear weapons that read, "The arsenal of megadeath can't be rid." After considerable thought, Mustaine decided the term megadeath would make a cool name for a metal band, especially if it were misspelled as Megadeth.   Kirk Lee Hammett was born on November 18, 1962, in San Francisco, California, and raised in the town of El Sobrante. He is the son of Teofila "Chefela" and Dennis L. Hammett, a Merchant Mariner. While attending De Anza High School, he met Les Claypool of Primus, and they remain close friends. Kirk began showing an interest in music after listening to his brother Rick's extensive record collection (which included Jimi Hendrix, Led Zeppelin, and UFO). In addition, he was a huge horror movie fan but began selling his horror magazines to buy albums. This infatuation led him to pick up the guitar at fifteen. His first guitar was (in his own words) a "wholly unglamorous" Montgomery Ward catalog special that came with a shoebox with a 4-inch speaker for an amp. After purchasing a 1978 Fender Strat copy, Kirk attempted to customize his sound with various guitar parts before eventually buying a 1974 Gibson Flying V.   Guitarist Kirk Hammett replaced Dave Mustaine the same afternoon. Metallica's first live performance with Kirk was on April 16, 1983, at a nightclub in Dover, New Jersey, called "The Showplace."    Mustaine has expressed his dislike for Kirk in interviews, saying he "stole" his job. Mustaine was "pissed off" because he believed Hammett became popular by playing guitar leads that Mustaine had written. In a 1985 interview with Metal Forces, Mustaine said, "it's real funny how Kirk Hammett ripped off every lead break I'd played on that No Life 'til Leather tape and got voted No. 1 guitarist in your magazine".    Because of conflicts with its record label and the distributors' refusal to release an album titled Metal Up Your Ass, the album was renamed "Kill' Em All." It was released on Megaforce Records in the U.S. and on Music for Nations in Europe and peaked at number 155 on the Billboard 200 in 1986. Pretty cool, considering their top ten that year was: 1. That's What Friends Are For - Dionne Warwick, Elton John, and Gladys Knight 2. Say You, Say Me - Lionel Richie 3. I Miss You - Klymaxx 4. On My Own - Patti Labelle and Michael McDonald 5. Broken Wings - Mr. Mister 6. How Will I Know - Whitney Houston 7. Party All the Time - Eddie Murphy 8. Burning Heart - Survivor 9. Kyrie - Mr. Mister 10. Addicted to Love - Robert Palmer Although the album was not initially a financial success, it earned Metallica a growing fan base in the underground metal scene. The band embarked on the "Kill' Em All for One" tour with Raven to support the release. In February 1984, Metallica supported Venom on the "Seven Dates of Hell" tour, during which the bands performed in front of 7,000 people at the Aardschok Festival in Zwolle, Netherlands.    Metallica recorded the album in only two weeks on a shoestring budget. Initially, the band printed 1,500 copies. Since its release, "Kill 'Em All" has been certified 3x platinum. Metallica then recorded their second studio album, Ride the Lightning, at Sweet Silence Studios in Copenhagen, Denmark, from February to March 1984. It was released in August 1984 and reached number 100 on the Billboard 200. Unfortunately, a French printing press mistakenly printed green covers for the album, which are now considered collectors' items. Mustaine received writing credit for "Ride the Lightning" and "The Call of Ktulu."   Elektra Records A&R director Michael Alago, and co-founder of Q-Prime Management Cliff Burnstein, attended a Metallica concert in September 1984. They were impressed with their performance and signed Metallica to Elektra. They also made them a Q-Prime Management artist. Metallica's growing success was such that the band's British label Music for Nations released "Creeping Death" as a limited-edition single, which sold 40,000 copies as an import in the U.S.  Two of the three songs on the record—cover versions of Diamond Head's "Am I Evil?" and Blitzkrieg's "Blitzkrieg"—appeared on the 1988 Elektra reissue of "Kill' Em All."  With unforgettable songs like "For Whom The Bell Tolls," "Creeping Death," and "Fade To Black", "Ride The Lightning" has sold over 5 million copies in the U.S. and has been certified 5x Platinum by the RIAA.   That bell in the beginning of "For Whom The Bell Tolls", isn't really a bell at all. As producer Flemming Rasmussen recalled: “We had an anvil in the studio, and Lars had to bang that; it could've been that or from a record of sound effects. But there was a really heavy, cast-iron anvil and a metal hammer, and we stuck them in an all-concrete room. He'd just go wang.”  If you've ever tried to play along with the studio album version of "For Whom, The Bell Tolls, " you've probably had some guitar tuning issues. That's because the song is a quarter step above standard tuning. Why? As the Metallica Wiki says, there are two theories. The first is that the band intentionally sped up the recording, pitch shifting it in the process. The second is that the guitars are tuned up a quarter step to match the pitch of the "tolling bells." I mean anvil... now that's "metal AF". Metallica embarked on its first major European tour with Tank to an average crowd of 1,300. Returning to the U.S., it embarked upon a tour co-headlining with W.A.S.P. and supported by Armored Saint, featuring John Bush on vocals, who later went on to front Anthrax. Metallica played its largest show at the Monsters of Rock fest at Donington Park, England, on August 17, 1985, with Bon Jovi and Ratt, playing to 70,000 people. Then, at the "Day on the Green" festival in Oakland, California, the band played to a crowd of 60,000. Metallica's third studio album, Master of Puppets, was recorded at Sweet Silence Studios in Denmark from September to December 1985 and was released in March 1986. The album reached number 29 on the Billboard 200 and spent 72 weeks on the chart. It was the band's first album to be certified gold on November 4, 1986 and has sold over 6 million copies.    In 2015, Master of Puppets became the first ever metal album in history to be selected by the Library of Congress for preservation in the National Recording Registry.   Following the album's release, Metallica supported Ozzy Osbourne on a U.S. tour. During this time, James Hetfield broke his wrist while skateboarding; he continued with the tour, performing vocals, with guitar technician John Marshall playing rhythm guitar.   On the night of Sept. 26, 1986, Metallica was traveling between tour dates in Sweden when Burton and guitarist Kirk Hammett drew cards to decide who would get to choose a bunk. The bassist drew the Ace of Spades and chose the bunk Hammett had been occupying. "I said fine, take my bunk," the guitarist recalled in VH1's Behind the Music. "I'll sleep up front; it's probably better anyway." In the early morning of Sept. 27, 1986, shortly before 7 AM, the band members were awakened abruptly when the bus began to sway from side to side. The driver later told authorities that he lost control of the bus after hitting a patch of black ice. The bus left the road and flipped over on its side, and Cliff Burton – asleep in the top bunk – was thrown through the window. As the bus came down, it landed on top of him. He was only 24 years old. Reportedly, attempts were made to rescue him from underneath the bus by lifting it with a crane, but the crane slipped, and the bus crashed down on top of Burton a second time. Band members and onlookers have given different accounts of whether Burton died upon the first impact or when the bus came down again. Whichever way it happened, Cliff Burton died at the scene.   Hetfield said: "I saw the bus lying right on him. I saw his legs sticking out. I freaked. The bus driver, I recall, was trying to yank the blanket out from under him to use for other people. I just went, 'Don't fucking do that!' I already wanted to kill the bus driver. I don't know if he was drunk or if he hit some ice. All I knew was, he was driving and Cliff wasn't alive anymore."   James has said he walked up and down the road in his socks and underwear looking for black ice and found none. The band has speculated over the years if drinking or drugs could have played a role in the accident or if the driver fell asleep at the wheel. An investigation cleared the driver of any wrongdoing. Burton was cremated, and his ashes were scattered at the Maxwell Ranch in California. Metallica's "Orion" was played at the ceremony, and lyrics from "To Live Is to Die" are engraved upon his memorial stone: "Cannot the Kingdom of Salvation take me home."   In an interview with Gibson TV, Kirk Hammet, who could have been the one in that unlucky bunk said: "The last show that we played with Cliff was a spectacular show," Kirk recalls in the interview. "It was the first show after maybe six or seven weeks when James was back on guitar because he had broken his arm during the Ozzy tour. His arms was healed enough so he was able to play guitar and it was the first show where we had James back… and it was the night that Cliff died. "Everyone was just so happy James was back and to have James's guitar fuelling everything again, rather than me and John Marshall [tech and stand-in guitarist] sharing that duty. We played really, really well and felt like we were back 100%… so that last show was one of the best shows we'd played all fucking year and in retrospect I'm glad Cliff's last show was special in that regard. It really was, in all respects, one of the best shows we'd played and Cliff was very, very happy. So knowing that is a good thing." "It' didn't really, truly sink in until about three weeks or so [afterwards]," Hammett remembers. "As a tribute to Cliff's memory it was important for us to go on [but for] those first two weeks it was up and down, we had no idea what we were going to do. I was taking guitar lessons, the old standby for musicians who can't find any gigs or band. That's what I was actually thinking."

This is Stephen Schmidt from the Gazette digital news desk and I'm here with your update for Saturday, June 25, and Sunday, June 26. Showers that began in the early morning hours Saturday should end by around 1 p.m. And, in its wake, some nice cooler air will arrive. According to the National Weather Service, there will be a high of 89 degrees with partly cloudy skies in the Cedar Rapids area after the rain ceases. The low should be around 63 degrees. Then, on Sunday, the high will be a very pleasant 77 degrees with sunny skies. There should be a bit of a breeze at 10 to 15 mph. Then Sunday night it will be mostly clear, with a low near 54 degrees. Now that the U.S. Supreme Court has struck down Roe v. Wade, the landmark case that 50 years ago established the fundamental right to abortion, Iowa lawmakers are free to dramatically reduce or outlaw the procedure in the state. The reversal of the 1973 case puts the power back into the states' hands to decide the future of abortion access for its residents, meaning the ruling's impact will vary state to state In Iowa — where Republican leadership has attempted for years to restrict abortion — access to the procedure is likely at risk. Iowa Republicans, including Gov. Kim Reynolds, heralded the ruling and vowed to continue to protect the unborn. No restrictions went into effect in Iowa with the court ruling, and abortion remains legal in the state up until 20 weeks. Planned Parenthood clinics across Iowa and the Emma Goldman Clinic in Iowa City remain open and patient care continues. Reynolds and legislative leaders did not respond to messages Friday as to whether they would call a special session of the Iowa Legislature to take up a new abortion law. According to the https://news.gallup.com/poll/321143/americans-stand-abortion.aspx (latest Gallup Poll), more than eight in 10 Americans believe abortion should be legal to some degree, and a majority did not want Roe v. Wade overturned. At the same time, the country remains far from unified on the extent to which abortion should be legal, according to Gallup. Meanwhile protests were held against the decision across the nation, including several Iowa cities. In Cedar Rapids a truck collided with a woman who had been protesting, leading to the woman heading to the hospital for evaluation. A police statement said the incident happened at 7:17 p.m. near the U.S. Courthouse near Eighth Avenue and Second Street SE in downtown Cedar Rapids. About 200 protesters had gathered there. While no arrests were announced, Cedar Rapids Police said they were scouring the area for surveillance video cameras that may have captured the incident.  While police in a news release described the collision only by saying “contact was made between a vehicle and one of the pedestrians,” some of those who were at the protest said the driver of the truck deliberately hit the protesters.

Hey Queens and Kings! This episode we discuss where we love to eat in Vegas and the places to avoid. Warning: This episode will make you hungry! Follow us on Instagram: https://www.instagram.com/queensblvdpodcast/   Follow us on Twitter: https://twitter.com/queensblvdpod/   Follow us on TikTok: https://vm.tiktok.com/TTPd5C7ueR/   Give us a call and leave a voice message or text us: 404-939-0298   Send us an email with stories, topics, and questions: queensblvdpodcast@gmail.com --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

This is Stephen Schmidt from the Gazette digital news desk and I'm here with your update for Wednesday, March 23. Another rainy day is coming Wednesday, and likely another one the day after. According to the National Weather Service there will be a 70 percent chance of rain in the Cedar Rapids area with a high near 48 degrees. The rain is not expected to be particularly heavy. Wednesday night there will be a 50 percent chance of rain with a low around 33 degrees.  An Iowa City couple this week received a nearly $98 million civil verdict after suing Mercy Hospital in Iowa City after their newborn suffered permanent brain damage when health care providers “improperly used forceps and a vacuum, crushing the baby's head” during delivery. The infant's parents, Andrew and Kathleen Kromphardt, brought the medical malpractice lawsuit against Mercy Hospital, Dr. Jill Goodman and OB-GYN Associates for negligence throughout her pregnancy, labor and birth in 2018. The Johnson County jury's verdict found the hospital and clinic were equally negligent and equally responsible for damages — future medical and custodial care, loss of future earning capacity, past and future pain and suffering, past loss and future loss of function of the mind and body. The jury awarded $97.4 million to the Kromphardts. Geoffrey Fieger, a nationally known personal injury lawyer in Southfield, Mich., who represented the Kromphardts, said in a statement the ruling represents the “largest verdict” ever made in the state for a birth trauma case. The city of Cedar Rapids is once again trying to secure $22 million through a federal grant program for the reconstruction of the Eighth Avenue bridge over the Cedar River — a key component of the permanent flood control system that would provide a lifeline connection for residents and emergency services during extreme flooding. The city is submitting a RAISE, or “Rebuilding American Infrastructure with Sustainability and Equity,“ grant application to the U.S. Department of Transportation to cover about 40 percent of the $50 to $55 million cost of replace the bridge with a cable-stayed, higher-elevation structure that stays open as rivers rise. The bridge would tie together Cedar Rapids' permanent $750 million Flood Control System — the river's east side work with the Army Corps of Engineers and the west side, which is not eligible for federal funding under the Corps' cost-benefit formula. This week is https://www.thegazette.com/crime-courts/being-prepared-for-severe-weather-in-iowa-more-than-listening-for-sirens/ (Severe Weather Awareness Week) in Iowa, and that includes a statewide tornado drill at 10 a.m. Wednesday. Some counties are participating and some are not. Linn County Emergency Management said in https://linncounty-ema.org/vertical/sites/%7BF92E742E-E56A-4BEB-A418-D1CFA9D3A67F%7D/uploads/Media_Release-_NO_SIRENS_-_Tornado_Drill_03162022.pdf (a news release) that schools, businesses and individuals are strongly encouraged to participate in the drill, but the county won't activate its outdoor warning sirens. The county wants to avoid confusing the public by activating the sirens outside the normal monthly tests, according to Emergency Management Coordinator Steve O'Konek. Johnson County will activate its sirens for the statewide drill Wednesday, according to a https://www.icgov.org/news/march-21-25-severe-weather-awareness-week-iowa (news release from Iowa City). Support for this news update was provided by New Pioneer Food Co-op. Celebrating 50 years as Eastern Iowa's destination for locally and responsibly sourced groceries with stores in Iowa City, Coralville and Cedar Rapids; and online through Co-op Cart athttp://www.newpi.coop/ ( newpi.coop).

On this episode of “Last Call with Richard Crouse” we visit Sardi's, located at 234 West 44th Street, between Broadway and Eighth Avenue, in the Theatre District of Manhattan, New York City. It is Broadway's most famous restaurant, and you may recognize it as the place where Kramer falsely accepts a Tony Award on "Seinfeld," or where Finn and Rachel met Patti LuPone in an episode of "Glee" or perhaps you know it as the place where Don Draper and Bobbie Barrett celebrated the sale of a television pilot on "Mad Men." The walls of celebrity caricatures are iconic and unmistakable.Listen to the whole story of the "Clubhouse to the Stars" where the Tony Awards were born!

Brooklyn is constantly changing. This episode takes a look at the changes on just one street in one neighborhood: Eighth Avenue in Sunset Park, which many call Brooklyn's Chinatown. In the early 1990s, BPL and the Museum of Chinese in America collected oral histories about Sunset Park. We dive back into that archive, with help from Professor Tarry Hum, urban planner and former Sunset Parker.

Brooklyn is constantly changing. This episode takes a look at the changes on just one street in one neighborhood: Eighth Avenue in Sunset Park, which many call Brooklyn's Chinatown. In the early 1990s, BPL and the Museum of Chinese in America collected oral histories about Sunset Park. We dive back into that archive, with help from Professor Tarry Hum, urban planner and former Sunset Parker.

In Ep.73 of the Sports Therapy Association Podcast, we bring you an hour with special guest Raphael Bender, CEO of Breathe Education, a hugely popular Pilates training programme based in Australia, Melbourne. With a Master's degree in Clinical Exercise Physiology, a Bachelor degree in Exercise and Sports Science, a Diploma of Pilates Movement Therapy and full Stott Pilates instructor trainer certification, Raphael is host of the Pilates Elephants podcast, along with co-host Cloe Bunter. In this episode, Raphael talks to us about the phases of focus change that Pilates has gone through since its inventor Joseph Hubertus Pilates first developed what he called "Contrology" in the early 20th century: 1960's - Joseph Pilates and his wife Clara operate their studio on Eighth Avenue in New York 1970's - the era of Romana Kryzanowska (one of Joseph's students) 1980's - Frank Philip Friedman and Gail Eisen (two of Romana's students) publish the first modern book on Pilates: The Pilates Method of Physical and Mental Conditioning 1990's -  A study by Profesor Paul Hodges of Queensland University Australia on deep abdominal muscle the transversus abdominis (TrA) coins use of the term 'core stability' and the idea that the “drawing in” of this muscle during exercise could provide protection against back pain. Using this information, Contemporary Pilates is born.    Raphael talks us through the misconceptions that emerged with the era of 'Contemporary Pilates', and explains how pre-1990s Pilates had no mention of 'core stability' or focus on individual muscles. In showing the evolution of Pilates, he draws many parallels to the evolution of soft tissue and manual therapy. Many of the concepts introduced in the late 1990's regarding posture, alignment and their proposed connection with pain have since proved to be less valuable than once considered, if not plain wrong. Does it mean we have to throw everything we have ever learnt away? Of course not, we just need to refocus slightly and continue the great work we can do.   Raphael is an awesome educator and we offer our sincerest thanks to him for being our guest in this episode. If you are a soft tissue therapist (or indeed a Pilates instructor) looking to keep up with the times, make sure you follow him, Breathe Education & the excellent Pilates Elephant Podcast, for which links are below.     Websites/Social Media Website: Breathe Education  Website: Pilates Elephant Podcast Instagram: @the_raphaelbender Facebook: @BreatheEducation Enjoyed the episode? Please take a couple of minutes to leave us a rating & review on Apple Podcasts. It really does make all the difference in helping us reach out to a larger audience. iPhone users you can do this from your phone, Android users you will need to do it from iTunes. All episodes are streamed live to our YouTube channel and remember all soft tissue therapists (non members included) are welcome to join us for the LIVE recording on Tuesdays at 8pm (UK time) on the Sports Therapy Association Facebook Page Questions? Email: matt@thesta.co.uk

Brooklyn is constantly changing. This episode takes a look at the changes on just one street in one neighborhood: Eighth Avenue in Sunset Park, which many call Brooklyn's Chinatown. In the early 1990s, BPL and the Museum of Chinese in America collected oral histories about Sunset Park. We dive back into that archive, with help from Professor Tarry Hum, urban planner and former Sunset Parker.

The Copacabana opened on November 10, 1940, at 10 East 60th Street in New York City. The Copacabana originally had Brazilian decor and Latin-themed orchestras, In 1992, then-owner Peter Dorn moved the club from its original location to 617 West 57th Street. In 2001, the club was forced to move for a third time to 560 West 34th Street and Eleventh Avenue on the west side of Manhattan, when its landlord terminated its lease early to build office towers on the site. The Copacabana moved to 268 W 47th St, New York, NY 10036, which was originally the China Club. This famous club has changed venues four times since. It opened in this location, at the corner of Eighth Avenue and West 47th Street, in the summer of 2011. It has been said that the Copa will re-open once the Covid Pandemic is over with.

Five Florida teens were busted for firing BB guns from the rooftop of a Manhattan hotel this week — striking a tourist and another pedestrian on the street, cops said. The group — two 18-year-olds, one 17-year-old and two 16-year-olds — were shooting two BB guns on the rooftop of the Homewood Suites Hotel on West 37th Street near Eighth Avenue around 3 p.m. Monday, authorities said. More at www.CooperandAnthony.com, and watch us nightly at 7pm EST https://www.twitch.tv/cooperandanthony

Five Florida teens were busted for firing BB guns from the rooftop of a Manhattan hotel this week — striking a tourist and another pedestrian on the street, cops said. The group — two 18-year-olds, one 17-year-old and two 16-year-olds — were shooting two BB guns on the rooftop of the Homewood Suites Hotel on West 37th Street near Eighth Avenue around 3 p.m. Monday, authorities said.  More at www.CooperandAnthony.com, and watch us nightly at 7pm EST https://www.twitch.tv/cooperandanthony --- Send in a voice message: https://anchor.fm/cooperandanthony/message Support this podcast: https://anchor.fm/cooperandanthony/support

In honor of Earth Week, we kick off our series, "Chew It Over: Rethinking Food Waste & Leftovers," with cookbook author Julia Turshen who will help us launch the All Of It Leftover Challenge.  Select one of the recipes below to make for dinner this week, and then turn into leftovers at least once! Tell us how it goes. Send us your photos and tag us on Instagram, and we’ll check in with you at the end of the week to see how it went. The recipes are: Roast Chicken with Onion Gravy, Stewed Chickpeas with Peppers and Zucchini, Ropa Vieja and Red Lentil Soup Dip. They're excerpted from Julia Turshen's new book Simply Julia: 110 Easy Recipes for Healthy Comfort Food.   **Roast Chicken with Onion Gravy** Add this chicken to the list of recipes inspired by our volunteer work at Angel Food East. To make it, you cut up a chicken, season it, and roast it in a skillet on a bed of sliced onions and chicken stock. After the chicken is cooked, you set the skillet on the stove, reduce the cooking juices just a little bit, and then stir in mustard and sour cream to make a rich onion gravy without any flour, roux, or anything else that usually causes gravy anxiety. Serve this chicken with mashed or crushed potatoes (they’re a good place to put more sour cream) and steamed green beans. Or with cornbread and cooked greens. Or with noodles and peas. Or with rice and buttered broccoli. Or with warm rolls and roasted squash. You get the idea . . . Serves 4 1 large (or 2 small) yellow onion, thinly sliced into half moons 2 cups [480 ml] chicken stock (homemade, store-bought, or bouillon paste dissolved in boiling water) Kosher salt Freshly ground black pepper 1 whole chicken, cut into 8 parts (or 4 bone-in, skin-on chicken breasts or 8 bone-in, skin-on chicken thighs), patted dry with a paper towel 3 tablespoons unsalted butter, cut into 8 thin slices 2 tablespoons Dijon mustard 1/2 cup [113 g] sour cream Preheat your oven to 400.F [200.C]. Place the sliced onion and chicken stock in a large, heavy, ovenproof skillet (I use a cast-iron one for this). Season the mixture with a large pinch of salt and a few grinds of black pepper.  Place the chicken pieces, skin-side- up, on top of the onion mixture and season them generously with salt and pepper. Place a butter slice on top of each piece of chicken and roast until the chicken is browned, firm to the touch, and registers at least 165.F [74.C] on a digital thermometer, about 40 minutes. Use tongs to transfer the chicken pieces to a serving platter and cover them with foil to keep them warm. Place the skillet with the onions on the stove and bring to a boil over high heat. Let the mixture boil for 5 minutes to thicken slightly, then turn the heat to low. Whisk in the mustard and sour cream and season the gravy to taste with salt and pepper. Pour the mixture over the chicken pieces. Serve immediately. **Stewed Chickpeas with Peppers and Zucchini** A late summer go-to during our volunteering shifts at Angel Food East, this light stew of chickpeas, peppers, and zucchini is the best way I know to use up a ton of summertime produce without a ton of effort. Served with a creamy, lemony sauce and couscous, pasta, rice, or quinoa (or any grain), it’s a healthy-and-Hearty recipe that is simple to make and infinitely adaptable, too. Swap out the chickpeas for any type of bean. Have extra peppers? Add them! Have a bunch of tomatoes? Chop them up and throw them in. Dice some eggplant, roast it, and fold it in at the end. Add vegetable stock to this and call it soup. Skip the grain or pasta and use the mixture to fill quesadillas. This is flexible cooking, which is my favorite kind of cooking. Serves 4 For the sauce 1 large handful fresh Italian parsley, finely chopped (a little stem is fine) 3 tablespoons fresh lemon juice 1/2 cup [120 ml] vegan mayonnaise (or regular mayonnaise if you’re not vegan) 1/2 teaspoon kosher salt For the stew 3 tablespoons extra-virgin olive oil 1 medium red onion, thinly sliced into half moons 4 garlic cloves, minced 2 bell peppers (red, yellow, and/or orange), stemmed, seeded, and thinly sliced 2 tablespoons tomato paste 2 teaspoons dried oregano Kosher salt 2 medium zucchini [about 3/4 pound (340 g)], ends trimmed, cut into bite-sized pieces Two 15-ounce [425 g] cans chickpeas, rinsed and drained 1/4 cup [60 ml] water 1 tablespoon red wine vinegar To serve Cooked couscous, pasta, rice, quinoa, or any other grain First, make the sauce Place the parsley, lemon juice, vegan mayonnaise, and salt in a small bowl and stir well to combine. Reserve the mixture. Next, make the stew Place the olive oil in a large, heavy pot (like a Dutch oven) over medium heat. Once it’s warm, add the onion, garlic, bell peppers, tomato paste, oregano, and a large pinch of salt. Cook, stirring now and then, until the vegetables begin to soften, about 5 minutes. Stir in the zucchini, chickpeas, water, and another large pinch of salt. Turn the heat to high and when that little bit of water begins to boil, turn the heat to medium-low, cover the pot, and cook, uncovering it every so often to stir, until the zucchini is very soft and the mixture is stew, about 25 minutes. Turn off the heat, stir in the vinegar, and season the mixture to taste with salt. Serve the stew warm over the couscous (or whatever you’re serving it with). Top each serving with a large spoonful of the sauce. **Ropa Vieja**  In my early twenties, I ended up living in a studio apartment in the same building that I grew up in. It was a surreal experience, almost a time loop, and living there allowed me to reconnect to some of the places I went to as a little kid. One of those places was La Taza del Oro, down the block on Eighth Avenue, a very special lunch counter that opened in 1947 and sadly closed in 2015. Along with Casa Adela in the East Village, La Taza del Oro was one of New York’s iconic Puerto Rican restaurants and it served dishes from other cultures too, including traditional Cuban ropa vieja (which translates to “old clothes,” an evocative description of the texture of the shredded beef).  I make this version at home regularly, and while it doesn’t bring back a restaurant I wish was still thriving, it helps me keep my memories of it alive. It’s also just so satisfying and soul-warming (which is why I made it a few times for our local volunteer EMT squad when Covid-19 hit our area). After cooking, shred the beef and store in a container in the refrigerator for up to a week (it’s honestly better the longer it sits). Warm it up in a saucepan over low heat (splash with a little water or stock if it needs some moisture) and then enjoy on its own with rice or sweet, starchy things like roasted squash, fried plantains, grilled corn, or Sweet + Spicy Mashed Sweet Potatoes (page 135). It’s especially great with the Best Black Beans with Avocado Salad (page 62). You could also use this beef for tacos or inside of a pressed sandwich (try it on your next grilled cheese). Serves 6 to 8 1 large yellow onion, thinly sliced into half moons 6 garlic cloves, crushed 2 medium green bell peppers, stemmed, seeded, and thinly sliced One 14.5-ounce [411 g] can diced tomatoes with their juice 1/4 cup [60 ml] yellow mustard ⅓ cup [65 g] raisins 1/2 cup [120 g] pimento-stuffed green olives, plus 3 tablespoons olive brine for finishing the dish One 2- to 3-pound [907 g to 1.3 kg] boneless chuck roast, trimmed of any large pieces of fat or gristle, cut into 3 even pieces 2 teaspoons kosher salt 1 teaspoon freshly ground black pepper 2 teaspoons ground cumin Fresh cilantro, for serving (optional) Preheat your oven to 300.F [150.C]. Place the onion, garlic, bell peppers, diced tomatoes with their juice, mustard, raisins, and olives (hang onto that brine for later) in a large, heavy ovenproof pot (such as a Dutch oven). Mix well to combine. Sprinkle the chuck roast pieces all over with the salt, black pepper, and cumin. Nestle the pieces into the mixture in the pot. Cover the pot tightly with a lid or aluminum foil. Roast the beef until it’s incredibly tender and shreds easily when you poke at it with tongs or a couple of forks, about 3 hours. Add the olive brine to the pot and use those tongs or forks to shred the beef directly in the pot (discard any large pieces of fat as you work) and mix it together with the juices.  Season to taste with salt. Serve warm with cilantro sprinkled on top (if you’d like). **Red Lentil Soup Dip** Even though I wrote a whole cookbook about reinventing leftovers, called Now & Again, I often eat tons of stuff cold, straight out of the container. We all contain multitudes. Enter this dip, which is inspired by leftover red lentil soup that I mistook for hummus one day and stuck a carrot into and ate standing in front of my refrigerator. It was so good that I decided to do it on purpose going forward and cook red lentils as if I were going to turn them into a gently spiced soup, in the spirit of traditional masoor dal, but on the thicker side with less liquid. Serve with raw vegetables, any type of cracker (it’s especially good with papadums), or put a dollop onto a bowl of rice and cooked vegetables and call it lunch. And you can always add a few cups of stock, serve it warm, and call it . . . soup. Makes about 2 cups [480 ml] 3 tablespoons coconut oil (or extra-virgin olive oil) 2 teaspoons garam masala (or 1/2 teaspoon each ground cumin, coriander, turmeric, and black pepper) 1/2 cup [100 g] split red lentils One 131/2-ounce [400 ml] can coconut milk 1 teaspoon kosher salt 2 tablespoons plain yogurt (or coconut milk yogurt if you’re vegan), for serving  2 tablespoons toasted unsweetened coconut flakes, for serving Place the coconut oil and garam masala in a medium saucepan over medium heat. When the spices begin to smell fragrant, just about 30 seconds, stir in the lentils, coconut milk, and salt. Bring the mixture to a boil, turn the heat to low, cover the pot, and simmer until the lentils are completely soft, 20 to 25 minutes. Season the mixture to taste with salt. Turn off the heat and let the mixture cool to room temperature. It will thicken slightly as it cools. Transfer the dip to a serving bowl. Top with the yogurt and toasted coconut and serve immediately. All recipes from the book SIMPLY JULIA by Julia Turshen. Copyright © 2021 by Julia Turshen. Published by Harper Wave, an imprint of HarperCollins Publishers. Reprinted by permission.

We regularly shine a light on Elephants in the room related to technique, cueing, teaching and so forth. In this episode, John Howard Steel is about to upend many things you thought you know about the history of Pilates. John learned Pilates directly from Joseph Pilates. He practiced at Joe's gym on Eighth Avenue from 1963 until Joe's death in 1967. After Joe died, John was instrumental in the continuation of Contrology; along with two others he formed a committee that kept the gym going and supported Clara, and he single-handedly convinced Romana to take on the starring role as Joe's successor. John's book Caged Lion is the surprising and delightful history of Pilates, from Joe's mysterious early life, through his time in New York and John's experience of learning Pilates (Contrology) from Joe, and striding arm-in-arm with Joe through the streets of New York, listening to Joe lecture about his favourite and only subject of conversation, Contrology. But the book goes far beyond Joe's life, it is the story of Pilates itself – how it transcended Joe's personality and his lifetime, and became a worldwide phenomenon bringing happiness to millions. I (Raph) have been teaching Pilates for 16 years and I was repeatedly surprised by Caged Lion, not to mention entertained. It is an enthralling read; a genuinely well-written book which brings the characters to life in 3 dimensions. If you have even a passing interest in Pilates you absolutely must read it, trust me. Cloe also recommends it I think. In this interview John and Raph discuss Joe's personality, his teaching style and what it was like to learn from him, we talk about what defines Pilates and ultimately how it doesn't matter what kind of Pilates you do, but rather HOW you do it. LinksBuy Caged Lion on Amazon https://www.amazon.com/Caged-Lion-Joseph-Pilates-Legacy/dp/1733430709/ref=asc_df_1733430709/?tag=googleshopdsk-22&linkCode=df0&hvadid=341772748765&hvpos=&hvnetw=g&hvrand=10391972975062047532&hvpone=&hvptwo=&hvqmt=&hvdev=c&hvdvcmdl=&hvlocint=&hvlocphy=9071445&hvtargid=pla-911928075018&psc=1 (here) Connect With Us On InstagramCloe https://www.instagram.com/cloebunterpilates/ (@cloebunterpilates) Raphael https://www.instagram.com/the_raphaelbender/ (@the_raphaelbender) Come Study With UsOur training is 100% online - you can certify anywhere in the world without leaving your home - no travel required. Certificate IV in Pilates Matwork and Reformer https://breathe.edu.au/certificate-iv-pilates/ (here) Diploma of Clinical Pilates https://my.captivate.fm/here (here) This podcast uses the following third-party services for analysis: AdBarker - https://adbarker.com/privacy

Welcome to the Elevator World News Podcast. Today’s podcast news podcast is sponsored by elevatorbooks.com: www.elevatorbooks.com REBUILT, MULTIBILLION-DOLLAR NYC BUS TERMINAL PLANNED The Port Authority of New York and New Jersey aims to rebuild its 70-year-old bus terminal at 625 Eighth Avenue in Midtown Manhattan, a project that will cost billions and unfold through 2030, ABC 7 was among outlets to report in January. Supported by both New York Gov. Andrew Cuomo and New Jersey Gov. Phil Murphy, the plan involves getting rid of the terminal's "aging tile floors, creaky escalators and creepy corridors" and replacing them with state-of-the-art facilities spread over 1 million ft2, with features such as new storage and staging areas for an all-electric bus fleet. Also on the drawing board are four commercial towers of unspecified height and more than three acres of public green space. Expanded in 1981, the terminal has become the world's busiest. Image credit: photo by Hudconja for Wikipedia To read the full transcript of today's podcast, visit: elevatorworld.com/news Subscribe to the Podcast: iTunes │ Google Play | SoundCloud │ Stitcher │ TuneIn

Gretta Cohn is the founder and CEO of Transmitter Media. Gretta's experience runs the gamut of all things audio, from public radio and ringtones, to producing chart-topping podcasts. We discuss her time touring with the band Bright Eyes, being hired as the first production executive at Midroll Media and Earwolf, and starting her own podcast company with only $7,000 of savings. Subscribe to our newsletter. We explore the intersection of media, technology, and commerce: sign-up linkLearn more about our market research and executive advisory: RockWater websiteFollow The Come Up on Twitter: @TCUpodEmail us: tcupod@wearerockwater.com--EPISODE TRANSCRIPT:Chris Erwin:Hi, I'm Chris Erwin. Welcome to The Come Up, a podcast that interviews entrepreneurs and leaders. Gretta Cohn:I thought I would take the more productive path, the one where I didn't leave podcasting and I made this decision in December of 2016 to myself and then spent the next couple of months just tucking away money. And when I say I saved money before starting the business, I saved $7,000. Chris Erwin:This week's episode features Gretta Cohn, the founder and CEO of Transmitter Media. Now, Gretta's experience runs the gamut of all things audio. From being a touring cellist with the band, Cursive, to teaching radio workshops at NYU, to working in audiobooks, ringtones, and most recently podcasts. And Gretta's done some groundbreaking work along the way like turning Freakonomics Radio into an omni channel media brand, launching the number one podcast show, Beautiful Stories from Anonymous People and helping build Howl, which eventually became part of Stitcher. But Gretta's career transformed in 2017 when she decided to do podcasting on her own terms. So with only $7000 of savings, Gretta founded Transmitter Media and quickly began producing premium podcasts for clients like, TED, Spotify, and Walmart. Today, Gretta is focused on scaling her Brooklyn based team and creating more, as she describes, beautiful things. Chris Erwin:Gretta's love for her craft and team is so genuine and her story is a great example of how sheer will and passion are the ultimate enablers. All right, let's get into it. Chris Erwin:Tell me a little bit about where you grew up. I believe that you grew up in New York City. Is that right? Gretta Cohn:Well, I grew up in the suburbs, so I grew up on Long Island. My mom is from Queens and my dad is from Brooklyn and there is a sort of mythology of their meeting. My mom's dad was a butcher in Queens and my dad would always tell us that they didn't have toothpaste growing up and he'd go over to my mom's house and just eat. Yeah, they moved out to Long Island after they got married. Chris Erwin:Nice. And what part of Long Island? Gretta Cohn:Initially I grew up on the eastern end in the town called Mount Sinai and then when I was 13 in a very traumatic move at that age we moved to Huntington, which was more like smack in the middle of the island. Chris Erwin:My cousins are from Huntington. That's where they grew up, but then I think they moved to Lloyd's Neck shortly after. Why was that move so traumatic at 13? Gretta Cohn:I think it's that really formative age where you are sort of coming into yourself as a human, as a teenager and I remember writing my name on the wall in the closet because I wanted to leave my mark on that particular house that we grew up in. But then we moved and I made new friends and it was fine. Chris Erwin:Everything is scary at that age. It's like, "Oh, I have my friends and if I move to a new high school or middle school, I'll never have the same friends again." Gretta Cohn:My best friend at the time, Alessandra, never to be talked to or seen again. Chris Erwin:What was the household like growing up? Was there interesting audio from your parents? I mean, I think you mentioned, remind me, your father was a butcher and your mother was... Gretta Cohn:No, no. Those are my grandparents. Chris Erwin:Those are your grandparents. Got it. Gretta Cohn:Yeah. No. My parents were both teachers in the education system. My dad was a teacher his whole career life. He taught shop and psychology classes and computer classes. And my mom ended up being a superintendent of the school district on Long Island. She got her start as a Phys Ed teacher and then became an English teacher and worked her way up to superintendent. The sort of interest in audio they instilled in me and my two brothers extremely early. We all started learning to play string instruments at the age of three through the Suzuki method. Chris Erwin:The Suzuki method? Gretta Cohn:Yeah. Which is like an ear training style of learning music. So you essentially at three years old, you cannot possibly understand how to physically play an instrument and I remember a lot of time spent in those early group lessons just hugging the cello and singing this song, I love my cello very much, I play it every day and crawling up and down the bow with spider fingers, that's what they called it because your fingers kind of looked like spiders crawling up and down the bow and we all started playing string instruments at that age. I played cello and then the brother who came after me played violin, and the brother who came after him also played cello. Chris Erwin:Wow. And did you parents play instruments as well, string instruments? Gretta Cohn:No. My dad loves to say he can play the radio. Chris Erwin:I respect that. Gretta Cohn:I think they are educators, they are really invested in the full education of a person and so I think that they thought it was a good teaching discipline and it certainly required a kind of discipline. I can recall really fighting against practicing because I had to practice probably every day and I would rebel and not want to do it, but it was not really an option and I'm glad that ultimately I was pressed to continue to play because playing music has played such a huge part of my life. Chris Erwin:Clearly. It led you, which we'll get to, into founding a podcast production company and network and so much more. So very big impact. But, I get it. I began playing the alto saxophone in fourth grade and my twin brother was playing the clarinet and it was lessons with Mr. Slonum every week, an hour of practice every day and it was, when you're putting it on top of sports and homework and academics, it's a lot and it's intense and there's moments where you really don't want to do it and it's not fun and then there's moments where you're very thankful for it. And I think a lot of the more thankful moments came later in my life, but if you can get some of those early on, it's meaningful. When you first started playing, did you really enjoy it or was it just like, uh this is what I'm just supposed to do? Gretta Cohn:I remember enjoying it. I remember in particular being able to do little recitals every so often and I know there are photographs of myself in recital that I've seen even recently and there is such a joy in that and I think that showing off something that you've done and your family claps for you, it's a good job. Ultimately, what it feels like to play in a group, in an ensemble, it's pretty magical. I played in orchestras starting in grade school all the way up through college and there is something really amazing about the collective and your part and you can't mess up because it's glaringly obvious if you're the one out of the section of 12 cellists whose got their bow going the wrong direction or the wrong note playing. But it's also really beautiful to play in a group like that. Chris Erwin:Yeah. It's a special team sport, right? You rely on other people and people rely on you. When it comes together, it's an absolutely beautiful event, for you and the audience. Gretta Cohn:Yeah. I also played soccer growing up, speaking of team sports. Chris Erwin:Okay. What position? Gretta Cohn:I was defense. They would enlist me to run around and shadow the most powerful player on the other team. I don't know why, but I remember that. Chris Erwin:I was very similar. I started out as a recreation all-star like a forward and then got moved to right fullback, which is defense. That was my soccer career. All right. So interesting. So yeah, speaking of studying music, I think that when you went to university, you almost went to study music at a conservatory but you ended up going to Brown instead. What were you thinking, because were you going down a path where it's like, "I want to be in audio, I want to create music." What was your head space there as you started to go through advanced education, beginnings of your career? Gretta Cohn:I remember collecting fliers for conservatories. I was interested in conservatory, I think though that as I began to really think about what that would mean, I don't know that I was thinking really broadly, like oh... No one at 17 or whatever really has a full picture of what those choices ultimately mean but I'm glad that I didn't go to music school. I was always the worst player in the best section. So I remember I was in the New York Youth Symphony and I was definitely not the best player in that section, but it was really hard to get in. One summer I went and studied at the Tanglewood Institute in Boston, which is, again, extremely competitive and hard to get into but I was definitely not the best player there. Gretta Cohn:And I think that thinking about what it would mean to devote oneself entirely to that, I had other interests. I wasn't so completely focused on being a performer that it didn't ultimately feel like it would make a lot of sense because I wanted to study history, I wanted... And obviously, you go to conservatory, you have a well-rounded education ultimately, I would imagine, but it's not where I think I ultimately wanted to go. That was not the direction I ultimately wanted to go. Chris Erwin:Yeah. It's a really big commitment going from good to great, but I mean, you are great. You are getting into these elite orchestras but to be the first chair, that's a level of dedication practice that's really tough. It's funny, I actually read a David Foster Wallace article about the sport of tennis and he played and he was very good and I think he could have even gone pro, but he's like, "I'm good, I put in enough hours and I have fun with it, but for me to go to the next level..." He's like, "It's not fun to me and I don't want to do that." It's not for him. So you make a decision and you go to Brown. What's your study focus at Brown? Gretta Cohn:I ultimately was in the American Studies Department, but I had a special sort of crossover with the music department so I took a lot of music classes, I took a lot of American Studies classes which is basically like cultural history, social history, history through the lens of various social movements or pop culture, which I think is really fascinating and I wound everything together so that my senior thesis was about cover songs and the history of sort of copying and the idea of creating various versions of any original work and the sort of cultural history and critical theory lens of it, but also just I selected three songs and I traced their history over time from a performance perspective but also from like, how does this song fit into the narrative of music history? Chris Erwin:Do you remember the three songs? Gretta Cohn:I think I did Twist and Shout. Chris Erwin:Okay. Gretta Cohn:I Shall Be Released and I can't remember the third one. But I had a lot of fun writing it and I really liked the bridging between the music department and the American Studies department. And strangely, there are so many journalists who came up through American Studies. There are several producers on my staff who were American Studies students in college. I think it just gives you this permission to think about story telling in the world from just this very unique cultural vantage points. Chris Erwin:Did you have a certain expectation where you had an idea of what that story was going to be over time or were you surprised and as you saw how the narrative played out with the original song and recording and production and then the covers, anything that stands out of like, "Oh, I did not expect this, but I found this very fascinating."? Gretta Cohn:I don't really remember at this point. Chris Erwin:Sorry for putting you on the spot, it's such a long time ago. Gretta Cohn:The thing was like more than 100 pages and it's probably a door stopper now at my parents house. I remember that I put a big picture of a mushroom on the last page. John Cage wrote a lot about mushrooms and so I wove some of his work into the thesis but this idea that the mushroom takes the dirt and crap and stuff that's on the forest floor and turns it into this organic material, the mushroom. So yeah, I don't remember the specifics. Chris Erwin:Yeah, no. All good. My thesis was on the Banana Wars and that is... It's not even worthy of being a door stopper. That's just straight to the trash. But I did, for a music class, I think I did break down a song by the Sex Pistols. Gretta Cohn:Cool. Chris Erwin:I can't remember specifically which one, but I think I dove deep into the lyrics and I think I was pretty disappointed. I expected to find more meaning and have more fun with it, and I think it was maybe my young mind, I couldn't go deeper than I thought I could. Anyway... So fast forward to 2001 and as I was going through your bio, this really stood out and it hits close to home. You become a cellist for some alternative rock bands including Cursive, The Faint, and Bright Eyes. And I just remember The Faint, I think a song from 2008, The Geeks Were Right. I remember listening to that shortly after college. So tell me, what was that transition going from university to then moving, I think you moved to Omaha out of New York to play in these rock bands? Gretta Cohn:So when I was in college, I continued to play in the school orchestra, but I also met some friends who became collaborators and we would just improvise in the lounge like, bass drums, guitar and cello. And that was really freeing for me. Growing up on Long Island, I had such easy access to New York City and for whatever reason, I was really given a lot of freedom to... I would take the Long Island Railroad into Manhattan and go to concerts all through high school, like rock concerts. Chris Erwin:What was some of your earliest concert memories? Gretta Cohn:Purposely getting to an Afghan Whigs show and planting myself in the front row because I wanted to be as close as possible to the stage. So I used to go to concerts all the time and I was really, really interested in... I wasn't only a person who thought about classical music at all and so I met this group of people and formed this little group together and so I was playing music in college, eventually joining a band mostly with locals in Providence and we became the opening act for a lot of bands that were coming through. Chris Erwin:And what type of music were you playing, Gretta? Gretta Cohn:It was arty rock. Chris Erwin:Arty rock. Okay. Gretta Cohn:Yeah. Some of it was instrumental, but then some of it was like pop. I think one of the bands that I was in was called The Beauty Industry and it was probably a little bit reminiscent of Built to Spill and The Magnetic Fields and a little bit like Poppy. So in that band we would serve as the opening act for a lot of artists that were coming through and through that I was able to meet the folks from Saddle Creek from Omaha, Nebraska. And I didn't know that I made an impression on them, but I did and after I graduated I moved to New York. I didn't really know exactly where I was headed. I got a job working in the development office at Carnegie Hall and I didn't love it. We had to wear suits. And one day the folks from Omaha called my parents home phone and left a message and asked if I would come out and play on a record with them and I did. Chris Erwin:When you got that message, were you ecstatic, were you super excited or were you just confused, like, "Hey, is this real? What's going on here?" Gretta Cohn:Yeah. I think I was like, "Huh, well, that's interesting." Like, "I didn't expect this." So Cursive is the group that invited me out to record. Just sort of like come out and record on our album. And I didn't actually know Cursive. I had met Bright Eyes and Lullaby for the Working Class when I was at Brown, but I hadn't met Cursive and my best friend, who is still one of my best friends was a Cursive fan and dumped all of their CDs and seven inches in my lap and was like, "You need to listen to them, they are so good." So I did and I sort of gave myself a little Cursive education and then I started to get really excited because I felt like there was a lot of interesting potential. Yeah. Gretta Cohn:Moving out there was not an easy decision. It was very unknown for me. I love New York City and I always imagined myself here and I had never been to the Midwest so I didn't know what my expectations were and I didn't... Also at that time Cursive was a fairly well-known band but it wasn't understood that I would move out there and that would be my job, right? I was moving out there to join this community and play in Cursive and do Cursive stuff, go on tour, record records, but at that point there was no promise like, "Oh, I'm going to live off of this." And so I went to a temp agency and I did paperwork in an accountant's office and- Chris Erwin:While also performing with Cursive? Gretta Cohn:Yeah. Yeah. I will also say though, after the first year, things really took off after The Ugly Organ and I would say at that point I was no longer working in the temp office and we were going on long tours and when I came home in between stretches on tour, I was recovering from tour because it's quite exhausting and working on the next thing with the bands. Chris Erwin:Were you touring around nationally? Any international touring? Gretta Cohn:Yeah. National and international. We went all over the States, Canada and then European tour is like often... Cursive was very big in Germany so we would spend a lot of time in Germany, Scandinavia. We went to Japan once. Chris Erwin:What an incredible post university experience! Gretta Cohn:It really, really was incredible. Chris Erwin:Playing music because of a skill that you formed very early on and then working in New York at Carnegie Hall and a job that you weren't too excited about and then you just get this serendipitous phone call. And you started listening to Cursive records in seven inches and you're getting more and more excited and all of a sudden you're traveling the world. That's like a dream scenario. Gretta Cohn:Yeah. It was pretty dreamy. And I think I recognized at the time. I mean, those first tours, we were sleeping on... I had my sleeping bag and we would be sleeping on hardwood floors, end up in like a row and someone's apartment in like Arlington. And I remember some of those first tours internationally, like in Germany, you would play the show and then everyone would leave and they would shut the lights off and we would just sleep on the stage. And in the morning the promoter, like the booker would come back and they would have bread and cheese and fruit and coffee. And it was just this beautiful... But we were sleeping on the stage. Chris Erwin:I mean, you're all doing it together. So it was cool. Right. You just were a crew. Gretta Cohn:Yeah, yeah. It was great. I loved it. I really, really loved it. Chris Erwin:I look at your work timeline between 2001 to 2010, which includes, you're a touring international artist, but then you do a lot of other things in audio. Like you study with Rob Rosenthal at the Salt Institute, do some time in Studio 360, and then you go to radio and then audio books. So what are the next few years? How does this audio adventure start to transform for you? Gretta Cohn:While I was in Cursive, there were other parts of me that I felt needed feeding and so I started writing for the local alternative weekly in Omaha. And I was doing like book reviews and reviewing art shows and doing little pieces, which sort of opened up to me, this understanding that journalism was something that I was really interested in. And while I was still essentially based in Omaha and still, essentially based out of Saddle Creek, I came back to New York for a few months and did an internship at The Village Voice because I just really wanted to sort of start exploring these paths of what would potentially come next. I didn't necessarily think that I was meant to stay in Omaha like for the rest of my life. When I first moved out there, I thought, "Oh, I'll give it a few years. See how it goes and then probably come back home to New York." Gretta Cohn:And then things really took off and so I didn't want to leave. And I was really having a great time and loved it and loved everything that I was doing. And I think that at the time that chapter was coming to a close, it was sort of like naturally coming to a close and I wasn't entirely sure what I wanted to do next. I was interested in journalism, I was interested obviously in... still thinking about music and audio although I think I needed a break from music after that time. Like when you're so intensively working on something like that, you just need a minute to let everything kind of settle. Chris Erwin:Yeah. It's all encompassing. Right. You're just living, breathing, eating music and the band. It's a lot. Gretta Cohn:Yeah. So I took a couple of years and started to figure it out. Actually, something that's not on your list is I worked at a ringtone company for a bit. Chris Erwin:It is audio based. So I'm not surprised. So yeah, tell me about that. Gretta Cohn:It was just a job that I got. Actually, looking back now, I think that it was a company that was founded by two classical musicians. They mostly had contracts with major record labels and I remember turning Sean Paul's Temperature into a ringtone in particular. It was just like chopping things into little eight seconds and looping them and mastering them and- Chris Erwin:Were you doing the technical work as well? Gretta Cohn:Not really, you spend time in the studio and so you learn and you pick up things. I wasn't recording the band, but that was the first time that I got my own pro tools set up and so I had my own pro tool setup, like was using it for my own little projects at home, but I was not technically involved with the making of any of the records that was on now, except for playing on them. Chris Erwin:Yeah, you were dabbling in pro tools then pretty early on. Gretta Cohn:Yeah, yeah. I had the original Mbox, which is like this big plastic, weird alien looking object with just like a couple of little knobs on it. I finally got rid of it a couple of years ago. I held onto it for a long time and now you don't even need it. Chris Erwin:So you're dabbling and then I know that you spend time as a producer at The Story with Dick Gordon, North Carolina, and then you went to audio books. Is that when things started to take shape for you of knowing kind of what you wanted to do? Gretta Cohn:I think as soon as I went to Salt to study with Rob Rosenthal is when I knew that that's what I wanted to do. I took a few years after Cursive to kind of reset a little bit and then I started working at the ringtone company and began to have conversations with people about where all my interests collided. Like I loved working in sound, storytelling and journalism were really important to me. I don't think at that point that... There was a whole lot that I was exposed to apart from NPR, This American Life and Studio 360 were sort of the major outlets for audio storytelling that I understood and spent time with. And I just remember having a meal with someone who I don't recall his name, but he's done a lot of illustrations for This American Life and public radio outlets and he was like, "There's this place, it's called salt. You can learn how to do this there." And so I just decided that I was going to step down this path. Right. Chris Erwin:Yeah. And Salt is based in Maine, is that right? Gretta Cohn:Yeah. So I moved to Maine for six months. I was very excited. I got a merit scholarship to go there. Chris Erwin:Oh wow. Gretta Cohn:Yeah, and I basically... There's so many fundamentals that I learned there that I use every single day now still. I think Rob Rosenthal is absolutely brilliant and he has trained so many radio producers. It's insane. Chris Erwin:Of all the learnings from Rob, just like what's one that comes to mind quickly that you use everyday? Gretta Cohn:I don't know that this is one I use every day, but it's one that's really stuck with me, is he really counseled to be really mindful when thinking about adding music to a story. He used the phrase, emotional fascism. Essentially, if you need to rely on the music to tell the listener how to feel, then you haven't done your job in sort of crafting a good story. So like the bones of the story, like the structure, the content, the sort of stakes intention and the character you've chosen, like all of that have to clear a certain hurdle and then you can start thinking about adding music, but if you're relying on the music to sort of create tension or drama or emotion, then you've kind of missed something. Chris Erwin:Yeah. That's very interesting. What a great insight! I like that. Emotional fascism. Gretta Cohn:I'll never forget. Chris Erwin:So after the Salt Institute, what's next? Gretta Cohn:I got an internship at WNYC at Studio 360. At that time the internship system at New York Public Radio was like largely unpaid. I think I got $12 a day. So I interned I think three or four days a week and then I had like two other jobs. Chris Erwin:Just to make ends meet, to make it work. Gretta Cohn:Yeah. I worked at a coffee shop, like most mornings. And then I worked at a Pilates studio many afternoons and on the weekends. So it was like a lot, I was really running at full steam, but I really enjoyed the internship there. And then that was my first real glimpse into what it was like to work in a team to make impactful audio storytelling and I learned a lot there too. The team there was really amazing. Yeah. So Studio 360 was fantastic. And then a friend of mine had found out about this gig at The Story with Dick Gordon. It was a short term contract producer role, like filling in for someone who was out on leave. And I got the job and I moved down to Durham, North Carolina, and found an apartment, brought my cat and worked on that show for a few months, which I think was a pretty crucial experience to have had, which helped open the door into WNYC. Chris Erwin:Why's that? Gretta Cohn:So this was in like 2008, 9 and there weren't like a whole lot of opportunities in the audio storytelling space. Like your major opportunities were at public radio stations and public radio stations were highly competitive. It didn't have a lot of turnover. They understood that they were the only game in town if this was the career path that you were interested in going down. So having had a job at a radio station on staff on a show was such a huge opportunity. I don't know that I was like chomping at the bit to leave New York or move to Carolina, although I loved it there. And I had friends who lived there that I knew from the Saddle Creek community. So it was really great. I moved down there and I didn't have to... I can't recall ever feeling lonely. Right. Like I immediately had this community of people, which was amazing, but that gig was only three months. Gretta Cohn:And so I came back to New York and basically spent the next couple of years banging on the door to get back into WNYC, which is when I went to the audio books company where quite a few radio producers worked. Like that's how I found out about it. There were folks who had passed through Studio 360 or elsewhere. And my boss at the audio books company is David Markowitz, who is now currently working in the podcasting department at Netflix. And he previously was at Pushkin and at Headspace and he... So he and I, although our paths crossed at that moment, because our paths have continued to cross over and over again since that time working together with the audio books company. Audio books wasn't my passion, but while I was there I got the idea to pitch the podcast to the audio books company, which they agreed to let me do. And so I had this outlet to just do a little bit of experimenting and to grow some skills and also have just like an outlet to doing this kind of work that I wanted to be doing. Chris Erwin:Had you ever pitched a project or an idea before to any place that you worked at? Gretta Cohn:I pitched stories to Studio 360, but to pitch an idea for something that had not existed before, no. Chris Erwin:It becomes, I believe, The Modern Scholar podcast, is that right? Gretta Cohn:Yeah. You've done like a really deep research. Chris Erwin:Look, it helps to tell your story. Right. So you pitch, and then you get the green light, which must feel validating. It's like, okay, this is a good idea, but now it's got to be more than a pitch, you had to execute. Was that intimidating or were you like, "No, I'm ready to go I got it." Gretta Cohn:I was ready to go. They had an audio book series called The Modern Scholar. Professors would come in and record like 10 hours worth of like Italian history. And so what I did was just have a one hour interview with the professor who was the author of this series and talk about their work, go into detail on something really specific. I will say at that time that like I applied for a mentorship with AIR, the Association of Independence Radio, they gave me a mentor and I had like a few sessions with him and it was great. Like I had someone... I had an editor, right. I wasn't totally on my own kind of like muscling through. And so he really sort of helped refine the ideas for that show and that was a great help. So I'm lucky that I was able to get that. Chris Erwin:What I'm really hearing Gretta is that you moved around a lot and participated in and developed all these different music and audio communities around the US and even the world from like Omaha and international touring and Scandinavia and Europe, and then the Salt and Maine and North Carolina and New York and more, and I'm sure, as you said, with David Markowitz, that these relationships are now serving you in your current business. So it feels like that was like a really good investment of your time where the networking was great, but you also learned a lot and were exposed to a lot of different thinking and ideas. Is that right? Gretta Cohn:Absolutely. Definitely. Yeah. Chris Erwin:After dabbling around a bit for the first decade of the 2000s, you then go to WNYC and you're there for around six years, I think 2008 to 2014. And you work on some cool projects. You're the associate producer at Freakonomics and you also work on Soundcheck. So tell me about what made you commit to WNYC and what were you working on when you first got there? Gretta Cohn:At the time there weren't a lot of options for people doing this work. And WNYC obviously is an incredible place where really amazing work is done, really talented people. It basically was like the game in town, right? Like there weren't a lot of other places where you could do audio storytelling work in this way. There was a pivotal moment that I think could have gone in a different direction, but I had applied for a job at StoryCorps and I applied for the job at Soundcheck. Chris Erwin:What is StoryCorps? Gretta Cohn:They have a story every Friday on NPR that's like a little three minute edited story and it's usually like two people in conversation with each other. It's highly personal. And they're very well known for these human connection stories. It's I think influenced in part by oral history and anthropology, but it's basically this intimate storytelling. And I did not get that job, although I was a runner up and the person who did get the job is now one of my closest friends. But at the same time was an applicant for Soundcheck and I did get that job. And I think it was... That was the right path for me because I have such a passion for music. Right. My background kind of really led me to have an understanding of how to tell those stories. Chris Erwin:What is the Soundcheck format? Gretta Cohn:It changed over time. But when I joined Soundcheck, it was a live daily show about music and really open, like wide open as far as what it covered. So in any given episode, you could have like Yoko Ono there for an interview, you could have the author of a book about musicals from the 1920s, and then you could have like a live performance from Parquet Courts. So it was really wide ranging and varied and super interesting. And there's so much about working on a daily show that's I think extremely crucial to building up chops as a producer because every single day you have a brand new blank slate, you have to work extremely quickly and efficiently. Working in the live setting can create so much pressure because not only are you keeping to a clock, like the show went from like 2:01 to like 2:50 every day, and there had to be certain breaks and you have an engineer and you need the music to cue in a certain place. Gretta Cohn:And so you're like, "Cue the music." And you're whispering to the host like, "Move on to the next question." You're like this master puppeteer with all these marionettes and it's pretty wild. It's really fun, super stressful. You go off stage and it's like- Chris Erwin:It sounds stressful. Gretta Cohn:You can't fix it. You just have to move on and you learn a lot. Chris Erwin:It feels like something, you do that for maybe a couple of years or a few years and then it's like, ah you need a break from that. It's amazing that people who work in like live video or live radio for decades, like kudos to the stamina that they build up. Gretta Cohn:And that's exactly what happened is I needed a break from it. And that's when I went to Freakonomics. Chris Erwin:Got it. Before we go into Freakonomics, you also helped create Soundcheck into an omni-channel media brand where you were launching video and live events and interactive series. Was that something that had been happening in the audio industry or were you kind of setting a new precedent? Gretta Cohn:Our team was tapped to reinvent Soundcheck. So it had been this live daily show for quite some time and I think that WNYC wanted to reshape it for a variety of reasons. So we were sort of tasked, like we pulled the show off the air and kind of went through this like sprint of re-imagining, what the show could be, how it would sound, what it would do. And actually, I remember that I pitched this video series that was a lot of fun. I can't remember the name of it now, but we worked with a local elementary school and we would have three kids sitting behind desks and we would play them clips from pop songs- Chris Erwin:Whoa. Gretta Cohn:... and they would review them and- Chris Erwin:That's a really cool idea. Gretta Cohn:... it was awesome. It was so much fun. We did a lot of live performances and I started producing sort of like more highly produced segments and storytelling for Soundcheck at that time, because there was more space to try and figure that out. Ultimately, what it turned into was like a daily delivery of a show that I think ultimately resembled the old show in many ways, but it was not live anymore. And there were all these other tasks. I also created a first lesson type series for Soundcheck at that time where we would like stream a new album before it came out and I would write a little review. It was really fun. When we pulled the show off the air and we were tasked with re-imagining it was like a sandbox that you just kind of could plan, which was great. Chris Erwin:It's a wide open canvas that you can paint to how you desire. I get that why you were burnt out after that. So then you change it up and you become an associate producer at Freakonomics and you work with the fame, Stephen Dubner and Steven Levitt. How has that experience? Gretta Cohn:It was great. It was challenging. I think that show has incredibly high standards and there's a particular kind of brain that I think works extremely well at that show. At the time, there were two of us who were the producers of the show, myself, who has this background in music and in production. And then the other producer was an economist who had been freshly graduated from economics school. And so we were this pair and I think what ultimately happened was that where I shown where these like human stories and where he shown was like distilling econ papers into sort of understandable stories. And so I think the two of us together really complimented each other. One of my favorite episodes that I worked on was about the Nathan's hotdog contest and one of the sort of like champs who had come up with a particular system for how to win- Chris Erwin:Dunking them in water and all that stuff. Yeah. I remember watching some of those segments online. In a minute they put back like 47 hotdogs. It was something crazy. Gretta Cohn:Yeah, it's wild. Chris Erwin:After Freakonomics, you decided to depart for Midroll and Earwolf. What was the impetus for that? Gretta Cohn:My time at Freakonomics was sort of like naturally coming to a close. I think that while my strength was in this sort of human sort of storytelling, I think the show needed someone who had a little bit more of that like econ background. And so I started to look around the station at WNYC, of other places where I could land, right? Like I'd moved from Soundcheck to Freakonomics, like what would be the next place for me to go? And I couldn't find it. I spent a little bit of time in the newsroom helping to look for a host for a new health podcast and I had conversations with people around the station about various other shows. I think I talked to the folks on the media and this producer, Emily Botein, who ultimately founded the Alec Baldwin podcast and a host of other really great shows there, but it didn't seem like there was space or a role that really made sense for me as far as like the next step is concerned. Gretta Cohn:At that time, Erik Diehn who's now the CEO of the Stitcher empire was in the finance office, I think at WNYC and he left to go to Midroll/Earwolf. Chris Erwin:I didn't realize he was also WNYC. Bannon was also WNYC who's now the chief content officer over there? Gretta Cohn:Mm-hmm (affirmative). Chris Erwin:Wow. It was a feeder to that company. Gretta Cohn:Yeah. So Erik Diehn left WNYC and I remember the note that went around, he's going to this company, Earwolf/Midroll. And I was like, kind of filed that away. And then it was probably a few months later that they put a position, they were hiring for a producer. And I sort of leapt at the opportunity. I thought that the shows on Earwolf were awesome. I had not worked really in comedy. Although I think that there's so much crossover in Soundcheck. We really had a lot of license to have basically like whoever on the show, like I booked comedians, I booked authors. Like I booked anyone who had a passion to talk about music, which is like 90% of the world. And so I think that that was really of interest to them. And I had a couple of conversations with Erik and the job was mine. I mean, I went through- Chris Erwin:You make it sound very easy. Gretta Cohn:... a proper vetting and interview process. And there were other candidates, but they gave it to me. And I was really, really excited because I think I was ready for a fresh start and I was ready for something new, something a little bit unknown. I think that I tend to find... Typically, I think if you look over the course of my life, like every few years, I'm like, "Okay, what's the next thing?" And I think that I still feel that way except now I have this entity of Transmitter in which to keep iterating and playing, but I was just ready for the next thing. And it was at that time, a really small company, I was the first New York based employee, like Eric was living in New Jersey. So it doesn't count as a New York employee. There was no office. Chris Erwin:I remember that Jeff Ullrich was the founder and it was bootstrap, didn't raise any venture capital and started I think in the early 2000s, if I remember correctly. Is that right? Gretta Cohn:I don't know the dates, but that sounds right. Chris Erwin:Okay. A little context for the listeners. And Earwolf is a comedy podcast network. So there's a slate of comedy shows and Midroll was the advertising arm of the business that would connect advertisers with the podcasters. But no, please continue. So you're the first New York hire. Gretta Cohn:Yeah. Which was really exciting to me. I was the first producer hired by the company. They had a few really amazing audio engineers out in LA who ran the recordings and they did editing, but there had never been a producer on staff. So it was really this like wide open field. And Jeff at that time, I think had taken a step back from the company, but the moment that I was brought in is when the idea for Howl came into the picture and Howl was a membership subscription-based app that has now turned into Stitcher and Stitcher Premium, it was folded in, into Stitcher and Stitcher Premium. But at the time there was like this real push to create a subscription-based app with like a ton of new material. And one of my first jobs was to work extremely closely with Jeff to figure out what was going to be on this app, who were we going to hire to make material? What producers, what comedians, what actors? There was an enormous spreadsheet, like one of the most enormous spreadsheets that I've ever spent time with. Gretta Cohn:So that was my first task and alongside, which was to sort of from a producer's perspective look at this later shows on Earwolf and start to think about what would a producer bring to the network? What would a producer bring to the hosts, to the way that things were made, to new ideas to bring to the network? And so those two things were sort of happening concurrently. Chris Erwin:The producer role was not defined. You're the first producer there. So it's you coming in saying, "Here's how I can enhance the slate. Here's how I can enhance the content strategy of where we're headed concurrently with we're launching Howl, which needs a lot of content, both from partner podcasters and probably owned and operated and then filling..." So creating a new slate, that's going to fill that. That's going to make people want to buy the membership product or subscription product, which are big questions that Spotify and Netflix and the biggest subscription platforms in the world have huge teams to figure out. And it's like you and Jeff, and maybe a couple more people? Gretta Cohn:There was one developer. Chris Erwin:Wow. Gretta Cohn:It was intense. It was a lot of work. I remember because at that time too, I was the only New York based person. Eric was in New Jersey. I think Lex Friedman came along. He was either already there or came along shortly thereafter, also based in New Jersey. Chris Erwin:And Lex was running sales? Gretta Cohn:Yes. And he's now with ART19, but there was no office. I was working from my kitchen table, much like I do now. It was great. I think what really excited me was like the open field of really sort of figuring out what everything was going to be and it was like off to the races. Chris Erwin:So I actually reached out to a few people that we mutually know to just get like, oh, what are some stories I can have Gretta talk about from the early Midroll/Earwolf days. So I reached out to Adam Sachs who was also on this podcast earlier. He's a childhood friend of mine that was also the CEO of the company when it sold the scripts, as well as Chris Bannon, who I consider one of the most like delightful humans on the planet. I think he was the chief content officer while you were there and he still is now under Eric as part of this new Stitcher Midroll combined empire. And what Chris said is that, like you mentioned Gretta, no office for the first six months and that you were taking meetings, I think in sound booths as well. And that when you finally did get an office, it was so small that you were taking turns sitting down. Gretta Cohn:Yeah. Well, we put our own furniture together. I learned so much from my years at Earwolf that have completely guided and shaped a lot of how Transmitter kind of came into being. Yeah, we put all of our furniture together ourselves in this first office. Chris Erwin:That's good training for you launching Transmitter where it's lean budgets, you're funding from your savings. You probably had to set up your own furniture yourself too. So that DIY attitude persists. Gretta Cohn:Yeah, yeah. And it was exciting. Whereas a place like WNYC is this like well oiled machine, it's also like a big ship that in order to turn 30 people have to be sort of moving things around and like, is the sky clear? There are just like so many little tiny steps that have to be taken to make a decision. Whereas what working at that early stage at Earwolf meant was like you can just make decisions, you just do it. Eric and I went around to see like five different offices. We decided together, "Oh, let's take this one on Eighth Avenue." This is the furniture. All right, let's put it together. I remember walking into the office when the furniture was first delivered and it was extremely dusty and we were wearing dust masks and trying to figure out where's the studio going to go? And it was just really exciting. It's really exciting to sort of pave your way and build something from the ground up. Chris Erwin:I like what you're saying too, is that you can just get things done very quickly. And that's actually one of the things that Bannon brought up about working with you is you guys launched good shows I think in just a matter of a few months or less, like Bitch, Sash and Beautiful Stories from Anonymous People, which was a number one hit on iTunes. And that now making shows like that, if you're at a bigger company with all the bureaucracy and the approvals can take over a year, but you guys were getting stuff done fast, there was no alternative choice. Gretta Cohn:Yeah, we were working very quickly. Chris Erwin:So I'm curious to hear like Beautiful Stories from Anonymous People. That's like an iTunes topper. Was that the first big podcast hit that you had in your career? Gretta Cohn:I would say so. Yeah. I'm trying to remember what if anything came ahead of it, but I'm fairly certain that some of my first meetings after joining the team at Earwolf were with Chris Gethard and working with him on sort of early prototypes of Beautiful Stories from Anonymous People. And he's a remarkable person. He's a brilliant comedian. He's such a good human being. He's an amazing collaborator. And yeah, it was the two of us for a while just, I think the first call that we took, which was sort of just the prototype, the pilot for the show. We're like, "We don't know what's going to happen. Is anyone going to call?" And yeah, I mean, it was really awesome working on that show. And also it was such a departure from the kinds of projects that I had worked on previously, which were extremely buttoned up like very highly produced in the sense that every single step that you took in the process was regimented, right? Like making a Freakonomics episode, making an hour of Soundcheck, thinking about that live daily experience. Gretta Cohn:Like you can't have a minute on the clock that's not accounted for in making those things. And here's a show where we just open a phone line and see what happens for an hour. And it's so freeing to be sort of separated from that regimentation and working with Chris Gethard, I think taught me that you can make something that's really compelling and that's really good. And it was highly produced. Like a lot of thought went into it. There's a lot of post-production, but it didn't need to be the kind of thing where like every single minute of that hour was a line on a spreadsheet. And I love that show. I think that we're all like voyeurs of other people's experiences. Right. And I think it's super interesting the way that people are willing to call and sort of like bare their souls to Chris and working on that show was fantastic. Gretta Cohn:And it was really gratifying and really rewarding when we realized that people were paying attention and they were going to listen. And for that to be one of the first projects of my tenure at Earwolf was great. It was great. Chris Erwin:That's awesome. What a cool story! Bannon even mentioned you work on, I think Casey Holford's Heaven's Gate, which is now an HBO Max series. I think that just came out this week or something, some big projects. All right. So look, in 2015, Midroll/Earwolf sells to Scripps, EW Scripps. Then I think in 2017 is when you start Transmitter Media. I'm curious to hear that after this fun sprint at Midroll and the sale and launching the shows and launching Howl and Wolfpop and all the things, what got you thinking about becoming a founder, which is a very different experience than what you had done for the first 10, 15 years of your career? Gretta Cohn:So after the sale, I think that Adam Sachs kind of offered me the opportunity to reshape my role a little bit. So I had been overseeing the Earwolf shows, developing and producing brand new shows and Howl was in the rear view at that point for me, I believe. I think this is like a classic situation. They're like, "We're going to split your job into two, which half do you want?" And I was like, "This is great." Because it had been a lot to be developing new shows, to have this sort of slate of shows at Earwolf requiring my attention. And I picked the path of new development and that's when they went out and found someone to executive produce the Earwolf network. And in my new role, I needed to build a team and a division. Gretta Cohn:So I had to hire really quickly about six producers to form a team. And there wasn't really a human resources and so it really fell on me to read every application that came in and kind of vet all of the candidates and begin that process of selecting who to talk to. And I probably spent about six months just interviewing. I think that I learned a lot from that process and I think it developed in me like a little bit of an eye for how to spot talent and people that I want to work with, but it also was like supremely exhausting. And at the same time, I think that the company was in a real state of renewal and flux and change following the sale to Scripps, which I think is probably common in any situation where a company is acquired by a company that has a different POV, like maybe doesn't understand podcasting, has its own goals that are separate from what the goals had been at Earwolf. Gretta Cohn:So there were just a lot of strategy shifts that I did my best to kind of keep up with, but ultimately found myself thinking like, "Well, if I were setting the strategy, what would I do? If I were re-imagining sort of the direction that this company was going in, what would I do?" And I looked around and Pineapple Street had been around for a few months, maybe six months. And I went and had some chats with them about sort of like what they were doing and what they wanted to do. And I went over and had a chat with the folks at Gimlet thinking like maybe there would be a place for me there, but ultimately out of my conversations with all of those people, was this kind of clarifying feeling that there was something that I wanted to do and that I wanted to do it differently. I would say it was definitely like burnout that kind of led me to thinking about what I wanted to do next, because it felt like where I was at was like a little bit unsustainable. It was scary. Gretta Cohn:I definitely spent a month sort of quaking with fear on the couch. Like, is this something that I'm going to do? What does it take and what do I need and are there like, long-term consequences that I can't really think of yet? Because I'd always had a job, right? Like I always worked for someone else and enjoyed the freedom, frankly, that that gives you, right? Like you show up, you do the work and then you leave and you can go and take care of whatever. So I just spent a lot of time thinking about it and talking to friends, my close friend who gave me the Cursive records back in the day has run a press, a small press for nearly as long as I've known him. And it's a small non-profit, but it requires the same levels of sort of like entrepreneurship and sort of like- Chris Erwin:Discipline in a way. Gretta Cohn:Yeah. Discipline. That's exactly the word. And so I talked to him a lot about he figured out what he was doing. My brother has had his own post-production business for film for more than five years, so I went for dinner with him and talked about... His business relies on film clients who come to him with a movie that needs mixing and sound effects and sound design. So we talked about that and my husband was acquiring a business. He purchased a retail shop in our neighborhood around the same time too. So there was like a lot of this around me where I had just a lot of conversations about this and I decided to do it. I decided that like the fear was not a good enough reason to not do it. And my alternate path to be quite frank was to leave podcasting because I just couldn't see where my next step was going to be. Gretta Cohn:And so I thought I would take the more productive path, the one where I didn't leave podcasting and I made this decision in December of 2016 to myself and then spent the next couple of months just tucking away money. When I say that I saved money before starting the business, I saved $7,000. Like this is not an enormous coffer of like startup money, but it was enough to pay for an office space and to pay for myself for a couple of months to just see what would happen. And I gave extremely early notice at Midroll and I started to look for clients before I left. So I set it up so that by the time I finally left Midroll in the end of March of 2017 and walked into my office, my new office for Transmitter Media, on the 3rd of April of 2017, I already had clients. So this also gave me that added security of like, "I'm not just walking into this empty pit of like who knows what? Like I have work to do." Chris Erwin:Look, that's just like an amazing transition story, but a couple of things stand out. One it's like double entrepreneur household. A lot of couples that I talk to will say, one will start a new venture business that's risky while other has like W2 salaried income. But your husband had just bought a local retail shop in the neighborhood. You were launching Transmitter Media. So you were smart about mitigating risk of landing of clients in advance. Yeah, it's a lot to take on. And the second thing I heard that I think is really interesting is you felt that there was no path for you to stay in podcasting unless you started your own business. So it's either get out and do- Gretta Cohn:It felt that way. Chris Erwin:Yeah. Get out and do something totally different or commit and go deeper with this incredible network and skillset that you've built up for a decade and a half and start your own thing. You committed to it. And yeah, whether it was meager savings of $7,000, it was enough. And you had the confidence. And I think in the early days, confidence is everything that you need. Tell us about what is Transmitter Media or what was it at that point? Gretta Cohn:Transmitter Media was born as a full service creative podcast company, meaning primarily working for clients who needed podcasts production. And it's really 360 ideation. There's like a paragraph that explains what they want the podcast to be and then we figure it out from there. Like it's quite rare that someone comes in the door and they have like a fully fleshed out idea for a show that has all the episodes outlined and the guests and then this and then that. So it's really starting with a kernel of an idea, figuring out how to make it, what it needs, what's the format and executing it all the way up to launch and continued production. And I think that I saw what Pineapple Street was doing. I respect Jenna and Max from Pineapple Street so much. Gretta Cohn:And it felt like the right model, essentially doing what film production companies do or in a way kind of like what advertising agencies do. You have clients, your clients have a story that they want to tell and as a production company, you figure out how to tell it and how to tell it really well. And I think that for me, having a focus on craft was really important quality over quantity and taking the time to really figure out creatively, what does something need was how I stepped into it. Chris Erwin:Clearly as the industry is growing, in terms of more audio listenership, more brands wanting to figure out the space and still early, I think in 2019, the ad market for audio was like 750 million. So you started the company is like two to three years before that, when you look at the total advertising landscape, which is like over, I think, 600 billion globally. But brands are leaning in, they want to figure it out and you have a knack for audio storytelling, and then you commit. And so who are some of the early clients you work with? I think they were Walmart and Spotify. And what did those first early projects look like and had you had experience working with brands before? Or was it like, "All right, I have a skillset, but I kind of got to figure this out on the fly too."? Gretta Cohn:So it was Walmart, Spotify and TED I think were the three sort of major clients at the very beginning. I hadn't worked directly with brands. I understood working with other media institutions. I understood working with hosts. I also understood developing new shows because that's what my team did at Midroll, Stitcher, Earwolf. Before I left, an entire year of just coming up with ideas and piloting them and throwing them at the wall and kind of running them through PNLs and doing all of that. And so I understood all of that. So we have worked directly with brands, but with Walmart, it was running through an advertising agency full of really great creative people and so we were interfacing more with them. And I think that I learned through them a little bit more about how to work with a client like Walmart. Gretta Cohn:But I think also that everyone we were working with at that time was also trying to figure it out for themselves in a brand new way. So we've now been working with TED for over three and a half years, but at the time the show that we developed with them, WorkLife with Adam Grant, I think was their first sort of step into the sort of slate of podcasts that they have now. They had TED talks daily. It was sort of concurrently like I know what the steps to take and the people that I am making these podcasts for don't, they've never done it. And so I think I learned a lot in those first few projects about how to deliver, how to communicate what we're doing clearly. But it's not like I hadn't already done that before. Like I had the skills, it's just was like refining them and putting them into this really particular box. Chris Erwin:Yeah, just a little bit of a different application. Makes sense. Gretta Cohn:Yeah, exactly. Chris Erwin:When we were talking about having to build a development team at Midroll and Earwolf that you said that you had like a unique sense of how to identify good people. So then you start building your own team at Transmitter and it seems that you've built a pretty special team there. So what was your, like when you think about, if I need great people to make Transmitter a success, what type of people were you looking for and what has like your culture become at your company? Gretta Cohn:I love my team so much. I agree. I agree I think they're really special. I think independent thinkers, people who have a really unique creative spark, people who surprise me. Right. I think that what I learned in doing all this interviews at Midroll was like, I prepare a lot for interviews, kind of much like you prepared for this. I would do deep dives. I would listen to a lot of work from the people who were coming into... had applied for the roles. I also like over the years, there are certain producers who I'll just kind of keep in touch with, or follow their work and be excited by their work and hope that one day they might like to come work at Transmitter. And so I also am really keen on people who have a collaborative spirit. So an independent thinker who's down to collaborate, who doesn't necessarily need to put their fingerprints all over everything and it's like cool if their fingerprints kind of merge with other people's fingerprints and we've got this really sort of group dynamic where we're really, everyone is contributing towards something. Gretta Cohn:And people own projects, people own stories, people own episodes, but ultimately, I think that we have a very collaborative team environment. And we're also a group of people who like to celebrate our successes, even like the teeniest tiniest ones. And so we spend a lot of time like talking about the things that go well and I think that creates a lot of pride in work. And I'm interested in working with people who have that same sense of craft as I do. It's not necessarily about perfection, but it's about doing really good work, making something sound as good as it can possibly be. We have an episode that on Monday I got an email about, saying, "This is in its final edit. I'm not looking for any big edit changes. I'm only looking for a notes on music." And I listened to it and I was like, "Ah." Chris Erwin:Is this from a client? Gretta Cohn:"How did they get editorial note?" Chris Erwin:Yeah, was this a client email or internal? Gretta Cohn:No, it's internal. I have a big editorial note and here's why, and I know that you thought you were almost done, but it's going to be so much better because of this. And typically as a group, we come to that agreement very quickly that it's going to be better and our goal is to make work that sounds very, very good. Chris Erwin:I think that's how you build a great company and also become successful and are fulfilled in that. Like yesterday's win or yesterday's excellence is today's baseline and you just keep upping the threshold. My team calls me out for doing that all the time, but I always say, "Yeah, I hired you guys because men and women, you're incredible and I'm going to hold you big." And that makes for a fun work environment. And it's all in our mutual best interests. So I like hearing you say that Gretta and you just talked about celebrating wins often. What is like a recent win that you guys celebrated, big or small? Gretta Cohn:I mean, earlier today we recorded an interview where the host was in a studio in DC, our guests was in her home under a blanket fort in New Jersey. We had a little bit of a technical mishap before it started. One of the newer producers on our team was managing that. And I know that that could have been a situation where she got so stressed out that she could have been paralyzed by the overwhelming sort of urgency of overcoming this technical mishap, but she was calm and she kept us informed of what she was doing and she figured it out and the interview started late and it went long, but that was fine. And you got to give someone a thumbs up for that. Like that was hard and you figured it out. Gretta Cohn:And another recent win is we are about to launch season two of our podcast, Rebel Eaters Club and we have a promotions team working for us this time, we're making new artwork and we've got the episodes of the season in production. It's just exciting for me when all the pieces start to come together and we're like a month away from launch and it's not done and it will get done. But right now it's just this like ball of energy and that feels very exciting. Chris Erwin:This is your first owned and operated podcast where- Gretta Cohn:Yes. Chris Erwin:... your business has helped create audio stories for a variety of different brands and marketers and publishers and now you're investing in your own IP, which is really exciting. And so what is the general concept of Rebel Eaters Club for people who want to check it out? Gretta Cohn:Rebel Eaters Club is a podcast about breaking up with diet culture. Chris Erwin:Ooh. Gretta Cohn:Yeah. Our host is, her name is Virgie Tovar, and she's sort of one of the leading voices on breaking up with diet culture because it's extremely harmful. It is a huge industry. It's a debilitating thing that is, fat discrimination is something that's like not very often discussed, but such a huge sort of point of discrimination in our culture. And I have learned so much from this podcast, it's funny, it's a weird,

Ugly LinkedIn photo? Some executives favor their high school yearbook likeness. Others just choose to ignore the aging process. Either way, an outdated profile photo is not the best way to represent yourself on LinkedIn, the world's largest professional network. Our guest for this segment Debi Cramer, founder and principle photographer at Thirty-Eighth Avenue Photography in Plymouth, MA, outlines “There are a number of professional profile photo ‘no-no's' including scowling, wearing sunglasses or clothing items with prints, as well as standing alongside other people - or next to someone's shoulder and arm in the case of a cropped image.” A LinkedIn profile photo is also not the best place to show off a cherished boat, sports car or pet. It's okay to wear ski goggles if you're a ski resort owner, but not okay if you're a ski enthusiast and your profession is selling life insurance. It should be noted that NOT having a profile photo doesn't work in your favor either. Will fellow networkers and recruiters want to connect? Perhaps not. Those who do have a profile photo on LinkedIn may receive up to 21 times more profile views than those lacking profile photos (according to LinkedIn). Tune in and smile for the camera.

Jim Caruso is a multi-talented singer, writer, producer, master of ceremonies and longtime staple of the New York Performing Arts community.  As a vocalist, he has performed his acclaimed revues (in collaboration with Billy Stritch, Jane Monheit and Klea Blackhurst) to packed houses around the country.  In addition to curating the “Broadway at Birdland” series at the venerable NYC jazz venue Birdland, he is the host and creator of the long running “Jim Caruso’s Cast Party”, an after-hours, extreme open mic that features, in his own words, “...some of the greatest singers in the Universe; also, other people." In 2009, Jim appeared with the incomparable Liza Minnelli in “Liza’s at the Palace”.  That production won the Tony Award for Best Special Theatrical Event and its original cast recording was nominated for a Grammy.  Jim is the recipient of six MAC Awards, two BackStage Magazine Bistro Awards and a New York Nightlife Award.  You can find all things "Pajama Cast Party" related at www.pajamacastparty.com. or check-out "Pajama Cast Party" on Youtube on the  Cast Party Network.You can make a donation to "Pajama Cast Party"  via Venmo @Jim-Caruso-1 or via PayPal at Carsuo212@aol.com.  For more information about NYCNext go to NYCnext.org.Cocktails at Table 7- Inside New York’s Joe Allen is produced and hosted by Jason Woodruff, Dana Mierlak and Sean Kent, with music by James Rubio.  The producers would like to extend a special thank you to Christina D’Angelo and the owners of Joe Allen, Orso and Bar Centrale Restaurants.

Richard Ridge is the lead correspondent for Broadway World, one of the most popular theatre websites in the world. Richard hosts “Backstage with Richard Ridge," a popular outlet for Broadway stars and legends to chat about their careers. His guests have included Chita Rivera, Lin-Manuel Miranda, and Cherry Jones among numerous other Broadway luminaries. Prior to that, Richard was the host of the groundbreaking “Broadway Beat” for 20 years and his latest venture, the SAG/AFTRA Foundation/ BroadwayWorld “Conversations Q & A Series" celebrates the vibrant theatre community in NYC. Past participants have included Ian McKellen, Patrick Stewart, Harold Prince, Stockard Channing, Nathan Lane, Darren Criss, and Sara Bareilles. Richard made his Broadway debut last season in the groundbreaking musical THE PROM. Here's Richard's page at Broadway World.

Stories in this episode: When Christie and her brother are left to their own devices after school, their daring adventures at a local hospital lead to a little bit of trouble and a lifelong understanding of their true identity; Artist Kate struggles with her self-worth until an unusual assignment from her stake president leads to a different perspective about who she really is to God.  SHOWNOTES: This episode is sponsored by Gospel Day by Day To see Kate Lee's artwork and Christie's books, check out our shownotes at LDSLiving.com/thisisthegospel. TRANSCRIPT: KaRyn 0:04  Welcome to “This is the Gospel,” an LDS living podcast where we feature real stories from real people who are practicing and living their faith every day. I'm your host KaRyn Lay.   When I was a little girl, I had a deep sort of angst about my name. It's pronounced KaRyn, but if you're looking at it all written out, you'd probably read it, Karyn, at least all of my teachers did. In fact, when I introduced myself to people now, I always tell them that my name looks like Karyn because if they meet me in person, and then they get an email from me later, they're like, who is this Karyn lady? I've never even met her. So there's a capital ‘R’ in the middle just to make things even more confusing. And even though my parents swear that this name is an Irish name, I have literally never met another Irish KaRyn spelled the way that I spell it. And to be honest, I've never been to Ireland, and I don't know very many Irish people. So, if somebody is listening in Ireland, and you've met another KaRyn, please, please please email us. I would love to know that.   Needless to say, when I was six years old, I decided that I needed a different name, a better name, a more beautiful name. And the most beautiful name that I could think of was Rose. I honestly don't even know where that came from. I don't know anyone named Rose. We don't have any Roses in my family. But I distinctly remember telling people that if they wanted me to respond to them, then they had to use my new name, my real name, Rose. And while clearly my renaming didn't stick, it stuck with me enough that I remember it even to this day. My longing to be someone other than plain old KaRyn lasted probably through middle school.   And by the time I finally reconciled myself to my first name, and actually started to think it was pretty cool, it was my last name that wasn't cool enough. I mean, someday I was going to be discovered and taken to Broadway where I would star in Les Misérables and I definitely needed a cooler name than Daily, So I spent what seems like hours doodling my stage name, which was KaRyn Cavanaugh. Doesn't that sound so romantic?   The good news is that I never made it to Broadway. And I eventually grew to love all the parts of my name, especially as I got older, and took on a new family name through marriage, I now see my name as this beautiful tribute to every single person who's ever loved me, and all the things that kept me grounded and make me who I am, and couldn't we all use just a little bit more grounding, a little more sense of ourselves in a world that is constantly challenging our identity in more ways than one. Well, today, we've got two very different stories that explore the question, the spiritual question, “who do you think you are?” And how claiming that true divine identity, our true divine identity, can give us strength and power to fulfill our personal mission here on this earth.   Our first story comes from Christie whose unique childhood set her up for a lifetime of possibility. Here's Christie:   Christie 3:07  In the middle of downtown Salt Lake is a neighborhood called the avenues and it's built on the hills, right above the valley. There are old houses all the way back to pioneer times -- big houses, little houses, old but they all look Victorian and kind of beautiful. To me it reminds me a little bit of Boston when you get right outside of the city. And that's where I grew up.   I was older. My brother was four years old, and I was eight years old when we moved into this beautiful old house that had been in our family for years and years and years and was owned by my great uncle. He lived in a house about three blocks away. And this was just the house where he had raised his family and he wanted to keep it in the family. My mom was a recently single mother and that was a recent development. And here we were this mom in her 20s with these two little kids and she was just trying to make her way in the world.   So my uncle was sharing his home with us. My great uncle was the most eccentric man you've ever met. He had a farm in downtown Salt Lake, he had terrorist the mountain all the way down into city Creek Canyon, which is this canyon right by the Capitol building, and he raised chickens and goats and had sheep in the middle of downtown. It was bizarre, but he was a really well known surgeon, and he was a cancer surgeon, and that's what he did. And he was just the most amazing man. He sang in the Tabernacle Choir with this huge voice but everyone who was anyone knew this guy.   My great uncle and aunt were the closest to grandparents that I had near me; My grandparents all lived far away. And we were happy that in the middle of this really challenging time for our family, where we were going through the divorce of our parents, we had this additional family close by.   So my mom worked a full time job and was trying to support these two little kids. So because our mom was away a lot working, we kind of had the house to ourselves a lot and we were left to our own crazy devices. And so my brother and I would go to school, and when he was in kindergarten, and I was in school, I would stop at the babysitter on the way home from kindergarten and pick him up. And we would go home and wait until our mom got home from work.   So my brother and I would come home from school and have a lot of time to ourselves. We would do our homework, watch TV, we would practice the piano and then we had to make ourselves Dinner, so macaroni and cheese, tuna fish sandwiches, whatever leftover happened to be in the refrigerator. But unless we went over to our uncle's house, we didn't really get hot meals at night.   But making stuff like that doesn't take too much time. And so, we had some extra time on our hands. And we were both little entrepreneurs so we would come up with all different ways to make money and we decided to start a business selling things to our neighbors. So we would cut all of the flowers out of our neighbor's garden and then bring them home and we knew that having a dozen roses was the thing. So we would put them in groups of 12 and then put them in our little red wagon and drive around and sell the neighbors their flowers back that we had just cut out of the yard.   We would paint rocks and sticks and create things with a hot glue gun and then take those and sell them. We sold any canned good that we had, and we would take those door to door and sell them, and then we would share the profits and depending on who came up with the scheme, they got more of the profits, but I think if you asked my brother, he would probably say that I took the lion's share most of the time, so sorry to my brother.   We didn't really know a lot of our neighbors. We knew some of them, but really not a lot. And we just had guts and would go right up to the door and try to sell our wares. And my brother and I just had a lot of hutzpah.   We really never had any neighbors get mad at us for what we were doing or our crazy antics, or anything we decided to do when we put on plays in their yard, or we had a surprise party for our mother once where she had worked a full day at work a single mom, she comes home and her living room is full of these random neighbors from all around the Avenues who had no idea who she was, but we had hand delivered invitations to her birthday party. So I think she spent her 30th birthday party with total strangers.   One time we sold some flowers to a family that we had cut out of their yard and the mom invited us in, she gave us some money, they were getting ready to leave, and there was just a little chaos in their house, and I think they forgot that there were these two children sitting in their foyer, and then everyone left and we went to their playroom and it was awesome.   It had all of the best toys that we did not have at our house and it had this butcher paper that you could pull out of a roll from the wall and you could color all over it. And we just played and played and played and the people weren't even home and we didn't know them. And they were 18 blocks away from our house. We just decided we were done when it started to get dark and so we left the house grabbed our little red wagon -- wagoned home.   So, with all of our sales, we really felt like we were making some money here and what did we want to do with it? We would go and buy penny candy at the Eighth Avenue store, and when that got to be old and we weren't so excited about buying penny candy anymore, we thought we don't want to make ourselves dinner anymore.   Across the street from our house was a big hospital, LDS Hospital in downtown Salt Lake City. Let me describe this hospital. It's right in the middle of the Avenues. It’s surrounded by houses, and I actually grew up with the sound of ambulances and helicopters landing medical helicopters to the point where when we finally moved from this house, I could not sleep. We moved to a neighborhood that was quiet and dark, and I missed the sound of the ambulances and the landing helicopters.   And it kind of was a hub to us. We rode our bikes in the parking lot of the physician's office building. And it was kind of just a home base there. One day we decided to go into the hospital. And we started wandering through the halls and looking at everything and to our little minds, it was so exciting and everyone was dressed up in ‘Dr.’ gear and they knew where they were going.   And so, we started wandering and in one of our wanderings, we saw that there was a cafeteria there. Now being the two kids that we were, we started thinking about that macaroni and cheese and the tuna fish sandwiches and we went, “Why are we eating there when we could be eating fried fish and chips that are seven days old from the hospital?”   So we decided to pull the money from all of our entrepreneurial activities and eat dinner at the hospital at least once a week. So we would sneak into the hospital and walk through the halls. And rarely we would get a look or two, but mostly nobody paid attention. And we went and we would have our dinner in the LDS Hospital cafeteria. And we thought it was a very fancy because we could pick whatever we wanted. We started to become kind of known in the hospital.   And people started to say hello to us and the different workers and orderlies and nurses and doctors and the people who even worked in the cafeteria knew who we were and started to expect us. From my child mind, I just thought that that was normal. From an adult mind, now looking back, I wonder what these people were thinking about these two urchin kids wandering the halls of a hospital day in and day out.   So we started to get more and more comfortable in the hospital and with people knowing us and we started to venture outside of the cafeteria and the hallways, my brother was really interested in surgery. So we pushed the button in the elevator to the surgical level waited until someone had something to open the door and he snuck in to an actual surgical area. It when it was my turn to pick what we got to do, I made my brother Go with me to see the babies. And I would hold him up. And we would press our face to the glass and look at all of the little babies in the nursery. I have no idea why people didn't pay attention to two little kids roaming the halls of the hospital. But maybe it was just in my mind, but nobody really seemed to notice or care or even say anything to us.   We were never scared of getting caught. We never thought that there was anything to get caught about. We did know we were being sneaky sometimes when we would sneak into areas we definitely weren't supposed to be in, but We really just felt a sense of entitlement to be there. We knew that if we ever needed to and if anyone ever said something, we could just drop our uncle's name. We basically thought that being a surgeon meant that you owned the hospital. And so we thought our uncle was the king of the hospital and if we ever got in trouble, we would just use his name and that would be that.   There was this one time when we knew what we were about to do at the hospital might be crossing a little bit of a line. It got to be summertime, and it got really, really hot. And so what do two little kids want to do in the summertime when it's really hot, you want to go swimming, but we didn't have anyone to take us to the neighborhood pool. So we donned our swimming suits and picked out some towels and went to the hospital fountain and we put out our towels, we lathered up with sunscreen, we were very conscientious and responsible children and started swimming in the fountain, and this is when the look started.   So as we were swimming along in the fountain, we noticed that there was an official looking guy that came out of the hospital and he looked a little bit mad. And he was coming our way really intently. And as he approached us, I had maybe a moment where I thought, “Oh, maybe you're not going to be too happy that we're swimming in the fountain.” But I splashed right over to him and he said, “What do you two think that you're doing out here? What do you think you're doing?” And I said, “Swimming.” And he said, “What makes you think that you can swim in the hospital fountain?” And I kind of got a bravado about me, shook my head and said, “Don't you know who our great uncle is? Our uncle is a surgeon,” and then I said his name. And the guy looked at me, and I just was quiet, and he just turned around and walked away. That was enough for him. And I don't know what he thought, but no security ever told us to leave and we went back to swimming and it wasn't the last time we swam in the hospital fountain.   I never really felt guilty about any of it. Even though now as an adult,  it's funny to think about and interesting to think about, and I would kill my kids if they tried to swim in a hospital fountain. Who did those kids think they were?   Looking back the memories with my brother in the avenues in Salt Lake City are actually the best memories of my childhood. That confident little girl in the fountain who knew that her uncle would protect her and had the courage to just be herself, ended up going through a lot of really hard things, and life didn't get super easy for those two little kids, it got even harder than it was.   And one gift that came from this childhood is that I've never questioned whether or not I was alone. No matter what happened to me through the rest of my life and things got kind of intense over the rest of my childhood. Well I was the kid who swam in the hospital fountain. I was the kid who knew that her uncle was there, if she needed him. And just like I knew my uncle was there, I've always known that God is there. And no matter what else happened, I knew that I could depend on that. Having Heavenly Father behind us, makes us capable to do things that we never thought we'd be able to do, and that we could never do alone and gives us that hutzpah and that confidence to go for forward, knowing who we are.   I guess what I would want to tell people is that no matter what you go through, no matter what questions come your way, no matter what trials come your way. No matter how much you feel like you're traversing this world alone, you're not, you have God and you can invoke his name and that will give you the confidence to move forward in whatever you have to face in this life.     KaRyn 17:47  That was author Christie Gardner. Both of Christie's books, “Holy as you Are” and “You are the Mother your Children Need,” are full of personal stories about claiming your divine identity, right now in the midst of your imperfection. And I think that's something that I really love about Christie’s story. When she says that she doesn't really feel bad about doing the things that she and her brother did. Well, we know that it's not because she's full of herself. It's because she understands that all of these experiences have made her into the woman that she is now. And wouldn't the world be a very different place if those of us who are struggling with our confidence acted just a little bit more as though our uncle was the king of the hospital?   Well, the great news is that our father, our Heavenly Father, is the king of the universe. And the humility that accompanies our duty as his child, mixed with the power and entitlement that comes from the gift of our spiritual genetics, can and should send us confidently into the fulfilling of the measure of our creation. I love to think about that and I'm grateful for Christy for sharing this story. Besides making me laugh, it really made me think.   Our next story comes from Kate who's lifelong struggle to believe in her own worthiness and connection to God was challenged by a loving church leader.   Here's Kate:   Kate 19:09  I always knew God existed, I’ve always known he was there. But I always felt like he was disappointed in me and that he didn't have time for me. Growing up, I was incredibly insecure. I was really terrified to go to school, when I went to church and different activities with the young woman or whatever, and I was the odd man out, you know, I just, I felt very awkward. I remember one time needing some kind of strength or comfort, and I knew that other people turned to God. But I knew that I wasn't worthy enough.   I even wrote him a note, which sounds silly, but I did. I was like, “This is how I feel and this is what I need.” I was probably like 10, and I folded it up, and I put it under my pillow and I thought if God loves me, he'll take This note, and I woke up in the morning and it wasn't gone. I know that that sounds silly, but in a 10 year old’s mind, I was like, “Of course he doesn't love me, of course he is not going to take that.” And I remember just crying and crying and crying on my bed that there was no relief for someone like me. I carried that with me into high school and into my mission and into my, you know, my young married life. You know, I really felt like sorry that I'm not enough and I can't fully come to you and to get comfort because I'm just not the person that deserves that or is worth it.   I started drawing when I was really really young. I remember getting in trouble in kindergarten because I would draw more than I would do my work. And I just have always loved it. Like it just something that made me happy. And then in high school is when I picked up painting, and we tried all types of mediums in high school and then watercolor was when I was hooked. But I never ever felt like I was good enough. And so I'd always hide my drawings or my paintings, because I didn't want to be embarrassed.   It was about five years ago that my stake president asked me to do a specific project for him. I met with my stake president. And it really was just for the recommend interview. That's all I wanted to talk about, get in and get out and go. At the end of that interview. He's like, “Is there anything else you want to talk about?” And I was like, “No, I'm good,” like thanks, but I'm fine. And he said it again. He's all, “Sister Lee, is there anything else that you want to talk about?” And I just like bust into tears.   There was everything that I want to talk about, but I was too afraid. I didn't know that I could talk about the things that I felt inside. And so I started telling him, “This is what I feel about myself, and you know, I wish that I could be better. I wish that I could be like good enough for God and I really felt like I was just a huge failure.” Anyways, so we would meet every week and talk about different things. And he'd give me different assignments. There were two assignments that really changed me. First one was just a scripture in Alma, but it's talks about to act and not be acted upon it. Because forever, I always felt like, Oh, I'm just a loser. You know, I'm just not a good enough person, and I'm not good at anything. And he says, “Well, are you going to just live your life like that? Are you just going to continue to believe that about yourself?” And I was like, “Well, how else am I supposed to live?” You know? And he says, “Well, you can either act, or you can be acted upon,” in the nicest way. He basically said, “Stop being a victim and take your life into your own hands.” So he told me to go home and study that those scriptures and to really, like apply that to my life. And I have, I have done that, you know, and it's changed me in ways I never ever imagined it would.   The other assignment he gave me, he said, “What are some things that you think about yourself, how do you feel about yourself? How do you think God views you?” And I told him, “You know, I feel like he is just kind of disappointed in who I am.” And he says, “Okay, well hold right there.” And he pulled out sticky notes. And he put these sticky notes on his desk, and he gave me a pen and he said, “Write down what you think is truth about you.” And so I wrote down, “You are ugly, you're dumb, you're not smart enough. You're a waste of time. You're bad at your calling,” like all of these negative things. And but it was truth, that was my truth. He says, “Well, what are those?” and I said, “Well, this is who I am. This is my truth.” And he said, “No, that's not who you are.” And I said, “Well, yes it is.” You know, and he, he put those ones aside and he put up fresh ones like new sticky notes, and he says, “I want you to take these sticky notes home, and I want you to pray about the ones that you wrote down. And then I want you to write down what God really thinks about you.”   I was like, “No, because God's gonna confirm what I think; I can't handle that.” But he says, “This is your assignment take it home.” It took me two to three days to get the courage to sit down and to actually even just to acknowledge that the sticky notes were there because I was terrified that God would say, “You're right, you're right, you are a waste of time.”   And then the boys one morning left for school, and I was like, “Okay, I can't avoid it.” And I knelt down at our couch. Before, you know, anything came out. It was just this feeling of calm and peace.   Heavenly Father answered all of my questions. And he confirmed that, “No, this is who you are. And this is what you can do. And this is your abilities and just, you know, go forward.” And it was just incredible. And I have my folder upstairs. I keep it with me, always. Because it's a reminder because it's so easy to fall back into that, “Oh, I’m stupid. Oh, I'm, you know, like, I just am a bad artist or I'm a bad mom or whatever it is,” and I keep it with me so that I can remind myself of this is what God said. This is what maybe the world says, but this is what God said. And, you know, I'm going to go with what God said, and his truth. Through talking with my stake president and sharing things with him, it's fully opened my heart to be able to look at my Father as a real Father. Because I didn't, I never understood it like that before. And I didn't believe that he loved me and that he was interested in me, it was really difficult for me to communicate and talk to him because I didn't feel like I was worthy enough to talk to him or that he wanted me to talk to him.   About a month after the sticky note assignment, I went back to my stake president talking to him and he said, “What are some of the things that you like to do, like what do you love to do?” And I named off a few things, you know, like, “Oh I like being outside and I like doing, you know, being on my mountain bike and stuff,” and he’s like, “No, no, like, what do you like to do?” And I'm like, “I like to draw.” And he goes, “Yeah, you like art, right? And I, you know, am like, “Yeah, yeah I love it. I love it. It's so good.” And he says, “I need you to paint me a picture.” I looked at him like this like, What? “I have this scripture that I love, I want you to paint it for me.” And he gave me a scriptural reference in second Nephi about the flax and chords and he said, “Paint this, and paint it how you want and how you interpret it.” And he says, I want it on a really big Canvas, the biggest you can find.”   I was scared to paint that. I believed I was going to fail. I did. It was the whole being acted upon all of the thoughts that I had when I was kid: “Oh, you can't do it. You're not good enough,” came flooding in and every brush stroke was like a heart attack because I was terrified I was going to make the wrong stroke or I was going to ruin the whole painting, and more importantly, though, I was afraid that I wouldn't get the message that he wanted, you know, he had a specific message that he wanted and I was afraid that I wouldn't capture that for him. And it took me nine months to paint this picture. And in that time is when I really discovered my abilities, like I learned to trust myself.   So when the painting was done, it was on Halloween night. The Stake President just walked over to her house to check on the painting, and I almost had a panic attack, because I didn't want to give it to him. I brought it up out of the studio and handed it to him. And he kept saying, “It's beautiful. This is beautiful. This is exactly what I want.” And I was like, “You don't have to be so nice. It's okay. I know it's bad.” And he's like, “No, this is what I want.” And it just was such a cool experience because it taught me this is a gift and this is something that you can share your testimony through this, you know, and that's really the first time that I felt like a real artist was about five years ago. And I didn't realize this at the time, I probably didn't even realize this until a couple years ago, that I had been that girl that was wrapped in these flax and chords that was pulled down by doubt and fear and you know, just experiences from when I was a kid and all of that, and I didn't know how to break free from those flax and chords and it was it was pulling me down. It was keeping me from progression. It was keeping me from knowing Christ. It was keeping me from knowing who I really am.   And I think that, he knew that, and I didn't know that. Anyway, master plan, but he knew that I could paint that that I could start to break free and he was right. And I didn't realize what he was trying to do. But that painting, opened the door to all the other paintings that I do now, you know, had I not done that painting, I would not be here, because I would still be scared. I'd still be the girl in the flax and chords.   I feel like my art reflects that. So the painting, “Faith to be Healed,” is about the woman who has the blood issue, right? And this is a story that I've always loved because she so desperately wanted to be healed, you know, and this image came to my mind, I was like, “Oh my gosh, I want to paint that, like right now,” you know. And so I went into my studio, and I drew it and it just kind of like poured out. And as I was painting it, I imagined what she was feeling, you know, with every, like different color she'd come more and more alive and it was just like, I was connecting with her and I felt what she felt and I was like, “I know how you feel, because that's how I felt.” She wanted to just fit in, in the crowd, you know, but that she didn't and she couldn't. And that's something that I felt like, I just wanted to find a place, I just wanted to have a place where I fit in, but I felt like I just didn't. This lady this is her story, she knew that through Christ, she could be healed. She knew that one touch and Christ’s robe would heal her from the inside. The last thing that I painted was her hand touching Christ. I finished that coat of paint, and it was like, my heart was just whole.   I could see my life and I could see where I was going, what I wanted and what Christ could do for me. For her, it was the same thing. She knew what she wanted, she knew what Christ could do for her. She just had to reach out to Christ, she just had to touch him, you know, and it's the same here. I can't physically touch Christ. But I can reach out to him and I can like, dive into His Atonement and be healed.   I paint my experiences now or my, what I put on paper, and I'm not afraid of it anymore. Like I feel like where before I was terrified that I would be criticized and now I'm like, I hope that this painting can help somebody else feel the spirit. I hope that this painting can you know, bring somebody else to Christ. I hope that they can know that who they are is important. But more importantly, I hope that they can know that Heavenly Father is there watching over them and that they have a Savior. Like I just want them to like, emotionally connect with not just the painting but through the painting they can emotionally connect to Christ, and that they can understand what the atonement can do for them because the atonement isn't just for sins, it's for you know, heartaches and sorrows and insecurities and all of those little things that we carry every day. That's what the atonement is for and so I hope that people can come to Christ through my paintings.   KaRyn 31:50  That was Kate Lee. Kate is an artist if you didn't figure that out from her story, and that painting that she talks about “The Faith to be Healed” painting is beautiful and it's truly evocative of that moment. One of my favorites in all of scripture where the woman with the issue of blood reaches out to touch the hem of the Savior's garments, we're going to have a link to that painting and that first rendering that she did of flax and chords in our show notes at LDSLiving.com/thisisthegospel. You'll also love to see how Kate's gifts have evolved over time as she put her faith and her trust in God. I know that I can't possibly be alone when I say that I can relate to the self-doubt and lack of confidence that Kate described in her story. It is absolutely a truth that the world has a way of twisting us around so that we never know which way is up and which way is down, and we are definitely no longer recognizable to ourselves in our most divine form.   I'm so grateful that Kate had a wise and loving stake president who was willing to listen to the Spirit and ask a question that he didn't have to ask so that he could help start her on that spiritual path to understanding her worth. Those guides, the people that guide us, however they present themselves to us are absolutely a gift. I believe that they are a gift from our Heavenly Father. For me, it was a perfectly appointed therapist in just the right time and just the right place, who handed me the book “Believe in Christ” in a therapy session. I am forever changed because of that understanding that I got from reading that book. And I'm amazed that our Heavenly Father reaches us in whatever way he knows will most readily hear his voice. Whether it's a book or an art assignment, or a moment of surety in a hospital fountain that has burned itself into our memory, ready to be recalled when the earth dust gets too heavy. It makes me wonder where else have I seen his reaching hand filled with those reminders of my divine origin? What about you? What other places have you seen his hand show up to guide you to a new truth to help you remember who you are? I think we all have those moments if we really dig in and look for them.   As we've recorded and edited the stories this week, my heart has been pulled steadily back towards the story of Moses, that we learn about in the Pearl of Great Price. It's that moment in the first chapter of Moses, the book of Moses, when the Great Deceiver, Satan, tries his very best to shake one of God's most stalwart children. The Prophet Moses had just received his errand from the Lord in verse six of chapter one, and he had been filled with the Spirit of the Lord. And when that spirit withdrew taking with it the spectacular light and glory that had just moments before filled all of Moses, he was left with only whatever light the world provided, which we can all agree is not even close to comparable to God's light. And in that moment, Satan saw his chance, he stepped in ready to offer Moses some light to fill the void. And he says in verse 12, “Moses, son of man, worship me.” But Moses, who had just recently been in the presence of real light, well, he can smell a counterfeit a mile away. So we asked Satan, “Who art thou? And where is the glory that I should worship thee?” And then just on the heels of that, he reminds Satan that he can judge between him and God: “For God said unto me, thou art after the similitude of mine only begotten.” That knowledge of his divine identity was the key to what happens next.   He calls Satan out, and he tells them that he's not about to worship him. And then Satan gets grumpy as he does, and he tries one of his old tired tricks, which is to use his power of fear to impose obedience. And it seems to be working at first. Moses is shaky, and he has to call for backup. Emboldened by his knowledge of who God is to him and who he is to Christ, he starts to claim his power against the fear and he tells Satan to depart, and when he sees that Satan is trembling, he invokes the name of the Savior, the source of all love, all hope, and all true light and Satan must depart, but not without a whole lot of fanfare, no one ever said Satan wasn't dramatic. And Moses is left to lift his eyes to heaven in a holy gesture of, “What was that?” And his father, his real master sends a message. And we find that message in chapter one, verse 25 and 26. And calling upon the name of God, he held his glory again, for it was upon him, and he heard a voice saying, “Blessed art thou, Moses, for I the Almighty have chosen thee, and thou shalt be made stronger than many waters for they shall obey the command as if thou wert God, and low I am with thee, even unto the end of thy days, for thou shalt deliver my people from bondage, even Israel, my chosen.”   The lesson I learned from Moses, and from Kate and from Christie is this: It's not always easy to remember who we are in moments of distress or fear. Satan's tactics may be old and they may be tired, but they've worked for eons, and he's not about to stop now. But we can take courage from the fact that despite the quiver in our voices, or the uncertainty in our stance, when we begin to step into our true identity as Sons and Daughters of God, and when we begin to call upon him with a sense of our true birthright, he will strengthen us to fulfill our mission. The first stroke of the paintbrush may be weak and unsure and full of panic as it was for Kate, but it will not stay that way. With each subsequent brushstroke, and every next moment of facing our demons, and each call for Satan to leave us alone. We will grow in confidence and surety until we to like Moses can lift our eyes to Heaven and know that we will be made stronger than many waters when the time comes for us to part our Red Seas.   KaRyn 38:02  That's it for this episode of “This is the Gospel.” Thank you to my friends, Christie and Kate for sharing their stories and their strength and true selves with us. We'll have links to both of their beautiful creative work in our show notes for this episode at LDSLiving.com/thisisthegospel. That's also where you will find the transcript of this episode.   All of our stories on the podcast are true and accurate, as affirmed by our storytellers. And if you have a story to share about Living the Gospel, please call our pitch line and leave us a pitch. We often find many of our stories from the pitch line, and while we might not get back to you right away, if a story fits one of our upcoming themes, we will give you a call, and we'd love to hear how the Gospel has blessed your life. So give us a call at 515-519-6179 or you can find that number on our show notes and pitch your story in three minutes or less.   If you've loved having true stories from real people in your life, would you consider leaving us a review on iTunes and please tell all your friends and social networks how “This is the Gospel” has blessed your life. We read every single review and we truly appreciate your willingness to share the good stuff.   This episode was produced by me, KaRyn Lay, that's ‘K, a,’ capital ‘R,’ ‘y, n.’ not Rose, with additional story producing and editing by Katie Lambert. It was scored, mixed and mastered by Mix at Six Studios and our executive producers Aaron Holstrom. You can find past episodes of this podcast and the other LDS living podcasts at LDSLiving.com/podcasts. Have a great week.

Good morning. I’m Joseph Delaney and here is your New York Daily News morning briefing for Monday, January 13. A powerful blaze erupted in a Brooklyn apartment building early yesterday, sending one victim to the hospital in critical condition, officials said. The fire broke out on the second-floor of a four-story brick apartment building on 45th Street near Eighth Avenue in Sunset Park around 5 a.m. Around 65 smoke eaters battled the blaze until it was brought under control.

Starting off with a bit more busway news this week: In a study released by Sam Schwartz Transportation Consultants [PDF link], the 14th Street busway has improved travel times on multiple modes of transit by evaluating a variety of data sources, including the Department of Transportation, independent traffic counting, and Citibike data. M14 A and D bus weekday ridership is up 24% compared to last year, and transit times between Third Avenue and Eighth Avenue are faster by 36%, making the crosstown bus ride 5.3 minutes faster. Although the criticisms of the busway before it was even implemented were that the surrounding streets would become parking lots, the data shows that travel time on the surrounding crosstown streets stayed the same or increased by an average of one and a half minutes during weekday rush hours, with the biggest total increase found on 17th Street, the first crosstown street to the north of 14th that isn't broken up by Union Square. By comparison, travel times on the next-closest two-way crosstown streets, 23rd to the north and Houston to the south, showed a variety of increases and decreases in total travel times compared to October last year. On the Avenues, only minuscule changes were seen in drive times, with speeds actually increasing significantly during morning rush hours. The preliminary report released by Sam Schwartz Transportation Consultants is the first of seven scheduled reports, with the final report on the project set to be released in Spring 2021. In the span of just 16 hours, four people were struck and killed by drivers across the city. In Manhattan, a 26-year-old woman was struck at a crosswalk in SoHo by a box truck driving in reverse, a man in Hell's Kitchen was struck and killed by a sanitation truck driver, an 85-year-old man was killed in Sunset Park by a truck driver, and a 57-year-old man was struck by three drivers separate and killed in Park Slope. According to Streetsblog.org, that brings the total number killed by drivers this year to 214, an 8% increase over 2018. In response, Mayor de Blasio stated that the NYPD will be deploying extra officers citywide to increase truck enforcement. The news sadly coincides with bicyclist Daniel Cammerman being struck and killed by the driver of a school bus on the 96th Street Central Park transverse on December 18th and the Brooklyn Supreme Court handing down a $43 million ruling this week in the case of a young girl struck and seriously injured by the driver of a school bus in 2017. Now is the time to focus on avoiding the flu this winter. The measles outbreak was a rare occurrence that was confined to small communities and mostly young children who hadn't yet been vaccinated, and only a few hundred people were affected, but different types of flu viruses take hold each year and flu vaccines must be built to properly address the flu strains that will be most prominent during each flu season. Data from the New York Department of Health shows that flu activity in New York City is already at a high level and there has been a 48% increase in hospitalizations statewide due to influenza. Within the city, there have been a total of 2,028 cases since the flu season began in October, with the past week showing a sharp increase of nearly 1,000 new cases within a week. The number of total cases is much higher at this point in the season than it has been in previous years. Given the early arrival of flu season, it's important to get a flu shot as quickly as possible, and it is a vital step for young children and older adults, especially anyone with heart disease, diabetes, asthma, lung disease, liver disease, or those who are pregnant. Just like the measles vaccine, everyone should receive a flu shot to avoid potentially spreading the disease to someone else in the city who may have a more compromised immune system. To find flu vaccinations across the city, use the NYC.gov Health Map at nyc.gov/flu or visit your neighborhood pharmacy, hospital, or clinic and ask if they administer flu shots. And please, everyone, wash your hands and cover your mouth by coughing or sneezing into your elbow! It's one of the easiest most impactful actions you can take to stop the spread of disease, and everyone holding the subway pole after you will be thankful. 30 years ago on December 15, 1989 — Arturo Di Modica's 7,100 pound bronze 'Charging Bull' statue is secretly installed overnight near the New York Stock Exchange Christmas tree as a gift to the people of NYC Christmas and Hanukkah are on the way, and our list of tree and menorah lightings at agreatbigcity.com/christmas or agreatbigcity.com/hanukkah has the times and dates of 50 lighting ceremonies across the city! You can sort the list by holiday and past events are still listed, so that you can find a local Christmas tree to visit and keep track of public menorah lightings for each day of Hanukkah. If you don't see your local event on the list, drop us a note and we'll put the info up, whether it's the Rockefeller Center tree or just a neighborhood gathering to hang homemade ornaments on an evergreen in the local park! 48 years ago on December 26, 1971 — Members of Vietnam Veterans Against the War occupy the Statue of Liberty for 42 hours to draw attention to the ongoing war 35 years ago on December 22, 1984 — Bernhard Goetz shoots four men on a subway car, seriously wounding them during what was either a panhandling or robbery attempt 8 years ago — A Very Shepherd Christmas - Stories From Jean Shepherd's New York City Radio Show — Shepherd hosted a late-night show on WOR for 21 years, and each night was packed with the same storytelling and clever insights that became the inspiration for 'A Christmas Story'. While his voice has become ingrained in Christmas pop culture as the narrator of 'A Christmas Story', the recordings of his radio career from 1956-1977 paint a raw, impressionistic vision of New York City life. When Christmas came around each year, Shep would retell some of the various anecdotes that would be gathered together into 'A Christmas Story', some of which had recently been published in Playboy magazine and some of which made their debut on his radio show. A Great Big City has been running a 24-hour newsfeed since 2010, but the AGBC News podcast is just getting started, and we need your support. A Great Big City is built on a dedication to explaining what is happening and how it fits into the larger history of New York, which means thoroughly researching every topic and avoiding clickbait headlines to provide a straightforward, honest, and factual explanation of the news. Individuals can make a monthly or one-time contribution at agreatbigcity.com/support and local businesses can have a lasting impact by supporting local news while promoting products or services directly to interested customers listening to this podcast. Visit agreatbigcity.com/advertising to learn more. AGBC is more than just a news website: Every evening, just before sundown, A Great Big City checks the Empire State Building's lighting schedule and sends out a notification if the tower's lighting will be lit in special colors for a holiday or celebration. Follow @agreatbigcity on social media to receive the alerts. Park of the day Franz Sigel Park Parks Events Lighting of the Largest Menorah in Brooklyn Lighting of the World's Largest Menorah in Manhattan Christmas Eve Caroling Concert Calendar This is the AGBC Concert Calendar for the upcoming week: Yo La Tengo is playing Bowery Ballroom on Sunday, December 22nd at 7pm. A KANYE WEST OPERA - MARY is playing David Geffen Hall on Sunday, December 22nd at 8pm. Yo La Tengo is playing Bowery Ballroom on Monday, December 23rd at 7pm. Yo La Tengo is playing Bowery Ballroom on Tuesday, December 24th at 7pm. Yo La Tengo is playing Bowery Ballroom on Wednesday, December 25th at 7pm. Yo La Tengo is playing Bowery Ballroom on Thursday, December 26th at 7pm. Dave East is playing PlayStation Theater on Thursday, December 26th at 9pm. Yo La Tengo is playing Bowery Ballroom on Friday, December 27th at 7pm. PNB Rock (16+, Rescheduled from October 20, 2019) are playing Brooklyn Steel on Friday, December 27th at 8pm. Oliver Heldens is playing Schimanski on Friday, December 27th at 9pm. The Disco Biscuits is playing PlayStation Theater on Friday, December 27th at 9pm. Gogol Bordello with Dub Trio is playing Webster Hall on Saturday, December 28th at 6pm. Phish is playing Madison Square Garden on Saturday, December 28th at 7pm. Yo La Tengo is playing Bowery Ballroom on Saturday, December 28th at 7pm. The Allman Betts Band is playing Beacon Theatre on Saturday, December 28th at 8pm. NERO is playing Schimanski on Saturday, December 28th at 9pm. Find more fun things to do at agreatbigcity.com/events. Today's fact about New York Here's something you may not have known about New York: There have been 7 versions of the Times Square New Years Eve Ball: One made in 1907, 1920, 1955, 1995, 1999, 2007, and 2008 Weather The extreme highs and lows for this week in weather history: Record High: 72°F on December 24, 2015 Record Low: -4°F on December 20, 1942 Weather for the week ahead: No major precipitation throughout the week. Thanks for listening to A Great Big City. Follow along 24 hours a day on social media @agreatbigcity or email contact@agreatbigcity.com with any news, feedback, or topic suggestions. Subscribe to AGBC News wherever you listen to podcasts: iTunes, Google Play, or Spotify, Overcast, Podcast Addict, or listen to each episode on the podcast pages at agreatbigcity.com/podcast. If you enjoy the show, subscribe and leave a review wherever you're listening and visit our podcast site to see show notes and extra links for each episode. Intro and outro music: 'Start the Day' by Lee Rosevere — Concert Calendar music from Jukedeck.com — "We Wish You a Merry Christmas" by Kevin MacLeod (incompetech.com)

Visit agreatbigcity.com/support to learn how to support New York City local news and allow us to keep bringing you this podcast. If you are a New York-based business and would be interested in sponsoring our podcasts, visit agreatbigcity.com/advertising to learn more. We've been following the 14th Street busway since it was first proposed, and after being blocked twice by legal complaints, the street has been swept free of cars and the buses have been roaming free for two weeks now. In a press release from the MTA, preliminary data shows that ridership is up and buses are moving faster along 14th Street. A cross-town trip from Third Avenue to Eighth Avenue will now take 10.6 minutes, compared to a 15 minute trip from last year. While collecting data on the Select Bus Service plan implemented along the M14 route, the MTA saw a jump in ridership, with 15% more people choosing to take the prioritized buses, and in the short time the 14th Street busway has been operating, the ridership has jumped again, topping 31,000 daily riders on an average weekday. The busway, which limits traffic on 14th Street from 6am to 10pm, is planned to last 18 months, after which the DOT will assess the impact it has had on bus transit and traffic in the surrounding area. — Also this week, independent data analysis firm INRIX evaluated traffic data from the streets surrounding the 14th Street busway and found that there was no change in traffic speeds, and zero impact on traffic to the immediate north or south of 14th. The initial objections raise by local community groups claimed the busway would negatively impact nearby streets by pushing 14th Street's traffic into their neighborhoods, but the speed increase for 31,000 daily bus riders came at no expense to traffic, with differences in average speeds on surrounding streets never slowing more than a half a mile per hour. Here's how INRIX described the results: "The impact, or lack-there-of, may seem surprising but similar projects around the world have had similar results. The reallocation of space from vehicles to buses represents a far more efficient use of a limited public resource. Whereas one urban lane in congestion can move roughly 1,000 people an hour, a transit way can hit 25,000. As a result of this project, more people are getting where they need to be faster and more reliably." 53 years ago on October 17, 1966 — 12 members of the FDNY are killed when a burning building collapses, becoming the largest single loss of life in FDNY history until the 9/11 attacks 18 years ago on October 24, 2001 — A 14-story construction scaffolding and brick building façade collapses, killing five workers and seriously injuring 10 others in a courtyard at 215 Park Ave South near Union Square 54 years ago on October 18, 1965 — Closing day of the NY World's Fair at Flushing Meadows Park — Bowery Boys podcast 24 years ago on October 23, 1995 — A Greenpeace activist piloting a "gas-powered parachute" flies a banner outside the UN building 88 years ago on October 24, 1931 — The upper level of the George Washington Bridge is opened in a dedication ceremony, and opens to traffic the next day — United States Marine Band conducted by Leonard Slatkin playing William Schuman's 1950 composition "George Washington Bridge" 60 years ago on October 21, 1959 — The Guggenheim Museum Opens on the Upper East Side 136 years ago to October 22, 1883 — The original Metropolitan Opera House opens Beginning October 18th through the 20th, you'll have the once-a-year opportunity to explore the city like never before when Open House New York brings you exclusive tours of the city's architectural masterpieces that are sometimes hidden from public view or pass by unnoticed the rest of the year. Visit ohny.org for the full schedule of events, some of which require advance registration, but most of which are open all day to the public. The choices range from brand-new developments like 277 Mott Street to historic homes like the Alice Austen House, built on Staten Island in the 1690s. Going beyond architecture, you can also tour special projects like a solar rooftop in Harlem and an urban farm run by Brooklyn Grange in Long Island City. Each site sets its own visitation hours, so visit ohny.org to plan out your weekend! And, if you're planning on marching in the Village Halloween Parade, you better be finishing up your costume soon! Halloween is less than two weeks away, and the city's biggest party will be stepping off Thursday, October 31st at 7pm at Sixth Avenue and Canal. The parade is unique because it lets anyone participate! If you wear a costume centered around this years theme of "Wild Thing", you'll be allowed to march is a special section of the parade, but anyone who shows up in a costume will become part of the parade, and usually more than 50,000 people show up! Visit halloween-nyc.com for full info, and if you haven't decided on a costume yet, visit the AGBC costume ideas generator at agreatbigcity.com/halloween-costumes where you can get funny New York-themed costume ideas like dressing up as a vintage traffic jam now that the 14th Street busway is open or strike fear in the heart of anyone who has walked the city streets by becoming the Starbucks Bathroom of Doom! A Great Big City has been running a 24-hour newsfeed since 2010, but the AGBC News podcast is just getting started, and we need your support. A Great Big City is built on a dedication to explaining what is happening and how it fits into the larger history of New York, which means thoroughly researching every topic and avoiding clickbait headlines to provide a straightforward, honest, and factual explanation of the news. Individuals can make a monthly or one-time contribution at agreatbigcity.com/support and local businesses can have a lasting impact by supporting local news while promoting products or services directly to interested customers listening to this podcast. Visit agreatbigcity.com/advertising to learn more. AGBC is more than just a news website: Every evening, just before sundown, A Great Big City checks the Empire State Building's lighting schedule and sends out a notification if the tower's lighting will be lit in special colors for a holiday or celebration. Follow @agreatbigcity on social media to receive the alerts. Park of the day Crotona Park Parks Events 10th Annual Harvest Festival in Brooklyn Bridge Park — Saturday, October 19, 2019 11:00 a.m. – 2:00 p.m. Concert Calendar This is the AGBC Concert Calendar for the upcoming week: The Misfits with Rancid and The Damned are playing Madison Square Garden in Midtown West / Chelsea / Hudson Yards on Saturday, October 19th at 7pm. Mana is playing Barclays Center in Boerum Hill on Saturday, October 19th at 8pm. Steely Dan is playing Beacon Theatre on the Upper West Side on Saturday, October 19th at 8pm. Benin International Musical is playing Carnegie Hall - Stern Auditorium in Hell's Kitchen / Midtown on Saturday, October 19th at 9pm. 85 South is playing Apollo Theater in Central Harlem on Sunday, October 20th at 5pm. 85 South is playing Apollo Theater in Central Harlem on Sunday, October 20th at 9pm. Tidal X with Alicia Keys is playing Barclays Center in Boerum Hill on Monday, October 21st at 8pm. Steely Dan is playing Beacon Theatre on the Upper West Side on Monday, October 21st at 8pm. Charli XCX is playing Terminal 5 in Hell's Kitchen / Midtown on Monday, October 21st at 8pm. Charli XCX with Allie X is playing Terminal 5 in Hell's Kitchen / Midtown on Tuesday, October 22nd at 8pm. Steely Dan is playing Beacon Theatre on the Upper West Side on Tuesday, October 22nd at 8pm. Dermot Kennedy with Talos is playing Kings Theatre in Ditmas Park / Flatbush on Tuesday, October 22nd at 8pm. Jessie Reyez is playing Brooklyn Steel in Greenpoint on Wednesday, October 23rd at 8pm. Fantasia with Robin Thicke is playing The Hulu Theater at Madison Square Garden in Midtown West / Chelsea / Hudson Yards on Friday, October 25th at 7pm. Billy Joel is playing Madison Square Garden in Midtown West / Chelsea / Hudson Yards on Friday, October 25th at 8pm. Alec Benjamin is playing Terminal 5 in Hell's Kitchen / Midtown on Friday, October 25th at 8pm. Find more fun things to do at agreatbigcity.com/events. Today's fact about New York Here's something you may not have known about New York: In 2016, the MTA had 5,710 buses in its citywide fleet Weather The extreme highs and lows for this week in weather history: Record High: 88°F on October 22, 1979 Record Low: 30°F on October 19, 1940 Weather for the week ahead: Light rain on Sunday through Wednesday, with high temperatures rising to 67°F next Friday. AGBC Weather Weather.gov forecast Thanks for listening to A Great Big City. Follow along 24 hours a day on social media @agreatbigcity or email contact@agreatbigcity.com with any news, feedback, or topic suggestions. Subscribe to AGBC News wherever you listen to podcasts: iTunes, Google Play, or Pocket Casts, Spotify, Player FM, or listen to each episode on the podcast pages at agreatbigcity.com/podcast. If you enjoy the show, subscribe and leave a review wherever you're listening and visit our podcast site to see show notes and extra links for each episode. Intro and outro music: 'Start the Day' by Lee Rosevere — Concert Calendar music from Jukedeck.com

Mr. George F. Dunham visits the Dannenhoffer Glass Works factory in Brooklyn, New York, summer of 1922. Mr. David L. Povey crafts windows for Fourth Church of Christ, Scientist, Seattle. United States President Warren G. Harding passes through Seattle. Mr. Harold Weeks composes "Seattle Town." Mr. Charles I. Ohrenstein lectures in the newly opened auditorium at Eighth Avenue and Seneca Street just after the grand opening Sunday, September 23, 1923. Music credit: "Hindustan" composed by Harold Weeks, from album "Double Trio Always" by Paolo Alderighi and Stephanie Trick. (PaoloandStephanie.com) Used with permission. ; Quote from "Seattle Town" by Harold Weeks, courtesy Music Library Special Collections, University of Washington Libraries. Visit CindySafronoff.com to learn more about Dedication: Building the Seattle Branches of Mary Baker Eddy's Church, A Centennial Story. Facebook: @DedicationCentennialStory

A quick note on what is undoubtedly the top story of this week: The September 11th attacks. It's a uniquely difficult subject to cover, and one that has a unique interpretation within the city, whether you witnessed it first-hand or have come to understand it by living in the city and walking the same streets. I won't be playing excerpts from eyewitness video of people's final moments. I won't be reinterpreting the attack as a patriotic celebration. I will ask that you look around you and treat your fellow New Yorkers with kindness and compassion to honor those we lost, who were also regular, everyday New Yorkers, walking these same streets. Kindness is stronger than hate. — 18 years ago: The September 11th attacks destroy three buildings in the World Trade Center complex, killing 2,606 people in and around the buildings and 147 aboard the two planes ☮️. Also 18 years ago, just one week after the September 11th attacks, A benefit concert and telethon is simulcast across 35 major television channels and raises over $200 million for the September 11th Fund — 'America: A Tribute to Heroes' featured musical performances from New York, London, and Los Angeles, and a variety of celebrities both hosting the event and answering calls. The money raised went toward cash assistance, counseling, and other services for individuals and businesses impacted by the September 11th attacks, and the Fund would distribute $528 million by 2004. Although 'Tribute to Heroes' was the first fundraiser held, by October 2001, the 'Concert for New York City' would be held at Madison Square Garden with another all-star line-up and raise $35 million for first responders, and on October 21st 'United We Stand: What More Can I Give' concert was headlined by Michael Jackson from Washington D.C. that unfortunately was haunted by technical problems and scheduling issues with performers. Recently I mentioned that 4 years ago, the MTA was facing a string of assaults on workers, and this week the same news appears again. The Transit Workers Union Local 100 reports that assaults on bus and subway workers are up 39% year-over-year, with 85 workers suffering various attacks in the first eight months of 2019. While the MTA and the state have been increasing the law enforcement presence in the subways, transit union president Tony Utano accused the MTA of concealing the increasing assault numbers and not making the statistics public. Earlier this year, the union had also called for greater police enforcement in the subway due to incidents where MTA workers were spit upon. This news of an increase in assaults comes as the transit union is in contract negotiations with the MTA, and workers have been without a contract since May 2019. The MTA is simultaneously trying to address increases in the homeless population within the subway system and a push from Governor Cuomo and MTA head Andy Byford to prosecute fare evasion. This week brought the final sentencing of the student who stabbed two classmates at a Bronx school in 2017. Abel Cedeno was 18 years old at the time and stabbed two younger students with a spring-loaded knife he had purchased from Amazon. One victim survived by was in a coma for several days and of the victims was killed, making the attack the first killing inside a city school in over 20 years. This week, Cedeno received a 14 year prison sentence for manslaughter, 8 years for assault, and 90 days for criminal possession of a weapon, all of which will be served simultaneously. Although the attack was initially explained as an on-going bullying incident, the court documents described the incident that precipitated the attack as a typical school interaction, where one of the victims threw something that hit Cedeno, then claimed that he didn't intend to hit him, but Cedeno challenged the victim to a fight and drew a knife. Further complicating the theory of on-going bullying was testimony given during the trial that the two victims had not had much prior interaction with Cedeno. In an interview with ABC7, Cedeno claimed that he took the knife to school because he felt threatened and that when the attack occurred, he 'just snapped'. In a stunning detail, Cedeno's mother had contacted the school two and a half years before the attack to tell them that he had been taking a knife to school, but administrators failed to take proper action to log the event, instead simply searching his belongings one time and not notifying the school's principal of the mother's concerns. Another terror attack also took place in the city 99 years ago on September 16, 1920 — A horse-drawn wagon bomb explodes outside 23 Wall Street, killing 38 and injuring hundreds — It was an unorthodox way of delivering a bomb, and no one knew the danger that was carried on a horse-drawn wagon as it was pulled along busy Wall Street. In the wagon was 100 pounds of dynamite surrounded by 500 pounds of sash weights, which are heavy cast-iron weights used to counter-balance windows that slide open. The dynamite exploded at noon and sent the heavy shrapnel flying into the lunchtime crowd outside the financial buildings along Wall Street. The attack is still unsolved, but historians believe it was carried out by an Italian anarchist group. The sheer cruelty of the bombing, which seemed to have no intended target and killed a random assortment of innocent people who were nearby, made it difficult to even theorize what the intent of the bombers had been. The federal Bureau of Investigation did find flyers with vague threats stuffed in nearby mailboxes, but they did not directly reference the bombing. It became the worst single loss of life in the city since the Triangle Shirtwaist factory fire from nine years earlier in 1911. Today, you can still see damage from the blast at 23 Wall Street, where part of the stone wall has been preserved showing the chips in the stone from the projectiles in the explosion. Just around the corner from the 23 Wall Street bombing, 8 years ago on September 17, 2011 — The Occupy Wall Street movement gathers in the Financial District, eventually settling in a camp at Zuccotti Park — The Occupy Wall Street movement gathers in the Financial District, eventually settling in a camp at Zuccotti Park After planning to camp in either Chase Manhattan Plaza or Bowling Green Plaza, the group lucked out and selected Zuccotti Park, which is designated as a privately-owned public space. The park's status put the protest in kind of a limbo between rules the city could enforce, with police being able to monitor the camp from the sidewalk surrounding it, but otherwise needing to be invited onto the property by Brookfield, the property's owner. The protest camp would last two months until the early morning hours of November 15, when the group was evicted from Zuccotti Park by the city after courts ruled that the protesters did not have a First Amendment right to camp in the park. 168 years ago on September 18, 1851 — The first edition of the New-York Daily Times is published. Six years later, the paper would shorten its name to the New York Times — The paper published six days a week with morning and evening editions and charged one penny for the day's news. A larger, weekly version was printed to be distributed outside the city. Times Square would not be renamed after the paper for another 53 years, so the first offices were downtown at 113 Nassau Street near City Hall Park, then 138 Nassau Street, then 41 Park Row. By 1904, the paper would move to the Times Tower in what was then known as Longacre Square before it was renamed Times Square in honor of the paper. After establishing the Times Square New Year's Eve ball drop from atop their building, the paper would again outgrow the location, expanding and moving some offices westward until completely relocating to their current building on Eighth Avenue. For a bit of local news, that first edition of the New-York Daily Times contained a front page story on the ongoing construction of the fountain in Washington Square Park, which would be completed one year later in 1852. In another attack against the city that gets forgotten in the shadow of 9/11: 18 years ago on September 18, 2001 — One week after the September 11th attacks, letters containing anthrax poison are mailed to four NYC-area newsrooms — The letters appeared to have been mailed from Princeton, NJ and a public mailbox near the Princeton University campus was found to be contaminated with anthrax spores. Letters mailed to Democratic Senators in October 2001 contained a similar threatening note referencing the September 11th attacks. In all, 17 people were sickened and five were killed due to anthrax exposure. Victims included assistants who opened or handled the letters, postal workers who sorted the letters, and a woman from the Bronx whose exposure could never be determined. Although the letters were written to appear as if they were from Muslim extremists, an FBI investigation identified the perpetrator as an American microbiologist, vaccinologist, and senior biodefense researcher at a government facility in Maryland. Bruce Edwards Ivins, a 62-year-old white male, became the focus of the investigation seven years after the incidents, after which he started to show signs of strain and was involuntarily committed to a psychiatric hospital where he went on to suggestively discuss the anthrax letters during therapy sessions. Ivins died by suicide on July 29, 2008 after learning that he had been identified, and the FBI formally closed the case in 2010, identifying Ivins as the sole perpetrator of the letters and detailing how he falsified evidence and attempted to frame co-workers at the governmental research lab to throw investigators off the case. It was back in July when we discussed mosquitoes first testing positive for West Nile virus within the city, and this week, the first human West Nile infections were documented within the city, with one confirmed infection in Brooklyn, two in Queens, and one in Staten Island, although mosquitoes testing positive for the disease have been found in every borough. Now is the time to be prepared and protect yourself from mosquitoes if you will be outside. Wear clothing that covers your skin, use a mosquito repellent containing the chemical repellents DEET or Picaridin, or use a natural repellent containing oil of lemon eucalyptus. Be sure to seal around your window air conditioners so that mosquitoes won't have an easy entrance into your home, and use window screens if you'll be leaving windows open. If you'll be traveling overseas, take special precaution to avoid mosquito bites, and research which vaccinations you'll need to avoid diseases that are common in the areas where you will be traveling. If you're staying in the city, you can even do your part by calling 311 to report standing water, defined as a place on public or private property where water gathers and remains for more than five days, creating a habitat where mosquitoes may breed. The city may have escaped the effects of the most recent Hurricane Dorian, but 81 years ago on September 21, 1938 — A Category 3 hurricane made landfall on Long Island, becoming one of the most powerful hurricanes ever recorded to hit New England — A Category 3 hurricane makes landfall on Long Island, becoming one of the most powerful hurricanes ever recorded to hit New England It became known as the 1938 New England Hurricane and heavily impacted Long Island, although winds were only 60 to 70mph in NYC, with eastern Long Island taking the worst damage. An estimated 682 people were killed, with damages equivalent to $4.7 billion. A Great Big City has been running a 24-hour newsfeed since 2010, but the AGBC News podcast is just getting started, and we need your support. A Great Big City is built on a dedication to explaining what is happening and how it fits into the larger history of New York, which means thoroughly researching every topic and avoiding clickbait headlines to provide a straightforward, honest, and factual explanation of the news. Individuals can make a monthly or one-time contribution at agreatbigcity.com/support and local businesses can have a lasting impact by supporting local news while promoting products or services directly to interested customers listening to this podcast. Visit agreatbigcity.com/advertising to learn more. AGBC is more than just a news website: It also automatically checks MTA data before morning rush hour and sends out notifications if there are delays on any subway lines, LIRR or MetroNorth trains, and bridges and tunnels. Follow @agreatbigcity on social media to receive the alerts. Park of the day Galileo Playground — 75 WEST 175 STREET, the Bronx — Previously named Macombs Park, Galileo Playground is located in Morris Heights in the west central Bronx. A former vacant lot, the land for the playground was assigned to City of New York / Parks & Recreation on December 30, 1993. Construction of the new playground was completed during the Fall of 1999 and features jungle gyms and spray showers. Parks Events Check out some birds of prey up close at the Central Park Raptor Fest — Saturday, September 14 — The Urban Park Rangers will bring a selection of eagles, falcons, owls, and hawks to this family-friendly event on the East Lawn in Central Park, just inside the park parallel at 99th Street. The event is free and starts at noon. Call (212) 360-2774 for more info. And on Sunday, there will be the 39th Annual Antique Motorcycle Show in Queens at the Queens County Farm Museum — Sunday, September 15, 2019 — Over 100 antique motorcycles will be part of the show, and live music and food will be available. Tickets will cost $11 at the door to benefit the Queens County Farm Museum. The event runs from 11am to 4pm at Queens Farm Park on the border of Glen Oaks and Floral Park in Queens And now let's check in with our robot friend for the concert calendar: Concert Calendar Here's the AGBC Concert Calendar for the upcoming week: GRAVITY and DAY6 are playing Playstation Theater on Friday, September 13th. Two Door Cinema Club and Overcoats are playing Manhattan Center Hammerstein Ballroom on Friday, September 13th. Joanna Newsom is playing El Teatro of El Museo del Barrio on Friday, September 13th. AmaduConcert Music Albums and Amadu are playing Music Hall of Williamsburg on Saturday, September 14th. Kamelot, Battle Beast, and Sonata Arctica are playing Playstation Theater on Saturday, September 14th. The Growlers, The Lemonheads, and The Nude Party are playing SummerStage NYC on Saturday, September 14th. Japanese Breakfast is playing NeueHouse on Saturday, September 14th. Low and Christopher Tignor are playing Murmrr Theatre on Saturday, September 14th. Joanna Newsom is playing El Teatro of El Museo del Barrio on Saturday, September 14th. Jethro Tull is playing Forest Hills Stadium in Forest Hills on Saturday, September 14th at 7pm. Brandi Carlile with Mavis Staples are playing Madison Square Garden in Midtown West / Chelsea / Hudson Yards on Saturday, September 14th at 8pm. Gipsy Kings is playing Beacon Theatre on the Upper West Side on Saturday, September 14th at 8pm. Salt-N-Pepa with Loni Love is playing Kings Theatre in Ditmas Park / Flatbush on Saturday, September 14th at 8pm. Shakey Graves and Dr. Dog, Shakey Graves, and Dr. Dog are playing The Rooftop at Pier 17 on Sunday, September 15th. The Body and Assembly Of Light are playing The Bell House on Sunday, September 15th. Joanna Newsom is playing El Teatro of El Museo del Barrio on Sunday, September 15th. Backstreet Boys is playing Prudential Center on Sunday, September 15th at 8pm. Marina with Daya is playing Rumsey Playfield, Central Park in Midtown East on Monday, September 16th at 7pm. Angels and Airwaves are playing Playstation Theater on Tuesday, September 17th. Cold, Awake For Days, and University Drive are playing Brooklyn Bazaar on Tuesday, September 17th. Phantom Planet is playing Elsewhere on Wednesday, September 18th. Malcolm Mooney and The Eleventh Planet and Malcolm Mooney are playing Union Pool on Wednesday, September 18th. Mac DeMarco is playing Brooklyn Steel in Greenpoint on Thursday, September 19th at 8pm. Madonna is playing BAM Howard Gilman Opera House in Boerum Hill on Thursday, September 19th at 8pm. Blink-182 with Lil Wayne and Neck Deep are playing Barclays Center in Boerum Hill on Friday, September 20th at 7pm. Find more fun things to do at agreatbigcity.com/events. New York Fact Here's something you may not have known about New York: If you see a damaged, broken, or dying tree in the city, you can submit a tree service request notifying the Department of Parks Forestry Division of the location Weather The extreme highs and lows for this week in weather history: Record High: 94°F on September 13, 1952 Record Low: 44°F on September 15, 1873 Weather for the week ahead: Possible light rain tomorrow and Sunday, with high temperatures peaking at 84°F on Monday. Intro and outro music: 'Start the Day' by Lee Rosevere — Concert Calendar music from Jukedeck.com

The Building Committee lays the cornerstone for the Fourth Church of Christ, Scientist, edifice at Eighth Avenue and Seneca Street on October 29, 1922. Miss Jessie Estep lends money. Mr. Neil McDonald prepares the basement for use as a temporary auditorium. Mr. Charles J. Whittaker gives a presentation for the Austin Organs company and Mr. John Hamilton Howe makes an expert recommendation. Modernist architect Mr. Robert G. Reichert writes an "Architectural Historiology" on the building. Visit CindySafronoff.com to learn more about Dedication: Building the Seattle Branches of Mary Baker Eddy's Church, A Centennial Story. Facebook: @DedicationCentennialStory

Mrs. Violet Webster Dunham oversees the launch of the construction by Mr. Neil McDonald on the second unit for Fourth Church of Christ, Scientist. Mr. Charles T. Hutson takes over the chair of the Building Committee, and Mr. Paul J. Jensen as secretary. Takes place at the Empire Building, the building site at Eighth Avenue and Seneca Street, and the Wilkes Theater Building at Fifth and Pine. Visit CindySafronoff.com to learn more about Dedication: Building the Seattle Branches of Mary Baker Eddy's Church, A Centennial Story. Facebook: @DedicationCentennialStory

New York honored the U.S. Women's National Soccer Team for their fourth World Cup victory with a ticker-tape parade and a presentation at city hall on July 10th where each member of the team received a key to the city. The team has won 48 of its last 50 games played and has now won four of the eight total women's World Cups played. (According to the Department of Sanitation, 7 tons of paper were collected along the parade route and recycled after the ticker-tape parade.) Back in April on Episode 18 we talked about an attempted arson at St. Patrick's Cathedral, and now Marc Lamparello, the man charged in the attack, has been declared mentally unable to stand trial. 7 years ago on July 5, 2012 — NYPD officer Brian Groves is shot while chasing a suspected drug dealer in a stairwell of the Seward Park Extension NYCHA housing on the Lower East Side 2 years ago on July 5, 2017 — NYPD officer Miosotis Familia is killed while sitting in a police vehicle in Fordham Heights, Bronx 12 years ago on July 9, 2007 — NYPD officer Russel Timoshenko is shot during a traffic stop in Crown Heights and dies five days later The Wall Street Bull may get some breathing room by next summer. In a Department of Transportation proposal, the area surrounding the narrow plaza at Bowling Green where the Charging Bull statue was placed in 1989 will be modified to be more pedestrian-friendly. Manhattanhenge July 42 years ago on July 13, 1977 — A two-day blackout sweeps across the city 23 years ago on July 17, 1996 — TWA Flight 800 explodes and crashes in Suffolk County after takeoff from JFK Airport, killing all 230 people on board If AGBC has kept you informed over the years, make a contribution at agreatbigcity.com/support, and if you're a local business, visit agreatbigcity.com/advertising to view rates and learn more. AGBC is more than just a news website: Our fireworks page monitors the city's announcements of upcoming fireworks, lists them on our site, and automatically sends out a notification just before the fireworks begin, so that you can watch the show or prepare your pet for the upcoming sounds of explosions. Visit agreatbigcity.com/fireworks to see the full calendar and follow @agreatbigcity on social media to receive the alerts Park of the day Jennings Park Parks Events Find a new viewing location for the upcoming Manhattanhenge by leaving Manhattan! There will be a unique perspective available across the East River in Hunters Point Park. Located in south Long Island City along the coastline, the new park offers a view straight across the water to 34th Street, giving a view of the entire Manhattan skyline with the sun glowing from within. Plan to arrive at the park early, as Manhattanhenge only shines for a short amount of time just before sundown at 8:21pm, and visit the AGBC Manhattanhenge page for more viewing locations — LIC Henge 2019 Concert Calendar Here's the AGBC Concert Calendar for the upcoming week: The Psychedelic Furs, Dear Boy, and James are playing The Rooftop at Pier 17 on Friday, July 12th. Heize US and Canada Tour 2019, Heize, and 헤이즈 are playing Music Hall of Williamsburg on Friday, July 12th. Charly Bliss is playing The Bowery Ballroom on Friday, July 12th. Freezepop and Nullsleep are playing Mercury Lounge on Saturday, July 13th. The Weeks is playing Baby's All Right on Saturday, July 13th. Marissa Nadler and Wild Pink are playing City Winery on Saturday, July 13th. Jennifer Lopez with World of Dance is playing Madison Square Garden in Midtown West / Chelsea / Hudson Yards on Saturday, July 13th at 8pm. Nick Murphy with Beacon is playing Brooklyn Steel in Greenpoint on Saturday, July 13th at 8pm. Lynyrd Skynyrd and Hank Williams Jr. are playing Forest Hills Stadium on Sunday, July 14th. Public Practice and The Ritchie White Orchestra are playing Our Wicked Lady on Sunday, July 14th. Lynyrd Skynyrd with Hank Williams Jr. is playing Forest Hills Stadium in Forest Hills on Sunday, July 14th at 6pm. Lohai is playing Brooklyn Bowl in Downtown Brooklyn on Sunday, July 14th at 8pm. Chai and Bodega are playing Music Hall of Williamsburg on Monday, July 15th. Legion of Skanks Podcast and Francis Ellis are playing The Stand on Monday, July 15th. Sad Summer, State Champs, Mayday Parade, The Maine, and The Wonder Years are playing The Rooftop at Pier 17 on Tuesday, July 16th. David Allan Coe is playing Sony Hall on Tuesday, July 16th. Coyle Girelli and Riley Pinkerton are playing Mercury Lounge on Tuesday, July 16th. New York Fact Here's something you may not have known about New York: Central Park's Great Lawn was originally a reservoir of fresh water for city's water supply system. In 1931, it was filled in with material excavated from Rockefeller Center and the Eighth Avenue subway Weather The extreme highs and lows for this week in weather history: Record High: 102°F on July 15, 1995 Record Low: 54°F on July 13, 1888 Weather for the week ahead: Light rain on Thursday and next Friday, with high temperatures bottoming out at 85°F on Monday. Intro and outro music: 'Start the Day' by Lee Rosevere — Concert Calendar music from Jukedeck.com — Manhattanhenge music by Anonymous420

Mr. Thomas Franklyn Hoyt, First Reader, invites the congregation of Fourth Church of Christ, Scientist, Seattle, to hear from Mr. William K. Sheldon. Takes place at the Hippodrome on Sunday, August 29, 1915. Mr. George Foote Dunham, Portland architect, proposes a building concept for Eighth Avenue and Seneca Street. The church invites Mr. Hermann S. Herring and Mr. George Shaw Cook to lecture. Visit CindySafronoff.com to learn more about Dedication: Building the Seattle Branches of Mary Baker Eddy's Church, A Centennial Story. Facebook: @DedicationCentennialStory

Fourth Church of Christ, Scientist, Seattle, purchases a building lot at Eighth Avenue and Seneca Street on First Hill in July 1914. They move their services to the new Hippodrome at Fifth and University. Christian Science branch churches spread to downtown Ballard, Columbia City, West Seattle, and the University District.  Miss Georgian Elouise Wiestling is First Reader in Columbia City. Mr. Charles A. Griffith gives a report at First Church. Mr. Bliss Knapp, Mr. Willis T. Gross, Rev. William P. McKenzie, Mr. Jacob S. Shields, Mr. William R. Rathvon, and Prof. Hermann S. Herring give lectures at the Hippodrome. Visit CindySafronoff.com to learn more about Dedication: Building the Seattle Branches of Mary Baker Eddy's Church, A Centennial Story. Facebook: @DedicationCentennialStory

Before the Manhattan Bridge or the Chrysler or Empire State buildings were built, there was Garber Hardware. The business has been in the same family for five generations. The first store was located at the corner of Horatio Street and Eighth Avenue in Manhattan’s West Village. In 2003, Garber Hardware moved to Greenwich Street, and has since expanded to a second location in the Chelsea neighborhood. On this week’s Cityscape, we're going inside one of New York City’s longest-running mom and pop businesses.

Before the Manhattan Bridge or the Chrysler or Empire State buildings were built, there was Garber Hardware. The business has been in the same family for five generations. The first store was located at the corner of Horatio Street and Eighth Avenue in Manhattan's West Village. In 2003, Garber Hardware moved to Greenwich Street, and has since expanded to a second location in the Chelsea neighborhood. On this week's Cityscape, we're going inside one of New York City's longest-running mom and pop businesses.

In Episode 69, your host, Lee, shares two words to stop using. Yep. Just two. You know, for now. Find out why the phrase "I know" needs to be replaced! You also find out which small fabric store in the Garment District to check out before heading to those more expensive shops. Ebad Fabrics on 8th Avenue is a great place to find simple textiles! And, find out how to have Lee record the outgoing voicemail message on your phone or landline - doesn't that sound like fun?! If you've wondered how to support Lee and the show, why not treat her to a cup of coffee - or a salad! Click here to support the show : ) Mentions/Resources: - Asian American Podcasters group - JOIN! - Ebad Fabrics, 550 Eighth Avenue between 37th and 38th streets, New York, NY (www.EbadFab.com) - Lee's kid's sports podcast: http://www.SebzWorldOfSports.com - Lee's OTHER podcast: http://www.PractiMama.com - Lee keeps it real with practical parenting tips! The House of Life NYC, a division of WLEE Media, LLC, is available at Apple Casts/iTunes, Spotify, Google Play, Stitcher and your favorite podcast app. (Lee is working on the issue with iHeart Radio.) Leave your comments and questions via voice for Lee at www.HouseOfLifeNYC.com - or call or email Lee at: lee @ wleefm.com or (212) 6 5 5 - 9 8 4 0. Lee can also be found on Facebook, Twitter and Instagram.

108 years ago on March 25, 1911 — The Triangle Shirtwaist Fire kills 146 people, becoming the deadliest industrial accident in the city's history — Disturbingly, a similar deadly fire would occur on the same day 79 years later at the Happy Land Club, a story covered in episode 14 of the podcast 4 years ago on March 26, 2015 — A gas explosion and fire destroys three buildings at Second Ave and St. Marks March 26 in History: Central Park "Be-In" on Easter Sunday in Sheep Meadow One year ago on March 26th — NTSB Releases Report on Deadly East River Helicopter Crash — Listen to episode 12 of the podcast for the full story on the East River helicopter crash 110 years ago on March 30, 1909 — The Queensboro Bridge opens to traffic 34 years ago on March 31, 1985 — The First WrestleMania is held at Madison Square Garden — WrestleMania 2019 — April 7th at MetLife Stadium 39 years ago on April 1, 1980 — 33,000 transit workers go on strike, bringing subways and buses to a standstill for 11 days 4 years ago on April 2, 2015 — Two women are arrested in Jamaica, Queens for planning terrorist bombings March 27 in History: The Disappearing House March 28 in History: Alfred Hitchcock's 'The Birds' Premieres in New York March 29 in History: The 'Mad Bomber' Puts Manhattan on Edge The AGBC News podcast is just getting started, and we need your support. A Great Big City is built on a dedication to explaining what is happening and how it fits into the larger history of New York, which means thoroughly researching every topic and avoiding clickbait headlines to provide a straightforward, honest, and factual explanation of the news. Individuals can make a monthly or one-time contribution at agreatbigcity.com/support and local businesses can have a lasting impact by supporting local news while promoting products or services directly to interested customers listening to this podcast. Visit agreatbigcity.com/advertising to learn more. Park of the day Great Kills Park in Staten Island If you're looking for a scare, try your hand at paranormal investigating! The Morris–Jumel Mansion in Upper Manhattan is holding a night of ghost hunting where you can learn about the history of the house and see the equipment ghost hunters use when investigating old properties. Tickets are required and the event takes place from 8pm to 11pm on Saturday, March 30th — Morris–Jumel Mansion Paranormal Investigation Concert Calendar This is the AGBC Concert Calendar for the week of Tuesday, March 26 Billy Idol and Steve Stevens are playing Town Hall on Wednesday, March 27th at 8pm. Failure and Swervedriver are playing Warsaw on Friday, March 29th at 7pm. The Cure, Def Leppard, Janet Jackson, Radiohead, Roxy Music, Stevie Nicks, and The Zombies are playing The Barclay Center on Friday, March 29th at 7pm. Methyl Ethel and Teen are playing Elsewhere on Friday, March 29th at 7pm. HalfNoise, Liam Benzvi, and Lip Talk are playing Market Hotel on Friday, March 29th at 8pm. Nils Frahm is playing Brooklyn Steel on Friday, March 29th at 8pm. Better Oblivion Community Center, Christian Lee Hutson, and Lala Lala are playing The Bowery Ballroom on Friday, March 29th at 8pm. Sasha Sloan is playing Bowery Ballroom on Saturday, March 30th at 8pm. Zoë Keating are playing Joe's Pub on Sunday, March 31st at 7pm and 9:30pm. Simple Creatures is playing Public Arts on Monday, April 1st. Avey Tare and Nathan Bowles are playing Market Hotel on Monday, April 1st at 8pm. Cradle of Filth, Raven Black, and Wednesday 13 are playing Irving Plaza on Wednesday, April 3rd at 6pm. Ex Hex and Moaning are playing The Bowery Ballroom on Thursday, April 4th 8pm. Matmos and Keith Fullerton Whitman are playing Pioneer Works on Thursday, April 4th at 7pm. Whitey Morgan and the 78's is playing Gramercy Theatre on Friday, April 5th at 7pm. Teen Body and Sean Nicholas Savage are playing Sunnyvale on Friday, April 5th at 7:30pm. Arthur and Ghost Orchard are playing Baby's All Right on Friday, April 5th at 8pm. Broncho is playing Elsewhere on Saturday, April 6th at 7pm. Find more fun things to do at agreatbigcity.com/events. Learn about New York Here's something you may not have known about New York: Central Park's Great Lawn was originally a reservoir of fresh water for city's water supply system. In 1931, it was filled in with material excavated from Rockefeller Center and the Eighth Avenue subway Weather The extreme highs and lows for this week in weather history: Record High: 86°F on March 29, 1945 Record Low: 10°F on March 29, 1923 Weather for the week ahead: Light rain on Sunday, with high temperatures rising to 68°F on Saturday. Intro and outro music: 'Start the Day' by Lee Rosevere — Concert Calendar music from Jukedeck.com

This week bad at sports presents a panel on making and being presented at Hauser and Wirth by our partners BFAMFAPhD.   Event 3: Building Cooperatives   What if the organization of labor was integral to your project?   Members of Meerkat Filmmakers Collective and Friends of Light   Meerkat Media Collective is an artistic community that shares resources and skills to incubate individual and shared creative work. We are committed to a collaborative, consensus-based process that values diverse experience and expertise. We support the creation of thoughtful and provocative stories that reflect a complex world. Our work has been broadcast on HBO, PBS, and many other networks, and screened at festivals worldwide, including Sundance, Tribeca, Rotterdam and CPH:Dox. Founded as an informal arts collective in 2005 we have grown to include a cooperatively-owned production company and a collective of artists in residence.   Friends of Light develops and produces jackets woven to form for each client.  We partner with small-scale fiber producers to source our materials, and with spinners to develop our yarns.    We construct our own looms to create pattern pieces that have complete woven edges (selvages) and therefore do not need to be cut. The design emerges from the materials and from methods developed to weave two dimensional cloth into three dimensional form. Each jacket is the expression of the collective knowledge of the people involved in its creation. Our business is structured as a worker cooperative and organized around cooperative principles and values. Friends of light founding members are Mae Colburn, Pascale Gatzen, Jessi Highet and Nadia Yaron.   Upcoming Event:  Healing and Care (OFFSITE EVENT)   How do artists ensure that their individual and collective needs are met in order to dream, practice, work on, and return to their projects each day?   Thursday 2/28 from 6-8pm Adaku Utah and Taraneh Fazeli NOTE this event will be held at 151 West 30th Street  # Suite 403, New York, NY 10001   Adaku Utah was raised in Nigeria armed with the legacy of a long line of freedom fighters, farmers, and healers. Adaku harnesses her seasoned powers as a liberation educator,healer, and performance ritual artist as an act of love to her community. Alongside Harriet Tubman, she is the co-founder and co-director of Harriet's Apothecary, an intergenerational healing collective led by Black Cis Women, Queer and Trans healers, artists, health professionals, activists and ancestors. For over 12 years, her work has centered in movements for radical social change, with a focus on gender, reproductive, race, and healing justice. Currently she is the Movement Building Leadership Manager with the National Network for Abortion Funds. She is also a teaching fellow with BOLD (Black Organizing for Leadership and Dignity) and Generative Somatics.   Taraneh Fazeli is a curator from New York. Her multi-phased traveling exhibition “Sick Time, Sleepy Time, Crip Time: Against Capitalism’s Temporal Bullying” deals with the politics of health. It showcases the work of artists and groups who examine the temporalities of illness and disability, the effect of life/work balances on wellbeing, and alternative structures of support via radical kinship and forms of care. The impetus to explore illness as a by-product of societal structures while also using cultural production as a potential place to re-imagine care was her own chronic illnesses. She is a member of Canaries, a support group for people with autoimmune diseases and other chronic conditions.   Access information info Address: 151 West 30th Street is between 6th and 7th Avenues, near 7th. The building entrance, elevators, and 4th floor restrooms have no steps and are fully wheelchair accessible. If you require additional assistance upon arrival, please ring the buzzer outside and someone can come down to help you. Parking in the vicinity is free after 6 PM. The closest MTA subway station is 23rd and 8th Ave off the C and E. This station is not wheelchair accessible. The closest wheelchair accessible stations are 1/2/3/A/C/E 34th Street-Penn Station and the 14 St A/C/E station with an elevator at northwest corner of 14th Street and Eighth Avenue. Nearby Subways include the 1,2,3, A, C, and E trains at Penn Station on 34th St, and the B, D, F M, Q, ad R trains at Herald Square on 34th at 6th Ave.  Both of these stations are wheelchair accessible. BFAMFAPhD Making and Being is a multi-platform pedagogical project that offers practices of contemplation, collaboration, and circulation in the visual arts. Making and Being is a book, a series of videos, a deck of cards, and an interactive website with freely downloadable content created by authors Susan Jahoda and Caroline Woolard with support from Fellow Emilio Martinez Poppe and BFAMFAPhD members Vicky Virgin and Agnes Szanyi. Bio BFAMFAPhD is a collective that employs visual and performing art, policy reports, and teaching tools to advocate for cultural equity in the United States. The work of the collective is to bring people together to analyze and reimagine relationships of power in the arts. BFAMFAPhD received critical acclaim for Artists Report Back (2014), which was presented as the 50th anniversary keynote at the National Endowment for the Arts and was exhibited at the Brooklyn Museum, the Museum of Art and Design, Gallery 400 in Chicago, Cornell University, and the Cleveland Institute of Art. Their work has been reviewed in The Atlantic, the New York Times, the Washington Post, the New Yorker, Andrew Sullivan’s The Dish, WNYC, and Hyperallergic, and they have been supported by residencies and fellowships at the Queens Museum, Triangle Arts Association, NEWINC and PROJECT THIRD at Pratt Institute. BFAMFAPhD members Susan Jahoda and Caroline Woolard are now working on Making and Being, a multi-platform pedagogical project which offers practices of collaboration, contemplation, and social-ecological analysis for visual artists.

96 years ago on March 5, 1923 — "Human Fly" Harry F. Young falls to his death while climbing the Hotel Martinique 49 years ago on March 6, 1970 — Weather Underground townhouse explodes 11 years ago on March 6, 2008 — An IED explodes outside Times Square Army recruitment office 2 years ago on March 7, 2017 — The 'Fearless Girl' statue is placed at Bowling Green, facing the famous Wall Street Bull statue 60 years ago on March 9, 1959 — The Barbie doll debuts at the American International Toy Fair in New York 8 years ago — The Norwegian Jewel sailing down the Hudson becomes the first post on the A Great Big City website! 8 years ago on March 4, 2011 — The TLC releases the results of their Taxi of Tomorrow survey 2 years ago on Tuesday, March 7, 2017 — FDNY Debuts New Tethered Drone with Infrared Camera A Great Big City has been running a 24-hour newsfeed since 2010, but the AGBC News podcast is just getting started, and we need your support. A Great Big City is built on a dedication to explaining what is happening and how it fits into the larger history of New York, which means thoroughly researching every topic and avoiding clickbait headlines to provide a straightforward, honest, and factual explanation of the news. Individuals can make a monthly or one-time contribution at agreatbigcity.com/support and local businesses can have a lasting impact by supporting local news while promoting products or services directly to interested customers listening to this podcast. Visit agreatbigcity.com/advertising to learn more. Park of the day Captain Rivera Playground — 156th Street in Woodstock in the Bronx — This playground honors Captain Manuel Rivera, Jr., a Marine pilot from the Bronx who died during a training mission in Operation Desert Shield. Parks Events If you're interested in keeping the city's parks clean, visit Canarsie Park for the Forest Restoration event on Saturday, March 9th. Volunteer with the Stewardship Team to protect natural areas in Canarsie Park and learn how to identify and safely remove invasive plants in order to help create a healthier ecosystem. Come dressed in sturdy boots or shoes, long pants, and clothing that can get dirty. Please bring your own water bottle to this event. Space is limited and registration is required. Start time: 10:00 am End time: 12:00 pm Contact phone: (718) 392-5232 Location: Seaview Avenue and East 108th Street in Fresh Creek Nature Preserve in Canarsie, Brooklyn. Concert Calendar Cold Cave, ADULT, Psychic TV, and Sextile are playing Brooklyn Steel on Monday, March 4th The Monochrome Set and The Jetbeats are playing The Bowery Ballroom on Monday, March 4th Ice Cube is playing Terminal 5 in New York City on Wednesday, March 6th Morbid Angel, Blood Incantation, Cannibal Corpse, and Necrot are playing the Playstation Theater on Thursday, March 7th Nothing, Candy, and Tony Molina are playing Brooklyn Bazaar on Thursday, March 7th State Champs and Our Last Night are playing the Best Buy Theater on Friday, March 8th The Black Queen, Kanga, and Uniform are playing the Music Hall of Williamsburg on Friday, March 8th Robyn is playing Madison Square Garden on Friday, March 8th Trisomie 21 and Brighter Death Now are playing Brooklyn Bazaar on Friday, March 8th The Sound of Animals Fighting is playing Terminal 5 on Friday, March 8th Queensrÿche, Fates Warning, and The Cringe are playing Irving Plaza on Saturday, March 9th Weezer, Basement, the Pixies, and TV on the Radio are playing Madison Square Garden on Tuesday, March 12th Teenage Fanclub and The Love Language are playing The Bowery Ballroom on Wednesday, March 13th The Movielife and Travis Shettel are playing the Brooklyn Night Bazaar on Friday, March 15th Massive Attack is playing Radio City Music Hall on Friday, March 15th The Bouncing Souls and Strike Anywhere are playing White Eagle Hall in Jersey City on Saturday, March 16th Find more fun things to do at agreatbigcity.com/events. New York Fact Here's something you may not have known about New York: Central Park's Great Lawn was originally a reservoir of fresh water for city's water supply system. In 1931, it was filled in with material excavated from Rockefeller Center and the Eighth Avenue subway Weather The extreme highs and lows for this week in weather history: Record High: 79°F on March 10, 2016 Record Low: 3°F on March 5, 1872 Weather for the week ahead: Mainly dry and well below normal temperatures are expected through mid-week. Intro and outro music: 'Start the Day' by Lee Rosevere — Concert Calendar music from Jukedeck.com

Welcome to the Elevator World News Podcast. This week’s news podcast is sponsored by EscaTEQ: www.escateq.com NYC FORUM TO ADDRESS LOOMING DOOR-LOCK DEADLINE With New York City's (NYC) new door-lock monitoring rules set to go into effect in less than a year, the New York Association of Realty Managers (NYARM) is presenting a forum, “NYC ELEVATORS. . . to Modernize or, NOT to Modernize?" on February 11 at 6:30 p.m. NYARM notes, "During NYC's mandated elevator door-lock-monitoring device work, logistical best practices are needed, no matter what." More than 40,000 elevators in NYC must have the devices installed by January 1, 2020. The presentations are designed to walk building managers through the process of scheduling modernizations and planning shutdowns. Appearing on the panel will be Joseph Caracappa of Sierra Consulting Group (moderator); Mick Carnevale of Joseph Neto Associates/Lerch Bates, Inc.; Joe Corrado of Champion Elevator Corp.; Dmitri Dits, assistant commissioner of Central Inspections (elevators) with the NYC Department of Buildings (DOB); Charanjeet Singh, PE, executive engineer, Elevators Plan Examination Unit, DOB; plus, legal counsel and senior property management. The forum schedule will include networking, exhibits and dinner refreshments at 6:30-7 p.m., panel presentations at 7-8 p.m. and more networking and meet-the-speakers opportunities at 8-9 p.m. The event will be in Room 301, 500 Eighth Avenue at West 35th Street, NYC. For pricing, more information or to RSVP, contact NYARM Executive Director Margie Russell at phone: (212) 216-0654 or (516) 456-0313, or email. Image credit: MOSO Studio To read the full transcript of today's podcast, visit: elevatorworld.com/news Subscribe to the Podcast: iTunes│Google Play|SoundCloud│Stitcher│TuneIn

Duncan catches up with two of the members of BFAMFAPhD for a chat about the upcoming event series, which for those of you in NYC starts friday with MAKING & BEING.   Conversations about Art & Pedagogy co-presented by BFAMFAPhD & Pioneer Works, hosted by Hauser & Wirth, with media partners Bad at Sports and Eyebeam.   image credit... BFAMFAPhD, Making and Being Card Game, print version, 2016-2018, photograph by Emilio Martinez Poppe. Full details below... ____________________________   Hauser & Wirth   BFAMFAPhD is a collective that employs visual and performing art, policy reports, and teaching tools to advocate for cultural equity in the United States.   Pioneer Works is a cultural center dedicated to experimentation, education, and production across disciplines.   Contemporary art talk without the ego, Bad at Sports is the Midwest's largest independent contemporary art podcast and blog. Eyebeam is a platform for artists to engage society’s relationship with technology.   Access info:   The event is free and open to the public. RSVP is required through www.hauserwirth.com/events.   The entrance to Hauser & Wirth Publishers Bookshop is at the ground floor and accessible by wheelchair. The bathroom is all-gender. This event is low light, meaning there is ample lighting but fluorescent overhead lighting is not in use. A variety of seating options are available including: folding plastic chairs and wooden chairs, some with cushions.   This event begins at 6 PM and ends at 8 PM but attendees are welcome to come late, leave early, and intermittently come and go as they please. Water, tea, coffee, beer and wine will be available for purchase. The event will be audio recorded. We ask that if you do have questions or comments after the event for the presenters that you speak into the microphone. If you are unable to attend, audio recordings of the events will be posted on Bad at Sports Podcast after the event.   Parking in the vicinity is free after 6 PM. The closest MTA subway station is 23rd and 8th Ave off the C and E. This station is not wheelchair accessible. The closest wheelchair accessible stations are 1/2/3/A/C/E 34th Street-Penn Station and the 14 St A/C/E station with an elevator at northwest corner of 14th Street and Eighth Avenue. ____________________________ "While knowledge and skills are necessary, they are insufficient for skillful practice and for transformation of the self that is integral to achieving such practice.” - Gloria Dall’Alba BFAMFAPhD presents a series of conversations that ask: What ways of making and being do we want to experience in art classes? The series places artists and educators in intimate conversation about forms of critique, cooperatives, artist-run spaces, healing, and the death of projects. If art making is a lifelong practice of seeking knowledge and producing art in relationship to that knowledge, why wouldn’t students learn to identify and intervene in the systems that they see around them? Why wouldn't we teach students about the political economies of art education and art circulation? Why wouldn’t we invite students to actively fight for the (art) infrastructure they want, and to see it implemented?   The series will culminate in the launch of Making and Being, a multi-platform pedagogical project that offers practices of collaboration, contemplation, and social-ecological analysis for visual artists. Making and Being is a book, a series of videos, a deck of cards, and an interactive website with freely downloadable content created by authors Susan Jahoda and Caroline Woolard with support from Fellow Emilio Martinez Poppe and BFAMFAPhD members Vicky Virgin and Agnes Szanyi.   ____________________________   SCHEDULE ____________________________ Modes of Critique   What modes of critique might foster racial equity in studio art classes at the college level?   Friday 1/18 from 6-8pm Billie Lee and Anthony Romero of the Retooling Critique Working Group Respondent: Eloise Sherrid, filmmaker, The Room of Silence   Billie Lee is an artist, educator, and writer working at the intersection of art, pedagogy, and social change. She holds a BFA from the Rhode Island School of Design, an MFA from Yale University, and is a doctoral candidate at the University of Hawai‘i at Mānoa in American Studies. She has held positions at the Queens Museum, the Yale University Art Gallery, Doris Duke Foundation for Islamic Art, University of New Haven, University of Hawai‘i at Mānoa, and is currently an Assistant Professor of Art History at Hartford Art School.   Anthony Romero is an artist, writer, and organizer committed to documenting and supporting artists and communities of color. Recent projects include the book-length essay The Social Practice That Is Race, written with Dan S. Wang and published by Wooden Leg Press, Buenos Dias, Chicago!, a multi-year performance project commissioned by the Museum of Contemporary Art Chicago and produced in collaboration with Mexico City based performance collective, Teatro Linea de Sombra. He is a co-founder of the Latinx Artists Retreat and is currently a Professor of the Practice at The School of the Museum of Fine Arts at Tufts University.   Judith Leemann is an artist, educator, and writer whose practice focuses on translating operations through and across distinct arenas of practice. A long-standing collaboration with the Boston-based Design Studio for Social Intervention grounds much of this thinking. Leemann is Associate Professor of Fine Arts 3D/Fibers at the Massachusetts College of Art and Design and holds an M.F.A. in Fiber and Material Studies from the School of the Art Institute of Chicago. Her writings have been included in the anthologies Beyond Critique (Bloomsbury, 2017), Collaboration Through Craft (Bloomsbury, 2013), and The Object of Labor: Art, Cloth, and Cultural Production (School of the Art Institute of Chicago and MIT Press 2007). Her current pedagogical research is anchored by the Retooling Critique working group she first convened in 2017 to take up the question of studio critique’s relation to educational equity.   The Retooling Critique Working Group is organized by Judith Leemann and was initially funded by a Massachusetts College of Art and Design President's Curriculum Development Grant.   Eloise Sherrid is a filmmaker and multimedia artist based in NYC. Her short viral documentary, "The Room of Silence," (2016) commissioned by Black Artists and Designers (BAAD), a student community and safe space for marginalized students and their allies at Rhode Island School of Design, exposed racial inequity in the critique practices institutions for arts education, and has screened as a discussion tool at universities around the world.   __________________________   Artist-Run Spaces   How do artists create contexts for encounters with their projects that are aligned with their goals?   Friday 2/1 from 6-8pm Linda Goode-Bryant, Heather Dewey-Hagborg, and Salome Asega   Linda Goode-Bryant is the Founder and President of Active Citizen Project and Project EATS. She developed Active Citizen Project while filming the 2004 Presidential Elections and developed Project EATS during the 2008 Global Food Crisis. She is also the Founder and Director of Just Above Midtown, Inc. (JAM), a New York City non-profit artists space. Linda believes art is as organic as food and life, that it is a conversation anyone can enter. She has a Masters of Business Administration from Columbia University and a Bachelor of Arts Degree in painting from Spelman College and is the recipient of a Guggenheim Fellowship and a Peabody Award.   Heather Dewey-Hagborg is a transdisciplinary artist who is interested in art as research and critical practice. Heather has shown work internationally at events and venues including the World Economic Forum, the Shenzhen Urbanism and Architecture Biennale and PS1 MOMA. Her work is held in public collections of the Centre Pompidou, the Victoria and Albert Museum, and the New York Historical Society, and has been widely discussed in the media, from the New York Times to Art Forum. Heather is also a co-founder of REFRESH, an inclusive and politically engaged collaborative platform at the intersection of Art, Science, and Technology.   Salome Asega is an artist and researcher based in New York. She is the Technology Fellow in the Ford Foundation's Creativity and Free Expression program area, and a director of POWRPLNT, a digital art collaboratory in Bushwick. Salome has participated in residencies and fellowships with Eyebeam, New Museum, The Laundromat Project, and Recess Art. She has exhibited and given presentations at the 11th Shanghai Biennale, Performa, EYEO, and the Brooklyn Museum. Salome received her MFA from Parsons at The New School in Design and Technology where she also teaches.   ____________________________   Building Cooperatives   What if the organization of labor was integral to your project?   Friday 2/22 from 6-8pm Members of Meerkat Filmmakers Collective and Friends of Light   Meerkat Media Collective is an artistic community that shares resources and skills to incubate individual and shared creative work. We are committed to a collaborative, consensus-based process that values diverse experience and expertise. We support the creation of thoughtful and provocative stories that reflect a complex world. Our work has been broadcast on HBO, PBS, and many other networks, and screened at festivals worldwide, including Sundance, Tribeca, Rotterdam and CPH:Dox. Founded as an informal arts collective in 2005 we have grown to include a cooperatively-owned production company and a collective of artists in residence.   Friends of Light develops and produces jackets woven to form for each client.  We partner with small-scale fiber producers to source our materials, and with spinners to develop our yarns.    We construct our own looms to create pattern pieces that have complete woven edges (selvages) and therefore do not need to be cut. The design emerges from the materials and from methods developed to weave two dimensional cloth into three dimensional form. Each jacket is the expression of the collective knowledge of the people involved in its creation. Our business is structured as a worker cooperative and organized around cooperative principles and values. Friends of light founding members are Mae Colburn, Pascale Gatzen, Jessi Highet and Nadia Yaron.   ____________________________   Healing and Care (OFFSITE EVENT)   How do artists ensure that their individual and collective needs are met in order to dream, practice, work on, and return to their projects each day?   Thursday 2/28 from 6-8pm Adaku Utah and Taraneh Fazeli NOTE this event will be held at 151 West 30th Street  # Suite 403, New York, NY 10001   Adaku Utah was raised in Nigeria armed with the legacy of a long line of freedom fighters, farmers, and healers. Adaku harnesses her seasoned powers as a liberation educator,healer, and performance ritual artist as an act of love to her community. Alongside Harriet Tubman, she is the co-founder and co-director of Harriet's Apothecary, an intergenerational healing collective led by Black Cis Women, Queer and Trans healers, artists, health professionals, activists and ancestors. For over 12 years, her work has centered in movements for radical social change, with a focus on gender, reproductive, race, and healing justice. Currently she is the Movement Building Leadership Manager with the National Network for Abortion Funds. She is also a teaching fellow with BOLD (Black Organizing for Leadership and Dignity) and Generative Somatics.   Taraneh Fazeli is a curator from New York. Her multi-phased traveling exhibition “Sick Time, Sleepy Time, Crip Time: Against Capitalism’s Temporal Bullying” deals with the politics of health. It showcases the work of artists and groups who examine the temporalities of illness and disability, the effect of life/work balances on wellbeing, and alternative structures of support via radical kinship and forms of care. The impetus to explore illness as a by-product of societal structures while also using cultural production as a potential place to re-imagine care was her own chronic illnesses. She is a member of Canaries, a support group for people with autoimmune diseases and other chronic conditions.   ____________________________   When Projects Depart   What practices might we develop to honor the departure of a project?  For example, where do materials go when they are no longer of use, value, or interest?   Thursday 3/14 from 6-8pm Millet Israeli and Lindsay Tunkl   Millet Israeli is a psychotherapist who focuses on the varied human experience of loss.  She works with individuals and families struggling with grief, illness, end of life issues, anticipatory loss, and ambiguous loss.  Her approach integrates family systems theory, cognitive restructuring, mindfulness, and trauma informed care. Millet enjoys creating and exploring photography and poetry, and both inform her work with her clients. Millet holds a BA in psychology from Princeton, a JD from Harvard Law School, an MSW from NYU and is certified in bioethics through Montefiore. She sits on an Institutional Review Board for Human Subjects Research at Weill Cornell.   Lindsay Tunkl is a conceptual artist and writer using performance, sculpture, language, and one-on-one encounters to explore subjects such as the apocalypse, heartbreak, space travel, and death. Tunkl received an MFA in Fine art and an MA in Visual + Critical Studies from CCA in San Francisco (2017) and a BFA from CalArts In Los Angeles (2010). Her work has been shown at the Hammer Museum, LA, Southern Exposure, SF, and The Center For Contemporary Art, Santa Fe. She is the creator of Pre Apocalypse Counseling and the author of the book When You Die You Will Not Be Scared To Die.   ____________________________   Group Agreements   What group agreements are necessary in gatherings that occur at residencies, galleries, and cultural institutions today?   Friday 4/19 from 6-8pm Sarah Workneh, Laurel Ptak, and Danielle Jackson   Sarah Workneh has been Co-Director at Skowhegan for nine years leading the educational program and related programs in NY throughout the year, and oversees facilities on campus. Previously, Sarah worked at Ox-Bow School of Art as Associate Director. She has served as a speaker in a wide variety of conferences and schools. She has played an active role in the programmatic planning and vision of peer organizations, most recently with the African American Museum of Philadelphia. She is a member of the Somerset Cultural Planning Commission's Advisory Council (ME); serves on the board of the Colby College Museum of Art.   Laurel Ptak is a curator of contemporary art based in New York City. She is currently Executive Director & Curator of Art in General. She has previously held diverse roles at non-profit art institutions in the US and internationally, including the Guggenheim Museum (New York), MoMA PS. 1 Contemporary Art Center (New York), Museo Tamayo (Mexico City), Tensta Konsthall (Stockholm) and Triangle (New York). Ptak has organized countless exhibitions, public programs, residencies and publications together with artists, collectives, thinkers and curators. Her projects have garnered numerous awards, fellowships, and press for their engagement with timely issues, tireless originality, and commitment to rigorous artistic dialogue.   Danielle Jackson is a critic, researcher, and arts administrator. She is currently a visiting scholar at NYU’s Center for Experimental Humanities.  As the co-founder and former co-director of the Bronx Documentary Center, a photography gallery and educational space, she helped conceive, develop and implement the organization’s mission and programs.  Her writing and reporting has appeared in artnet and Artsy. She has taught at the Museum of Modern Art, International Center of Photography, Parsons, and Stanford in New York, where she currently leads classes on photography and urban studies.   ____________________________ Open Meeting for Arts Educators and Teaching Artists   How might arts educators gather together to develop, share, and practice pedagogies that foster collective skills and values?   Friday 5/17 from 6-8pm Facilitators: Members of the Pedagogy Group   The Pedagogy Group is a group of educators, cultural workers, and political organizers who resist the individualist, market-driven subjectivities produced by mainstream art education. Together, they develop and practice pedagogies that foster collective skills and values. Activities include sharing syllabi, investigating political economies of education, and connecting classrooms to social movements.Their efforts are guided by accountability to specific struggles and by critical reflection on our social subjectivities and political commitments.   ____________________________   Book Launch: Making and Being: A Guide to Embodiment, Collaboration and Circulation in the Visual Arts   What ways of making and being do we want to experience in art classes?   Friday 10/25 from 6-8pm Stacey Salazar in dialog with Caroline Woolard, Susan Jahoda, and Emilio Martinez Poppe of BFAMFAPhD   Stacey Salazar is an art education scholar whose research on teaching and learning in studio art and design in secondary and postsecondary settings has appeared in Studies in Art Education, Visual Arts Research, and Art Education Journal. In 2015 her research was honored with the National Art Education Association Manuel Barkan Award. She holds a Doctorate of Education in Art and Art Education from Columbia University Teachers College and currently serves as Associate Dean of Graduate Studies at the Maryland Institute College of Art, where she was a 2013 recipient of the Trustee Fellowship for Excellence in Teaching.   BFAMFAPhD is a collective that employs visual and performing art, policy reports, and teaching tools to advocate for cultural equity in the United States. The work of the collective is to bring people together to analyze and reimagine relationships of power in the arts. Susan Jahoda is a Professor in Studio Arts at the University of Amherst, MA; Emilio Martinez Poppe is the Program Manager at Fourth Arts Block (FABnyc) in New York, NY; Caroline Woolard is an Assistant Professor of Sculpture at The University of Hartford, CT. Supporting this series at Hauser and Wirth for Making and Being are BFAMFAPhD collective members Agnes Szanyi, a Doctoral Student at The New School for Social Research in New York, NY and Vicky Virgin, a Research Associate at The Center for Economic Opportunity in New York, NY. Making and Being is a multi-platform pedagogical project that offers practices of collaboration, contemplation, and social-ecological analysis for visual artists. Making and Being is a book, a series of videos, a deck of cards, and an interactive website with freely downloadable content created by authors Susan Jahoda and Caroline Woolard with support from Fellow Emilio Martinez Poppe and BFAMFAPhD members Vicky Virgin and Agnes Szanyi.

We're officially on the road to WrestleMania. Well, most of us are, anyway. AJ is in Kuwait visiting the troops. Typical spoiled, out of touch athlete, y'know? But PressBox's Simon Habtemariam kindly joins us in studio this week. In Segment 1, ALL RONDA ALL THE TIME. The Royal Rumble was great, but should WWE have waited until Monday or Tuesday to bring out Ronda Rousey? Also what do we expect from her moving forward? And how amazing were the Royal Rumble matches? Amazing, right? In Segment 2 (36:12), we break down the rest of the week that was for the main WWE roster. Why isn't Finn Balor in the Elimination Chamber? What to do about the Miz if Maryse's due date is WrestleMania? Where are we heading with Sami Zayn and Kevin Owens? Could Sasha Banks be turning heel? We discussed all of it. And in Segment 3 (1:07:03), our friend James Ellsworth joined us for a lengthy chat. We discussed everything about his unprecedented WWE run, storylines that were and storylines that weren't. What were the backstage politics like as he made his rise? We also discussed where he goes from here. Will he keep wrestling women? We talked about ACW's upcoming event "Ellsworth's Homecoming" February 16 at Michael's Eighth Avenue in Glen Burnie. After chatting with James, we wrapped up the week by discussing whether NXT erred in not giving the belt to Johnny Gargano after a phenomenal title match plus 205 Live has a new GM (who we love!) but is it kind of a disappointment?

A portion of our Young Turks Main Show from December 11th, 2017. For more go to http://www.tytnetwork.com/join. Hour 1: Cenk. A man wearing a homemade pipe bomb detonated his explosive in a walkway at the Port Authority Bus Terminal near Times Square on Monday, injuring five people and causing chaos in one of the city's busiest commuter hubs, officials said. Authorities called the explosion in the terminal at 42nd Street and Eighth Avenue an "attempted terrorist attack" that appears to be isolated. Police identified the suspect in custody as Akayed Ullah, 27. 3 white men charged with trying to explode weapons of mass disruption. The 3 men are asking judge if for jurors from rural Kansas since they’re more likely to have voted for Trump.  Hour 2: Little boy that is bullied and make a video saying “it gets better I guess.” Mother of the child made comments about butt hurt parents. Evangelical Christians, Concerned Women for America, believe it’s better to choose a child molester, Moore, than Democrat, Doug Jones. Learn more about your ad choices. Visit megaphone.fm/adchoices

Take a trip with us down the grittiest streets in Times Square -- the faded marquees of the grindhouses, the neon-lit prurient delights of Eighth Avenue at night. Times Square in the 1970s was all about fantasy -- from the second-run theaters of 42nd Street to the pornographic pleasures of the adult bookstores next door. And yet our ideas of this place and time are also caught in a bit of fantastic nostalgia. In memory it becomes an erotic theme park, a quaint corner of New York City history. Sometimes its stark everyday reality is forgotten. In this show we focus on a couple of Times Square's most notorious streets from the period -- 42nd Street and Eighth Avenue -- and provide historical context for the seediness they were known for in this era.  Those glowing marquees disguise a theatrical history that dates from the beginning of Times Square, once hosting productions by the likes of Florenz Ziegfeld and Oscar Hammerstein. And the sex industries themselves trace back to the early seedy days of the Tenderloin neighborhood. They coalesced around Port Authority Bus Terminal (aka "the cavern of squalor") to produce a gritty scene that was at once alluring, dangerous, and quintessentially New York. Support the show.

"Soccer in the City" podcast hosts Glenn Crooks and Roberto Abramowitz recorded this week’s episode live from the NYCFC House on West 14th Street and Eighth Avenue in the Meatpacking District.   They analyze the return of Andrea Pirlo and Tommy McNamara as well as the return to form of Jack Harrison and RJ Allen, who will battle newly signed Andruz Struna for time at the back. The guys also take a close look at the U.S. men's national team's most recent qualifiers and the road ahead.

City of Chimeras by Richard Bowes 1. Salome's hand is the hinge and John the Baptist's head is the hammer on the doorknocker at the Studio Caravaggio. I slam the brass head held by its brass hair on the door a few times before the spy slot on the iron door opens and closes. To mortal eyes here in the Middle World even a half-breed Fey like me can appear a bit translucent with his hands and hair trailing away like phosphorous.  In my case most of that is the effect of Prince Calithurn's Glamour having rubbed off on me. But at this address I'm recognized and expected. Though since I've come on time, I am by local standards early to the point of madness. Just then, I feel the probe of another mind. By instinct I block it.  The rivalries and feuds of the tall elves are twisted and beyond logic.  Recently certain ones have appeared in Gotham who can scan and probe as well as my lover Calithurn or any other Fey. And these newcomers mean us no good. This time however, it's Prince Cal himself and I let him into my mind. "Enemies from this world and Faery are at my throat," he announces. "Though my father has abandoned me, his enemies have not. My cousins from the South and their friends from the West are closing in. I need you by my side, Jackie Boy."   Full transcript after the cut.   [Intro music plays] Welcome to GlitterShip episode 30 for November 22, 2016. I am your host, Keffy, and I have a story to share with you today, but a message first. We are two weeks into the longest nightmare many of us have ever faced, and a resurgence of horror for those of us who have been through the darkness before. I have no gentle platitudes to offer today. I am sure that I am not alone in fluctuating between broken-hearted grief, staring terror and burning rage. I tweeted most of this yesterday, but I feel that it bears repeating, and repeating, and repeating. There are already people telling you the Right or Best or Most Effective way to resist fascism. Some of these Best ways are not accessible to everyone, for a number of reasons. Some have higher costs for some groups than they do for others. There is no One Single Best Way to fight fascism. The Best Way is anything you can do. Maybe you can make unlimited phone calls. Maybe you can take to the street. Maybe you can't. Maybe you can do something else. Maybe you can survive. What if the only thing you can do is remind your friends and the rest of us fighting that we are loved, and we need to drink some water? Do that. What if the only thing you can do is wake up and tell your friends that you are still here? THAT IS WORTH DOING. There are people who say the best way is to wait. Or that unless you do X, your effort is worthless. Don't listen to them. It is true that some single actions will have more immediate effect than others. But, the answer is not "Do THIS THING or DON'T BOTHER." The truth is that we need EVERYBODY to fight the rising tide of fascism at EVERY STEP using ANYTHING THEY CAN. What are YOUR skills? What can YOU do? Do that. Keep doing it. In the darkest hours of humanity, we have still needed people to cook meals, to fold a blanket, to hand a cup of water, to give a hug, to babysit, to say "you are meaningful." RESISTANCE IS NOT A SINGLE HERO. RESISTANCE IS MILLIONS OF ACTS BY MILLIONS OF PEOPLE WHO WILL NOT GO QUIETLY INTO THE MEAT GRINDER. Many of the contributors, creators and listeners to GlitterShip are marginalized along one or many axes that make them feel threatened after this horrible expression of white supremacist power in the United States. We must all stand together to protect all of our people, all the way to the most vulnerable of us. If you are queer or trans, make sure that you are protecting those among us who are also people of color, or poor, or disabled. Those of us with more privilege to higher standards. Those of us who are white, who are not members of targetted faiths, we must be willing to stand between our friends and those who would destroy them. It isn't easy. Oh, it isn't. I admit that I spent some time wondering how I was going to make things happen, if GlitterShip is worth it, considering what we face. The first two years of episodes have been difficult, partly for personal reasons, and partly for the rising despair as all of this around us keeps slipping into horror. But. GlitterShip remains. I am a queer, trans writer and editor. I am selecting stories that speak to me, many from among the voices of other queer and trans people, many of whom have very different backgrounds from myself. Authors of stories I have run are trans, non-binary, gay, lesbian, bisexual, asexual, immigrants, latinx, disabled, asian, and on and on. There is a lot of work to be done, but GlitterShip will remain. We will continue to be a voice in the dark. We're still here.   Our story for today is "City of Chimeras" by Richard Bowes. Richard Bowes is an award winning author of science fiction and fantasy. His fiction has won two World Fantasy awards, a Lambda award, Million Writers, and International Horror Guild awards. He has published six novels, four short story collections and seventy-five stories. Many of his works are listed on the Internet Speculative Fiction Database if you would like to read more of his work.     City of Chimeras by Richard Bowes   1.     Salome's hand is the hinge and John the Baptist's head is the hammer on the doorknocker at the Studio Caravaggio. I slam the brass head held by its brass hair on the door a few times before the spy slot on the iron door opens and closes. To mortal eyes here in the Middle World even a half-breed Fey like me can appear a bit translucent with his hands and hair trailing away like phosphorous.  In my case most of that is the effect of Prince Calithurn's Glamour having rubbed off on me. But at this address I'm recognized and expected. Though since I've come on time, I am by local standards early to the point of madness. Just then, I feel the probe of another mind. By instinct I block it.  The rivalries and feuds of the tall elves are twisted and beyond logic.  Recently certain ones have appeared in Gotham who can scan and probe as well as my lover Calithurn or any other Fey. And these newcomers mean us no good. This time however, it's Prince Cal himself and I let him into my mind. "Enemies from this world and Faery are at my throat," he announces. "Though my father has abandoned me, his enemies have not. My cousins from the South and their friends from the West are closing in. I need you by my side, Jackie Boy." This is just my lord in full dramatic flight. A half-breed with half a talent, I can block probes but I have no ability to reply. In any case there's not much I've been able to say to him lately.   And I still have time before I need to be back beside him. Part of my half Fey birthright is the gift of Foretelling. And even in the worst future I have seen, he won't leave the mortal earth until this afternoon.  The studio door swings open. Power is out in the city and seen from here in the silver morning sunlight the interior of the studio looks like a dark cavern. The gate keeper is a mortal, young naturally in this house, a girl I am certain. What I had thought last time was short, feathery gold hair I see now is short gold feathers that cover her head, legs and arms. A small russet robe is draped over the rest of her body.   She steps aside saying, "He's still in bed," and indicates the way. The skylights above are dirty; most of the tall windows are curtained.  In a jumble of costumes and props, I make out a green and silver farthingale and an amber and blue doublet and hose tossed over a pool table, a Wehrmacht helmet hung on the high back of a wooden throne. A sudden shaft of sun points up a blue and white pattern of pagodas and willow trees on a stretch of tiled wall.   As I approach the Japanese privacy screens at the far end of the studio, a spaniel with the eyes of a child barks and backs up. A naked boy with a V of reddish hair on his chest is flushed from behind the screens and scuttles out of my path, one hand half concealing his crotch, the other clutching a donut. Green eyes and white teeth flash in what might be a fox's smile or snarl. I think I can hear the click of his nails on the floor.      Since I first saw him here, I have been curious about the fox boy. I calculate that by the reckoning of the middle earth, I'm in my early twenties and that he's a year or so younger. But time has already put a mark or two on him. As a half-Fey, I am untouched and forever young. I part two screens and look inside. On his huge, disorderly bed half covered with a sheet lies a large man with a big belly, dark hair on his face and body, thin hair on his head. Scars new and old: the jagged ones on his left shoulder and chest are more recent rough repairs of knife or broken bottle wounds. Neat laser traces on the knee outside the sheet indicate sleek, old fashioned replacement surgery. The artist who calls himself Caravaggio is half awake. "Jackie Boy all ephemeral and flickering," he says focusing his eyes on me. I don't much like that nickname and he knows it. In the land of the Fey, Jackie Boy is a way of indicating my half human status. In this place, the word boy refers not to age so much as lack of money and position. "Getting awakened by an angel is not necessarily a good sign." He sits up with a groan with the sheet still around him. "Nope, still alive. Everything hurts." "You said you had something to show me." "Well to show you and your lord. I was hoping against hope that he would stop by," he says and stumbles out of bed with a rueful smile. Some passions aren't even forlorn wishes. And the one he has for Calithurn qualifies.      The sheet falls away and the fox boy, now in the loose boxer shorts that are often all the clothing a street urchin wears, reappears from the dusk. He holds out a dark green hooded robe into which Caravaggio inserts his arms without looking. The fox and I may be about the same age but I am a young man with connections and a bit of money. I've started wearing silk drawers in the same style as his under my riding britches. But a boy like the fox probably owns not much more than the, knee-length shorts he has on. The kitchen, I know, lies through a nearby door. From there comes the smell of coffee and toasting bread and the sound of an alto singing a chant. That singer is joined by a husky not quite human voice way off key. Laughter follows and silence. Half walking, half stomping, flicking switches and cursing when they don't respond Caravaggio makes his way across the floor until we reach the screening area. There he touches a wall panel and a small generator hums up on the roof. The alto from the kitchen, with fur as black as a panther's, chants as he brings out large mugs of coffee.   The artist hits a couple of buttons and on a screen before us is an old map of Gotham. The magic island between two rivers lies at the center with New Jersey and the outer boroughs around the edges. Then the map tears open and a winged horse with a rider in gold armor leaps through: Prince Calithurn. No such event has actually taken place of course. My lord is not in the habit of intentionally performing circus stunts. The screen fades to a tumbled down street where an impossibly tall man, semi-translucent, seems to disappear into the broad daylight only to flicker back into sight as he speaks to a crowd. "We will take what is best from here and what is best from the Kingdom Under The Hill. We will make of these a new realm on Earth…." This actually did happen. It was during Cal and my first days here. That was when I first spotted Caravaggio and his camera. The crowd, when the camera pans it, is colorful; one or two sporting wings where there should be arms, a couple with faces that slip between human and animal. But everyone, human and chimera alike, are enraptured, a rabble willing to be roused. Then on screen I see that the almost ephemeral Calithurn, without missing a beat, has his sword in his hand. The blade twirls in the air, cuts in two a man with a drawn pistol. This also happened but not on the same day, nor in the same place. The artist says, "I need so little from you and your prince to tell my story. Just a few samples. Computers will do the rest."      On the screen is a large room and the only light is coming through the windows, a place of dark split by areas of sunlight full of girls and boys with bare feet, knees and arms but who wear raffish feathered hats, elbow length gauntlets, belts with daggers. These are ruffians who watch, half mocking and half in awe as an angel in gold and jewels, brushed leather jacket and, polished knee boots, suede knickers and a flowing silk shirt, his hair a halo, his ringed fingers trailing away like phosphorus, stands before a tough man in a battered motorcycle jacket and says, "I summon you in the name of my Lord Calithurn." The man is Caravaggio himself, sporting a beard that he doesn't have. The angel is me, standing where I never stood and saying what I have never said: all of this through the worldly magic of cameras and computers. "This is the look I'm driving for, the film I'm striving to create," he says. "One where men at their worktables are summoned to greatness by angels while their pretty little friends look on amazed." All of this startles me. The Foretelling is a skill of the Fey in which some of us have visions of our possible futures. This disheveled mortal seems to have magic at least as great. He says, "I'd like to see you as one of the crowd at the table too when we have you here all bare and informal."      He finds his joke amusing. I ignore him. Suddenly the power comes back on in Gotham and all around us in the studio the mysterious shapes and muted colors are revealed to be broken furniture, piles of tattered costumes and random accumulations of junk. My host turns and shouts, "Dowse them!" The black figure moves gracefully, humming, smiling, flicking switches until we are back in a circle of artificial light. "Turn this way, you creature of another world," the artist says viewing me through a lens. "Yes, that expression is perfect for an angel. Polite impatience."  To mortals here in their earth the Fey, even half-breeds, are creatures of wonder and, they hope, salvation. Caravaggio calls himself a director, an auteur. What he is, at least in part, is a scavenger of images. Scavenging is the local industry. "What you saw is what I finished yesterday," Caravaggio says. "I'm going to play it by ear and eye. Since I don't know what Calithurn and you have planned. "Please tell him," he says, "That I'll go wherever he wishes for as much or as little a time as he has to spare me. I'll immortalize him. People will flock to him. He will be a hero, a mayor, a President, a king." He pauses. "You're impressed by my impudence." I'd come here this morning to see if what he had done was good enough for him to be entrusted with showing Lord Calithurn to the mortal world. "I'm impressed," I tell him.  "I want you with me and with Calithurn today. If you agree we'll go to him right now." He jumps up immediately. "I can have my rig packed and ready in a few minutes. Bring my crew…"  "No. This could be dangerous and it will be hard. Just you and that camera you had that first day. Get ready!" He gives me an angry look but selects a camera, goes through the contents of a canvas bag, grabs items and stuffs them in. Then he  pulls on pants, steps into sandals, flips the hood on his robe over his head and shambles towards the door. In the land of the Fey, fairy/mortal mongrels like me live in the Maxee, the demimonde that has grown up around the Kingdom Beneath the Hill. We never grow old but are never admitted to the true Elvin lands. Cross-breed here has another meaning. The sly faced boy who has just made Caravaggio's bed and now sits on it cross-legged, smiling at me as I depart, the black-as-night alto, the feathered girl who opens the door to let us out, are by-blows of the chimera craze that possessed this city in the years before the bombs and earthquake. Genetic manipulation was illegal and thus enticing.      The day is growing warm. On the street, small bare children play in the water spraying from a busted fire hydrant.  For a moment I am caught, reminded of doing that back in the Maxee.      Suddenly a bicyclist, a youth whose red skin blends with his entire wardrobe of scarlet silk drawers and the red bandana on his head, rides through the spray, sending shrieking children and drops of water in all directions. His lizard eyes flicker my way.      Longingly I watch him speed down the broken street. The Maxee too had wild boys of a sort but I was the child of a Fey and so was kept a bit apart. I thought about them and envied them their lack of status when I was a child.      Caravaggio looks at the bicyclist and at me and seems amused. I think this whole city is a hunting ground for him. I picture Caravaggio when the want assails him, going out and snagging a partridge girl or cat boy and carrying them indoors to dress a set, to warm a bed. Heads turn as we hurry along the buckled sidewalks of this devastated but vital place. I hear someone murmur, "The devil steps out with an angel." And I see us reflected in a broken pane of glass: him stomping along like he has hoofed feet and me glowing like a minor sun.      My companion calls out, "Morning, Al. Morning Flo," to the couple opening the soup kitchen on the corner. Under his breath he identifies them to me, "Albert Schweitzer and Florence Nightingale." It still amazes and amuses me, all these mortals with immortal names. Jimi Hendrix, one eyed and white haired, plays guitar and sings old songs on the street. Calamity Jane collects scrap metal in a big truck that's mostly scrap metal itself. John Henry rides shotgun for her. Then I hear rolling thunder from further uptown and realize I've allowed myself to be distracted by this city Suddenly I am probed by a stranger. I block and get probed again. They’re trying to see what I see, to find out where I am. Immediately after that, I receive a command from Calithurn. "Jack, get back here, now!" At that same moment there is a yellow flash and Lionel Standler appears at the wheel of his cab. With a dead cigar stub in his mouth and a cap pulled down over his eyes, Lionel too has taken a name from the legendary past: the original was an actor who played cab drivers in old movies. He has become chauffeur for the House of Calithurn. I'd told him to stay out of sight after he'd driven me down here this morning. I help Caravaggio haul himself into the back seat and jump in beside him as the cab takes off. Deftly swerving around pits in the street, jumping only once onto the sidewalk to avoid a fresh rubble heap on Eighth Avenue; Lionel rolls towards the park and the Palace Calithurn. The city, Gotham, is a hodgepodge of trash built on the ruins of wonders. Wherever two streets cross at least one of the four buildings on the corners will have been reduced to a pile of rubble years ago and left that way. The lights go off at odd hours of the day and night. Old men with lined faces and beards will point up to where silver spires once pierced the sky. Women can be gotten to talk of the wonderland of stores that existed here in their youth. They sit on broken benches in a park where an arch has collapsed and a gibbet stands ready and waiting. They say that at night music could once be heard from the open doors of a thousand clubs and blasting out of car radios and that musicians played on subway platforms under the streets. The life I lived in the Maxee was not so far removed from the ones I see around me. My mother came from Gotham decades ago in human terms; years as the Fey reckon it, when it was a powerful and prosperous city. In Elfland she met and lost my father, a Fey who rose to high rank and abandoned us. She owned The Careless Rapture, a café in the Maxee district and left it to me when she died. It was there that Calithurn found me when he was having trouble with his father, Clathurin, the King Beneath the Hill. He hid out in my bedroom upstairs from the café when the King's officers were looking for him. And I was the only one he took with him when he fled from that place of well ordered magic and quiet oppression to the gut-wrenching stench and glimpses of grandeur, the chaos and chimeras of the mortal world and the city of Gotham. It has never happened before but I've had two separate Foretellings of Calithurn and my future. Both are vivid but both can not be true. In one we ride through the city on winged horses to the cheers of the crowds. In the other we stand on a hill in the wind and rain surrounded by our enemies with no hope of escape. Lately, the second has seemed the most likely.  Cal has told me many times that we will not go back; surrender does not enter into it. We will face death right here, the two of us. I no longer think he really believes this.                          2.   From a few blocks away, I can see the Palace Calithurn bathed in Glamour and the noonday sun. Flecks of light, like bits of diamonds, shine in the black stone surface. The flags of the prince, a silver unicorn leaping over a blue globe with the inscription in Elvish, I Invite Your Envy, fly in a constant magic breeze above the turrets. Lionel stops when I tell him to. "There may be trouble. Keep out of sight," I say, "Be ready to take Caravaggio back to his studio." What magic I have is passive. Prepared for troubles today, I wear my favorite Fey clothing and my most precious ornaments and jewelry. I have a wallet with sixty thousand dollars in local currency in the pouch pocket of my riding britches. In my jacket pocket is a rap gun that can knock down ten men at fifty paces. In my right boot is a jump knife that will come to my hand from three feet away.  When the earth moved and the city fell, some parts that were built on solid rock or saved through fate stood while all else went down.  The big old buildings that remain on the west side of the overgrown park are like armed forts, like compounds, where the magnates of the city live.  It was through Calithurn's cleverness or the kind of instinct for ruling that he'd inherited from his father that he had ensorcelled this palace among the castles of the wealthy and powerful. Almost as soon as we arrived, he took a devastated building, not much more than a pile of rubble and through magic and enchantment raised this breath-taking, infuriating place. It lies so close to the headquarters of the Bank of Shanghai which owns the city's future and to the home of Santee, the boss who makes and unmakes mayors, that no one dares to assault it or bomb it from the air. A tank lying smashed in the street is testimony to mortal frailty and the eternal vigilance of Lord Calithurn. Caravaggio pauses for a moment pointing his camera up. "Chutzpa," he mutters, "Hubris. Balls beyond those of mortal men." As we approach the front gates, the building shimmers for a moment. Only I notice that the Fey Glamour has faltered. The guards who keep back the constant throngs of favor seekers and gawkers call themselves Fess Parker and John Wayne. Parker is a tall thin man in buckskin and a raccoon cap, one blue eye squinting against the sun, the other wide and clear. He cradles an AK47. The other man is husky, hands like hammers, guns strapped on both hips. His eyes are hidden in the shadow of his Stetson brim. But Wayne telegraphs in his blunt, artless way that he's staring at your every move. They nod, almost bow, to me and wave along my companion who pauses to film them. We pass through the gates into the courtyard where the magic horses, Bellephron and Callistro, snort and flap their wings. Not two months ago, Cal and I rode these chimeras out of Elfland and into this city. I argued back then that we should let them go home and make ourselves inconspicuous, live among the people and get some sense of this place. Cal would have none of this. He is a prince. So we lived in this palace he wrought and we made ourselves known and envied. After that first assault failed, the magnates of the city didn't dare attack us. But there were ones in Elfland, enemies of his father, who were happy to find the prince alone except for his half-breed boyfriend. At first Calithurn slapped them away. Now they have returned in numbers. Inside, on the main stairs, Selesta sweeps past us, her small ears drawn back, and hisses her defiance. An actress, a singer, Calithurn's newest mistress, she still thinks that I'm jealous when all I am is disappointed. About his favorites of the moment, Cal told me, "Mortal toys, Jack, nothing more." Whereas I, only part mortal, would count as only partly a toy. I hear what sounds like distant thunder. The palace gives a small lurch and I see us again, Calithurn and myself, just the two of us standing with our horses on a hill with wind and rain and our enemies all round us. We find Cal in the roof garden sprawled on the longest couch in all of Gotham. He stands and embraces me and for a moment with his golden hair and dark eyes he is the lover I first knew, the one who could suddenly appear swinging in my bedroom window and who, when he departed, would stride across the dawn sky waving farewell. We came to middle earth, to this city, to form an alliance with the wronged and desperate mortals. With them, we said, we would return to the land of the Fey and break the hold of Clathurin, the King Beneath the Hill, and the father of Cal. Our idea was naïve and thus dangerous. Where all was sunshine a few minutes before, clouds have rolled in. I find myself deflecting a mental probe from not that far away, and then deflecting another. These aren't attempts to communicate. The Fey who have reached out are trying to smash their way into my consciousness. Calithurn's eyes flicker and I know he's feeling the same thing. Then he closes his eyes and with arms outstretched, turns 360 degrees. Briefly the probes cease, the sky lightens.  I'd forgotten about Caravaggio. But he's still present, still filming. I turn to introduce him. And I see in the man's eyes his desire for Calithurn. It's plain that my lord has conquered this mortal artist, this pot bellied man whose scars are the most interesting thing about his body. My Calithurn's lip curls. He shows the two of us a house in a neighborhood of similar houses, a fat, fairly happy looking little boy on a tricycle, an ordinary couple smiling at what is obviously their child. As we see the images we are told: Louis Falco, born in Bethpage fifty years ago, child of a civil servant and a dentist. They never understood why you took the name Caravaggio. You blight this world. Turn that camera off or you and it will be a puddle on the floor." I catch the anger in Caravaggio's eyes, the contempt in Calithurn's glance and step between them. With my lord in such a mood, expressing his rage would be fatal for the mortal. At that moment, the attack begins again. Thunder rolls and lightning splits the sky. One probe after another hits us. This distracts Calithurn enough that his Glamour, the magic that holds the palace together, flickers. I hear the building groan. "We need to get everybody out before people are hurt," I say. "We're drawing fire and putting them in danger." Calithurn shrugs, "It is time we set out on our travels," he says and sounds almost bored. I yell for the palace to be evacuated and we head for the stairs. The building shakes as we descend. In the courtyard Bellephron and Callistro stamp and unfurl their wings. Servants stream past. Chunks of stone fall around us. Selesta is there with a suitcase full of what she considers to be valuables. Calithurn mounts Bellephron and lifts her up without ceremony. I'm on Callistro when the gates open and we canter out into the street. "Get the people away from this place," I hear myself shouting. Fess Parker and John Wayne and the other guards force the crowds back. The horses spread their wings and glide across the street and into the park. I hear a roar and a collective gasp and look back. My lord has abandoned his toy. Without his attention, the Palace is gone, disappeared in a cloud of dust. The rubble we first found is all that remains. I spot Caravaggio filming it all.                             3.        Entering the park, I know that Calithurn is going back to Elfland and that his time in Gotham has been a kind of royal tantrum, his talk of helping the mortals was idle chatter. Cal has been my lover and is my lord. I will be loyal to him and true while he is here. But as I've fallen out of love with him, I've fallen in love with this city. We pause on a grassy rise and it's somewhat like what the Foretelling showed me. But that was a wilderness and a blasted heath and this is an overgrown park with buildings or the ruins of buildings visible through the trees, with Selesta whimpering and the remains of squatters' camps underfoot. It's dark, though, with the wind blowing rain as I'd foreseen and I can see figures, some mounted on winged steeds, in the trees before us. This is the beginning of the road to Elfland and we are not going to get through it without a fight. Cal looks around and it occurs to me that he has run out of ideas and is waiting to be rescued. Then I'm hit by mental probes, one after another. I've never been punched repeatedly in the face but that's what I think of when I can't block all of them and some get through. I feel bits of memory, my mother's tired smile, my father's constant surprise at his half mortal son, the streets of the Maxee where I grew up, being yanked out of my skull.    Someone catches images from my Foretelling, sees as I saw the pair of us surrounded in the wind and rain. Someone else finds the fear I feel as this happens and twists it. Poor Callistro, whom I'd been trying to protect, gets spooked and rises up in terror, bucks and throws me. Then I'm on the ground fallen on my right shoulder. There is shooting pain, my limbs are jerking and my head is banging up and down. There's blood in my throat, my left eye is clouded and my shoulder feels like it's broken. Cal is standing over me broadcasting, "Off of him you cowards! Who will fight me? Let each of you sons of bitches challenge me one at a time!" And I know this is the end of us and want to be on my feet beside him. Then all at once with nothing first, there is a huge bang and bright light. The rain is gone and a great voice bellows, 'WHO DARES DO THIS TO MY SON?" Cal is silent, staring and I manage to half rise and look where he does. King Clathurin and all his power are here, thousands of Fey with their armor glittering. Clathurin is a big man but at this moment, he is gigantic. "STAND FORTH AND FACE ME," he commands and waves his scepter wand. When I look over to the trees, there are bodies strewn about on the grass and none of them are moving.  King Clathurin looks around for a moment then he turns and comes to Prince Calithurn who steps forward. They embrace and Clathurin's host raises their weapons in salute. I struggle to my feet when I see the king walking away with his arm around his son. And I understand that Calithurn's expedition to Gotham was just a way of getting the attention of The King under the Hill.  The presence of so much Glamour makes my eye clear, stops the bleeding in my mouth and the pain in my shoulder. Cal hasn't even looked back. I'm having trouble thinking. But I understand that if I did return, he and I will not be together. I will live again in the Maxee, the great demimonde, like my mother and all the other past and present lovers of the Fey. I will become one of the local legends. "That half breed was the lover of Calithurn. Long ago, they went off to mortal lands together." Selesta trails after Lord Calithurn not understanding that she's already forgotten just as I am. I wonder if my old coffee house the Careless Rapture is still there and if they will think to give it to her.  Would I have gone back with them if Clathurin had taken me in his arms as he did his son? Probably. But that wasn't going to happen. I am a half-breed who has become inconvenient. Will I follow Cal if he turns and gestures for me? No. I am going to remain here with the other chimera. Then, as suddenly as he appeared, King Clathurin is gone, along with Calithurn and the rest, gone with not a trace of their Glamour left behind.      And I'm alone in this strange land, feeling like the insides have been knocked out of me. The Fey do not laugh and do not cry and I inherited that from my father. I did not cry at my mother's death and I do not cry at this. It strikes me that the futures I foresaw for Cal and myself may just have been scenes from movies that hadn't yet been made. At that moment, the Foretelling takes me again. I see myself in high summer with the fox boy and some of the others from the studio. We are on a sidewalk walking down to the river. I am dark-tanned, not ephemeral in the least, dressed like the other street kids in nothing but my baggy shorts and with my hair tied up under a blue head bandana. It would seem to be late summer, four or five months from this moment. And I'm too dizzy and confused to know what to make of it. "Jackie, you look like you're lost," I hear Caravaggio say. He's right beside me but sounds like he's far off and under water. "You took quite a fall there." He turns me around and I see the yellow cab up on the grass. Lionel helps me into the back seat. Caravaggio gets in on the other side and we make a U turn.      "It doesn't seem like he can take care of himself," Lionel says "His boyfriend's got enemies that would love to pick him clean. No doubt off him."              None of this feels like it has anything to do with me. We drive out of the park. A mob of scavengers is crawling over the rubble of the Palace Calithurn, a couple of them spot the cab, one or two have guns. But Lionel is too fast for them and speeds away.      "I can hide Jackie among the crew at the studio," Caravaggio says. "But we need to make him less noticeable."      "Here's a place." The cab swerves and suddenly it's twilight in an alleyway between two buildings. I notice that Caravaggio has attached a small camera to the cab ceiling. Lionel opens my door of the cab. "OK Jackie," he says, "Hand over the clothes and valuables."      "Why?" I try to go for the rap pistol.      Caravaggio says, "Because there are two men and a boy in this cab," and pins me. Lionel pulls my ibex leather jacket and silk shirt off over my head. There's a burst of pain in my shoulder and I cry out.       "Look at those bruises!" Lionel says.      "Nothing broken anymore or he'd be screaming. He heals fast is my guess. That black eye is fading already. I think maybe there's a slight concussion," says Caravaggio.      As they talk they're working on me. My head spins, pain shoots through my shoulder and I can't stop them. In moments the rings on my fingers, the one my mother gave me, the one that my father owned, are drawn off my hands. My watch and bracelets and earrings and the gold collar around my neck, love gifts of Calithurn get taken.      "Make a move for that jump knife Jackie and I'll break your other arm!" Lionel says. My boots of Elvin leather, the hose woven in Moir, the belt with the heavy silver buckle, are stripped off me.      I hold onto the waist of my riding britches and beg to keep them. Even these knee pants would be a small sign of status and there's the wallet and money in the side pouch. It's just about all I have left.      "I looked forward to doing this," Caravaggio says and yanks them off me. "And this," he adds riffling through my wallet and papers. Lionel pulls down my under shorts to make sure I haven't got anything else to steal but lets me keep those.      "A young man of affairs wearing a small fortune on his back one minute," says Lionel, gathering everything up, "A boy with nothing in the world but his silk drawers the next."      It's a warm day but I understand what's been done to me and feel like I've been run through with an icicle. Even if I could find the way, I can't go back to Elfland like this and I have no one here to turn to.      Caravaggio pulls my hair into a tight knot in back, ties a bandanna on my head. He pops open a palm sized screen and shows me the picture the camera is capturing. I'm amazed to see myself as I appeared in the Foretelling.      Caravaggio, murmurs, "You think only Fey can read minds, Jackie Boy? I've seen how you looked at my crew, at the boys on the street. You were curious but disdainful. Now you're going to find out about that life first hand."      Driving downtown, Caravaggio, speaks softly. "If we hadn't gotten you out of the park, you'd be dead by now. We could have left you in that alleyway and you'd be dead by midnight. You're still alive and I'm going to keep you that way. You're going to learn how to survive in this world."       He has his arm around me and massages my neck like I'm a nervous show animal, and says, "With what I shot today and my half of the take from what you had on you, I'm going to make the greatest film to come out of this city in a decade."      I want to ask him why I've been robbed and humiliated and what is going to become of me. Then we arrive outside the studio and Lionel opens the cab door. I realize that in the course of an afternoon I've lost everything and now am nobody. And anyone who sees me from now on will know that. I flinch away and want to hide.      But Caravaggio forces me out onto the sidewalk saying, "Get used to it Jackie. The first time you ever ordered me around, which was the first time we met, I told Lionel I'd lead you into my studio dressed just as you are right now."      "And I thought you were crazy," Lionel laughs.  Before he leaves, he says, "Go easy on him Caravaggio; he always tried to do right by me and the others."      Caravaggio has hold of my good arm or I'd try somehow to cover myself. I did not cry for my mother or for Lord Calithurn and I do not cry at this. Though if I was mortal, I think I would.      This world has traps a Fey could never imagine. This morning I strode down this street and heads turned. Now the pavement is rough on my bare feet and I need to watch out for broken glass. In the Foretelling I walk on it easily.      Ordinary passersby pay almost no attention to one like me.  But when the feathered girl opens the door I see in her eyes awe that her boss has magic that can turn an arrogant Fey into this cringing street urchin.      The rest of the chimeras, more than I ever guessed were there, gather as I'm led by the hand through the studio. Some are astounded; some are highly amused that the well-heeled visitor of the morning has returned to the zoo, stripped and bruised, as the newest addition to the menagerie. I hear giggles and whispers as I'm shown to Caravaggio's bed.      In the Foretelling these are my friends and I can look people in the eye. But that's a future possibility. There's more wonder and terror in any square foot of Gotham than in all of Elfland.       Exhaustion is about to take me when I hear Caravaggio say, "His name is Jackie Boy and he's come from a long way off to find his true home among us."  Then he tells the story of how I lost everything I thought I had.   END   "City of Chimeras" was originally published in Helix, summer of 2006. This recording is a Creative Commons Attribution-NonCommercial-NoDerivatives license which means you can share it with anyone you’d like, but please don’t change or sell it. Our theme is “Aurora Borealis” by Bird Creek, available through the Google Audio Library. You can support GlitterShip by checking out our Patreon at patreon.com/keffy, subscribing to our feed, or by leaving reviews on iTunes. Thanks for listening, and I'll be back in early December with a GlitterShip original! [Music plays out]

What are the fifteen most popular songs from the Broadway canon? We'll do a Top 15 Countdown--from West 54th Street to West 41st Street; from Sixth Avenue to Eighth Avenue--of the songs that topped the charts.

If you're looking for the one perfect portable computing device that suits every need, my recommendation is to forget about it. The problem with trying to use a computer to find a Wi-Fi hotspot is that you need to be connected to a Wi-Fi hotspot to use an online service to find Wi-Fi hotspots. In Short Circuits: Some investors are suing Microsoft as the company readys Windows 8.1 for release in October. Cisco's profits are up, so the CEO has announced that now is a good time to fire 4000 people. And the New York Times website was offline for several hours on Wednesday and the smoking gun seems to be located at 620 Eighth Avenue in Manhattan.