Podcasts about Manhattan Bridge

Whitney Lynn, the woman who predicted the LA fires went to Time Square New York to make an eerie announcement about her new prophecy that mentions the destruction of the Manhattan Bridge in addition to bomb explosions and deduction in New York City. Whitney Lynn: I see desolation. I see destruction of buildings, bridges. Times Square. I tell you, make things right with Jesus Christ today. He's the lord of lords and king of kings.More than 20 civil service employees resigned Tuesday from billionaire Trump adviser Elon Musk's Department of Government Efficiency, saying they were refusing to use their technical expertise to “dismantle critical public services.”“We swore to serve the American people and uphold our oath to the Constitution across presidential administrations,” the 21 staffers wrote in a joint resignation letter, a copy of which was obtained by The Associated Press. “However, it has become clear that we can no longer honor those commitments.”The employees also warned that many of those enlisted by Musk to help him slash the size of the federal government under President Donald Trump's administration were political ideologues who did not have the necessary skills or experience for the task ahead of them.The mass resignation of engineers, data scientists, designers and product managers is a temporary setback for Musk and the Republican president's tech-driven purge of the federal workforce. It comes amid a flurry of court challenges that have sought to stall, stop or unwind their efforts to fire or coerce thousands of government workers out of jobs.

Batman in A Dark Knight Rises, climbs 200ft to the top of the Manhattan Bridge, and they film him up there at sunset. It's a pretty cool shot. If you find benefit from these devotions we'd encourage you to support our ministry. You can donate by visiting: https://peacedevotions.com/donate Connect with us on social media: Facebook: https://www.facebook.com/PeaceDevotions/ Website: https://peacedevotions.com/ YouTube: https://www.youtube.com/channel/UC2pFo5lJV46gKmztGwnT3vA Twitter: https://twitter.com/peacedevotions Instagram: https://www.instagram.com/peace_devotions/ Email List: https://peacedevotions.com/email

Explore Central Park - View our Central Park guides here. The High Line + Little Island People Watch at Washington Square Park, Times Square, Grand Central Station, etc. Staten Island Ferry - Learn about tourist traps to avoid here. 9/11 Memorial Pools NYC Public Library on 5th Ave Hudson River Park, Bryant Park, etc. Free Events Art Galleries - See Saw App Walk Any of the Bridges: Brooklyn Bridge, Manhattan Bridge, Queensboro Bridge, Williamsburg Bridge Live Show Tapings - 1iota Bonus Idea: Watch your favorite sports team at a supporters bar. View our full list here.

The Dumbo neighborhood in Brooklyn is a vibrant, albeit crowded and touristy, spot to take in views of Manhattan, explore the waterfront, and enjoy some delicious food. Where is Dumbo? It encompasses two sections: one situated between the Manhattan and Brooklyn Bridges, which connect Brooklyn to Manhattan across the East River, and another extending eastward from the Manhattan Bridge to the Vinegar Hill area. Why Is It Called Dumbo? Dumbo stands for "Down under Manhattan Bridge overpass" and was said to be coined in the '90s by locals to make the neighborhood sound less desirable to developers. 1- Walk the Brooklyn Bridge It's crowded but worth it; try to go at off-times. You can walk in from the Manhattan side across the Brooklyn Bridge into Dumbo! 2- Timeout Market Spread across 24,000 square feet, the curated dining destination packs multiple eateries, three bars, a fifth-floor rooftop, and art installations into one space that encompasses the best food, drinks, and culture that New York has to offer. 3- Evil Twin Brewing Their flagship brewery is in Ridgewood in Brooklyn, but their Dumbo location boasts almost 20 local beers on tap. This Episode's You'll Have to Check It Out Segment - Bargemusic Since 1977, Bargemusic has presented chamber music in an unlikely and startlingly beautiful venue—a floating barge at the foot of the Brooklyn Bridge. Both established and emerging musicians perform at Bargemusic on a small stage with the dramatic backdrop of the East River and lower Manhattan skyline. Mark Peskanov, Bargemusic Artistic Director, has performed for decades with the likes of Yo-Yo Ma, Isaac Stern, and many other world-famous artists. 4- Grimaldi's Pizzeria Multi-level Brooklyn staple serving pies for over 100 years. 5- Brooklyn Bridge Park - Views, Free Events, Near the Water If you go to brooklynbridgepark.org, they have a full calendar of free activities, including workout classes, live music, movie showings, and other fun activities. Sign up for our weekly NYC newsletter here: https://rebrand.ly/newsletter-bth Please leave us a review on Apple Podcasts!

fWotD Episode 2607: Etika Welcome to featured Wiki of the Day where we read the summary of the featured Wikipedia article every day.The featured article for Monday, 24 June 2024 is Etika.Desmond Daniel Amofah (May 12, 1990 – c. June 19, 2019), better known as Etika, was an American YouTuber and live streamer. He became known online for his enthusiastic reactions to Super Smash Bros. character trailers and Nintendo Direct presentations and for playing and reacting to various games. The son of Ghanaian politician Owuraku Amofah, he resided in Brooklyn, New York.Starting his online career in 2007, Amofah created his main YouTube channel, "EWNetwork" (Etika World Network), in 2012. His fanbase was dubbed the "JOYCONBOYZ" in reference to the Nintendo Switch controller, the Joy-Con. He garnered popularity following the release of Super Smash Bros. 4, primarily stemming from his reaction videos of news surrounding the game. His content consisted of playthroughs of various video games, reaction videos, and pre-recorded material.Between October 2018 and May 2019, Amofah demonstrated signs of mental distress, threatening on multiple occasions to take his own life, and being hospitalized several times. During this period, Amofah uploaded pornography to the EWNetwork channel, resulting in its termination; he then posted statements on social media, alluding to suicide. After apologizing, Amofah created another channel, "EtikaFRFX", which was terminated for identical reasons. He proceeded to display erratic behavior publicly, including posting cryptic messages online and streaming himself being detained by the police.Amofah was reported missing on June 20, 2019, after an apologetic video was uploaded to his "TR1Iceman" channel. After recovering his body from the East River near the Manhattan Bridge, officials confirmed Amofah's death on June 25, finding it to be a suicide by drowning. Amofah's death was met with expressions of shock and grief by fans and fellow YouTubers, with many observers commenting that the signs of Amofah's mental deterioration were either dismissed or ignored. Numerous commemorations were held to honor Amofah's career as a prominent gaming personality, including fan-made memorials and murals.This recording reflects the Wikipedia text as of 01:41 UTC on Monday, 24 June 2024.For the full current version of the article, see Etika on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm Justin Standard.

All Local Morning 5-12-24

Entre el Manhattan Bridge y el Brooklyn Bridge hay un pequeño sendero que te lleva a Pebble Beach. Es uno de esos lugares mágicos que esconde Nueva York por el que perderte sabiendo que te vas a encontrar. Aquí no hay atajos: sólo el camino que te marca el sendero y que te lleva a una de las mejores vistas de la ciudad.

Siempre me han gustado más los puentes que los muros: los primeros unen, los segundos separan. El Manhattan Bridge aparece en el horizonte de Washington Street y emerge para unirnos. Pero la gran cantidad de instagrammers que inundan esta calle han creado un muro difícil de derribar: el que separa la realidad de la mentira.

How to Lose a Guy in 10 Days, like many Rom-Coms, is set in New York City. It's got fire escapes, taxi cabs, and a dramatic Manhattan Bridge scene. In order to understand this film, we have to understand: What is it about New York that is so ripe for romance? And what parts of the city are highlighted in this movie and why?To help us answer those questions, we're joined by Eric Hynes, the Curator of Film at the Museum of the Moving Image in New York. Hosted on Acast. See acast.com/privacy for more information.

25.000 atletas se darán cita este domingo para la edición número 18 de la media maratón de Nueva York. El punto de partida de los 21 kilómetros que integran la media maratón es Prospect Park, en Brooklyn, y el recorrido incluye también Manhattan Bridge.

This is a free preview of a paid episode. To hear more, visit smokeempodcast.substack.comSarah and Nancy are together in New York, along with a pink tree and some confusing Christmas lyrics. In this season of love and war, we discuss:* Which holiday standard will make us millions?* What is “parse and brown” and what does it have to do with Christmas?* What was Nancy's Not Finest Hour and does it involve yelling at protestors on the Manhattan Bridge?* Macy's Day Parade protesters apply Super Glue directly to their hands* Your hosts decline to “pick a lane”* Susan Sarandon says a dumb thing, gets the boot* Matti Friedman educates us* Is Nancy the last person to realize her unconventional reporting from Portland might have impacted her career?* The steep decline of family dining and the rise of solo-everything* The younger the woman, the more they report “disrespect from the opposite sex”* Who's lonelier: Boomers or Gen Z?* Sarah mixes up Leonard Cohen and Leonard Bernstein* Nancy mixes up the actress from The Gilded Age with the actress from DeadwoodPlus, delightful new hot boxes, and a sultry money pitch you won't want to miss.

In hour 2, Chris talks about protestors shutting down the Manhattan Bridge, because now a Pause in fighting isnt enough. Again, give them what they want and they want MORE For more coverage on the issues that matter to you, download the WMAL app, visit WMAL.com or tune in love on WMAL-FM 105.9 from 9:00am-12:00pm Monday-Friday  To join the conversation, check us out on X @WMAL and @ChrisPlanteShow Learn more about your ad choices. Visit podcastchoices.com/adchoices

Hamas formally expresses desire to extend truce beyond initial four days. George Santos said he's become the 'Mary Magdalene of United States Congress'. Illinois high school offers classes separated by race. Black Friday online buying hits a record $9.8B in the US. Pro-Palestinian protesters block Manhattan Bridge, call for cease-fire. Merriam-Webster Word of the Year. Bizzare items donated to Goodwill. More young Americans suffering from obesity and diabetes. US government advertises for a Grizzly Bear Conflict Manager. Dogs destroy car dealership.

Police are searching for a suspect in a triple homicide at an apartment building in the Bronx, where three people, including a 5-year-old boy, were found stabbed to death early Sunday. Also, pro-Palestinian protesters demanding a cease-fire in Israel's war on Hamas in Gaza blocked traffic yesterday afternoon on the Manhattan Bridge. WNYC's Arun Venugopal was on the scene. Plus, the PATH system is trying a novel approach to deter people from slipping through some of its turnstiles. But, as WNYC's Stephen Nessen reports, it has its kinks. Finally, WNYC's Community Partnerships Desk is asking New Yorkers to share what comes to mind when thinking about a favorite meal.

Greg says the former Obama guy who harassed the halal guy should not have been arrested, but he was upset over the protestors at the Manhattan Bridge over the weekend Learn more about your ad choices. Visit megaphone.fm/adchoices

This is the All Local Afternoon for Tuesday, August 8th, 2023

A bloody crash last week on the Manhattan Bridge bike lane that involved scooters and e-bikes illustrated why cyclists are concerned for their safety. Julianne Cuba, reporter at Streetsblog, reports on the larger issues at play—including why Deliveristas are using mopeds and riding in the bike lanes—and Charles Lane, WNYC and Gothamist reporter, reports on the crash and what advocates are hoping will change.

This is the All Local afternoon update

Do you ever get totally boned by something you missed in a script?“The Art of Script Breakdowns” is a comprehensive course that focuses on efficiency, accuracy, and clarity, ensuring that you'll be able to handle any script challenges that may come your way.Click Here to Enroll Today at a special PHH Listener's Price.Step into the world of location permitting with a pro! Ready to secure a film permit for a major location, but don't know where to start? Join us as we decode the mysteries of the permitting process with NY based Location Manager John Maher. From filming in Time Square to helicopter shots on the Manhattan Bridge, find out how to turn the impossible into a reality in just a few steps.Topics: Film Permits, Location Permitting, Film Production, Location Management, Permit ApprovalsFREE RESOURCES WE MADE FOR YOU:

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Today's guest is Yesi Sol, a former New York City public school teacher and founder of The Joyful Learning Academy. Joyful Learning is a learning center for homeschoolers in the DUMBO (down underneath the Manhattan Bridge overpass) area of Brooklyn, New York that also provides after-school enrichment and tutoring services to local learners. I had the chance recently to meet Yesi and visit her beautiful learning center and am excited for her to share more about her journey toward alternative education and education entrepreneurship. Sign up for my free, weekly email newsletter on education trends at fee.org/liberated.

This week hear about some soon-to-close art shows around town. Today: Kim Conaty, curator of drawings and prints at the Whitney Museum, talks about the Hopper show at the Whitney, closing March 5, featuring some of the artist's iconic pieces and how he shaped our view of the city through his work.  →Edward Hopper's New York is on view through Sunday, March 5, at the Whitney Museum of American Art, 99 Gansevoort Street, in the meat-packing district of Manhattan.   Edward Hopper, Approaching a City, 1946. Oil on canvas, 27 1/18 x 36 in. (68.9 x 91.4 cm). The Phillips Collection, Washington, D.C.; acquired 1947. (© 2022 Heirs of Josephine N. Hopper/Licensed by Artists Rights Society (ARS), New York/Whitney Museum of American Art)   Edward Hopper, Manhattan Bridge, 1925–26. Watercolor and graphite pencil on paper. Whitney Museum of American Art, New York. (Heirs of Josephine N. Hopper/Licensed by Artists Rights Society (ARS), New York) Edward Hopper, Room in New York, 1932. Oil on canvas, 29 × 36 in. (73.7 × 91.4 cm). (Sheldon Museum of Art, University of Nebraska—Lincoln; Anna R. and Frank M. Hall Charitable Trust. © 2022 Heirs of Josephine N. Hopper/Licensed by Artists Rights Society (ARS), New York)  

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This episode is also available as a blog post: https://thecitylife.org/2023/01/11/dumbo-down-under-the-manhattan-bridge-overpass/ --- Send in a voice message: https://anchor.fm/citylifeorg/message Support this podcast: https://anchor.fm/citylifeorg/support

In this episode Gary Mansfield speaks to Fandangoe Kid (@fandangoekid)The fandangoe kid is a London based print artist who makes large-scale narrative driven pieces for the public realm. Her work seeks to smash taboos around complex subject matters such as loss, trauma release, mental health and gender constructs.The artist has created work for a wide range of purposes, for example with her ‘Staircase of Dreams' for London Design Festival 2020, working with young people to develop a collective narrative on daily activism.During the first lockdown, The Fandangoe Kid redesigned nurse's scrubs for Marie Curie x NHS London, working with a palliative care nurse via Zoom to develop the uniform, celebrating International Year of the Nurse.The Fandangoe Kid also works in film and screened her first short Into Your Light, directed with Tara Darby, at Tate Modern and on the Manhattan Bridge, looking at dancing as a tool for survival following great personal loss.For summer 2021, Annie launched The Fandangoe Whip, an ice cream van for mental health. The project has been commissioned by Tate, South London Gallery, Design Museum and many other institutions to deliver ice cream and workshops on creativity as catharsis.This summer, Annie will take her project The Fandangoe SKIP-- a touring and sustainable therapy kiosk for mental health-- across London and to New York City, following a commission by BBC World Service to document her work.Much of the artist's work is driven by navigating her own story, following the loss of many individuals in her family back in 2011, her practice being largely underpinned by the will to create a platform for open dialogue around the still taboo subject of grief.For more information on the work of Fandangoe Kid go tohttps://www.fandangoekid.com/To Support this podcast from as little as £3 per month: www.patreon/ministryofartsFor full line up of confirmed artists go to https://www.ministryofarts.orgEmail: ministryofartsorg@gmail.comSocial Media: @ministryofartsorg Hosted on Acast. See acast.com/privacy for more information.

Shooting at Dallas Airport. Brooklyn Pastor gets robbed of a million dollars worth of jewelry during sermon. LA Gem Heist, a hundred million dollars worth of gems stolen. Pedestrian in NYC struck by car and then robbed. Homeless, SRO on Manhattan Bridge gets demolished. AOC SCOTUS protest. A NYC Mounted Cop chases after perp on horseback. Interesting and funny episode.

We start with a report-back from The Indy's Amba Guerguerian. Sri Lanka, the teardrop-shaped island nation of 23 million people located just south of India. The country has been in the throes of an economic meltdown. A mass protest movement erupted in April; on July 10, thousands of demonstrators took over the presidential palace and sent the country's leader Gotabaya Rajapaksa fleeing into exile. In now-iconic images, the protesters were seen taking selfies on the President's canopied bed and splashing in his private swimming pool. Guerguerian has been following this story and is in touch with Sri Lanka protesters in the capital city of Colombo. New York City Mayor Eric Adams has made homeless sweeps one of the defining features of his administration. The sweeps often end with people's few worldly possessions being tossed in the back of a garbage truck. The City was at it again on Tuesday, dismantling a couple of encampments by the Manhattan Bridge. It also planned to oust a homeless encampment in Sara Roosevelt Park at the intersection of Forsyth and Canal. One abolitionist neighborhood resident, Isabel, has sought to aid the homeless men instead of looking away or trying to involve the police. Isabel joins us to talk about how she's chosen to respond to homelessness in her community. NY's supreme court, the New York Court of Appeals has taken a conservative turn in recent years. It's been stacked with Andrew Cuomo appointees. The chief justice of the seven-member court, Janice DiFiore, a Cuomo appointee, unexpectedly announced she would be stepping down last week. The court is divided 4-3 in favor of a conservative block of which DiFiore is a member. As she leaves, there's a chance for the court to go in a different direction. Our third guest, matthew Thomas, has looked into misconduct by another justice, Madeline Singhas, who was appointed last year by Cuomo and is urging the state legislature to consider impeaching her and opening up another seat on the Court of Appeals.

New York City Mayor Eric Adams has made homeless sweeps one of the defining features of his administration. The sweeps often end with people's few worldly possessions being tossed in the back of a garbage truck. The City was at it again on Tuesday, dismantling a couple of encampments by the Manhattan Bridge. It also planned to oust a homeless encampment in Sara Roosevelt Park at the intersection of Forsyth and Canal. One abolitionist neighborhood resident, Isabel, has sought to aid the homeless men instead of looking away or trying to involve the police. Isabel joins us to talk about how she's chosen to respond to homelessness in her community.

On #TheUpdate this Monday, a Ukrainian court has sentenced a 21-year-old Russian soldier to life in prison for killing a Ukrainian civilian. It's the first conviction for war crimes since the war began three months ago.

Brooklyn Bridge, Manhattan Bridge, Williamsburg Bridge... Les ponts de New York sont des emblèmes de la ville, au même titre que les gratte-ciels les plus célèbres. Ils sont incontournables dans les films, les séries ou encore les documentaires. La Big Apple compte dix ponts classés monuments historiques et près de 2.000 ponts et tunnels. On peut également citer le pont Verrazano. Il relit Brooklyn à Staten Island. C'est du pied de ce pont, à Staten Island que les coureurs du marathon de New York partent au petit matin. Chaque semaine, le mardi, Lionel Gendron nous adresse une lettre d'Amérique. Un podcast sous forme de courrier audio, posté depuis Manhattan, à New York. Une carte postale sonore pour nous aider à mieux comprendre cette Amérique à la fois si familière et parfois totalement déconcertante.

The All Local, 12 Pm Update, 3/9/2022 Update 

In the early 1900's, Audrey Munson was immortalized in hundreds of works of art, including statues that still decorate the Manhattan Bridge and the New York Public Library. Join us as we delve into the first supermodel's turbulent life and how the brutal murder of another woman, Julia Wilkins, threw Audrey's career into life-altering drama. Tea of the Day: Tulsi FocusSources:The Curse of Beauty by James BoneNew York Times Times Machine Articleshttps://timesmachine.nytimes.com/timesmachine/1919/03/02/issue.htmlhttps://timesmachine.nytimes.com/timesmachine/1919/02/28/118144050.html?pageNumber=1https://timesmachine.nytimes.com/timesmachine/1919/03/01/98278633.html?pageNumber=16https://timesmachine.nytimes.com/timesmachine/1919/03/14/97085521.html?pageNumber=3https://timesmachine.nytimes.com/timesmachine/1919/03/16/97086351.html?pageNumber=9https://timesmachine.nytimes.com/timesmachine/1919/03/17/102851783.pdf?pdf_redirect=true&ip=0https://timesmachine.nytimes.com/timesmachine/1919/03/18/112641746.html?pageNumber=1https://timesmachine.nytimes.com/timesmachine/1919/03/19/102852211.html?pageNumber=1https://timesmachine.nytimes.com/timesmachine/1919/03/20/102852788.html?pageNumber=1https://timesmachine.nytimes.com/timesmachine/1919/03/21/102853438.html?pageNumber=1https://timesmachine.nytimes.com/timesmachine/1919/03/22/102854384.html?pageNumber=10https://timesmachine.nytimes.com/timesmachine/1919/03/23/98280170.html?pageNumber=8https://timesmachine.nytimes.com/timesmachine/1919/03/27/102857299.html?pageNumber=13https://timesmachine.nytimes.com/timesmachine/1919/03/28/102858222.html?pageNumber=7https://timesmachine.nytimes.com/timesmachine/1919/03/30/109331575.html?pageNumber=20https://timesmachine.nytimes.com/timesmachine/1919/04/01/98281295.pdf?pdf_redirect=true&ip=0https://timesmachine.nytimes.com/timesmachine/1919/04/05/98283260.html?pageNumber=19https://timesmachine.nytimes.com/timesmachine/1919/06/08/97094227.html?pageNumber=17

The Legends Of S.H.I.E.L.D. Producer of the show Agent Lauren, Agent Michelle, and Director SP invite Consultant Chris to the show to be a full time Agents. Then they discuss the Disney+ Hawkeye penultimate episode “Ronin.” The Team debriefs you on National Hard Candy Day, super powered reindeer, the EPIC Kingpin MCU-Netflix Defenders crossover, Yelena's blip moment, the impact of the Marvel Cinematic universe and Disney+ cross-overs, the episode's triple reveals for Maya, Yelena, and Kate, the girls night with hot sauced macaroni and cheese, what is Kazi's potential relationship with Kingpin, who is playing who with Jack's arrest, SP's Hallmark Holiday movie standards checklist, Grills' and Clint's growing relationship, Hawkeye finale predictions involving Laura Bishop, and the Agents dish on their thoughts about Fanny meeting Lucky The Pizza Dog. The Agents also discuss the top Marvel news stories of the week including Tom Holland, Kevin Feige and Amy Pascal weighing in on Spider-Man's Future in the MCU, Disney+ UK gives their answer to whether Iron Man 3 is a Christmas Movie, and Bert & Bertie dish on that epic episode 4 car chase scene. Stay tuned after the credits for a few minutes of Legends Of S.H.I.E.L.D. bonus audio.   THIS TIME ON LEGENDS OF S.H.I.E.L.D.:   Hawkeye S1E5 “Ronin” Weekly Marvel News Tom Holland, Kevin Feige and Amy Pascal weigh in on Spider-Man's Future in the MCU Disney+ UK gives their answer to whether Iron Man 3 is a Christmas Movie Bert & Bertie dish on that epic episode 4 car chase scene   HAWKEYE “RONIN” [5:15  ]   Hawkeye “Ronin” premiered on Disney+ on Wednesday December 15th, 2021.   S1E5 “Ronin”   Directed By: Bert & Bertie Bert: https://www.imdb.com/name/nm2134432/?ref_=ttfc_fc_dr1 8 directing credits starting in 2006   Bertie: https://www.imdb.com/name/nm1232262/?ref_=ttfc_fc_dr2 8 directing credits starting in 2006   Writers: Jenna Noel Frazier https://www.imdb.com/name/nm4766691/?ref_=tt_cl_wr_1#writer 2 writing credits since 2018 8 x The Romanoffs 1 x Hawkeye   Writer: Jonathan Igla https://www.imdb.com/name/nm4131127/?ref_=ttfc_fc_wr1 7 writing credits starting in 2015 33 x Mad Men 1 x Masters of Sex 6 x Hawkeye   Showrunner: Jonathan Igla   Hawkeye Main Cast Jeremy Renner             ...         Clint Barton / Hawkeye 28 Weeks Later The Hurt Locker Mission: Impossible - Ghost Protocol The Bourne Legacy Mission: Impossible - Rogue Nation Arrival Mayor of Kingstown (TV Series) Hailee Steinfeld             ...         Kate Bishop Pitch Perfect 2 Pitch Perfect 3 Spider-Man: Into the Spider-Verse Charlie's Angels (2019) Arcane (TV Series) Dickinson (TV Series) Spider-Man: Into the Spider-Verse 2 (filming) Vera Farmiga             ...         Eleanor Bishop The Manchurian Candidate Source Code Bates Motel (TV Series) Godzilla: King of the Monsters Tony Dalton ...         Jack Duquesne Sense8 (TV Series) Better Call Saul (TV Series) Alaqua Cox                         ...         Maya Lopez First IMDB credit … seriously. first credit Fra Fee             ...         Kazi Cinderella (2021) Vincent D'Onofrio ...         Kingpin Aleks Paunovic             ...         Ivan Boxing Stuntman on Battlestar Galactica 5 x Battlestar Galactica (TV Series) 1 episode roles: Flash Gordon: A Modern Space Opera (TV Series) Bionic Woman (TV Series) Stargate: Atlantis (TV Series) Sanctuary (TV Series) Human Target (TV Series) Caprica (TV Series) Smallville (TV Series) - 2 episodes Once Upon a Time (TV Series) Psych (TV Series) - 3 episodes The 100 (TV Series) - 4 episodes Arrow (TV Series) - 2 episodes Riverworld (TV Movie) Mortal Kombat: Legacy (TV Series short) 6 x Continuum (TV Series) Kindergarten Cop 2 War for the Planet of the Apes 9 x Snowpiercer (TV Series) Piotr Adamczyk             ...         Tomas Popular Polish actor with 87 credits starting in 1996 Will also be in season 3 of the Apple TV+ hit For All Mankind Linda Cardellini             ...         Laura Barton Boy Meets World (TV Series) in 1998/1999 Freaks and Geeks (TV Series) in 1999/2000 Legally Blonde Scooby-Doo 2: Monsters Unleashed Brokeback Mountain 126 x ER (TV Series) 1 x Person of Interest (TV Series) 9 x Mad Men (TV Series) Gravity Falls (TV Series) 5 x Robot Chicken (TV Series short) Ava Russo                         ...         Lila Barton Only acting credit is Lila in Avengers Endgame/Hawkeye Ben Sakamoto             ...         Cooper Barton Only acting credits as Cooper in Age Of Ultron/Endgame/Hawkeye Cade Woodward             ...         Nathaniel Barton A Quiet Place Avengers: Endgame/Hawkeye Simon Callow             …          Armand III Amadeus 1 x Scarecrow and Mrs. King (TV Series) Four Weddings and a Funeral 2 x Doctor Who (TV Series)' 5 x Outlander (TV Series)' 8 x The Witcher (TV Series) Clayton English             ...         Grills 1 x Brooklyn Nine-Nine (TV Series) Carlos Navarro             ...         Enrique 1 x Prison Break (TV Series) 1 x Charlie's Angels (TV Series) 2011 9 x The Walking Dead (TV Series) Ivan Mbakop ...         Detective Caudle Nothing SP is familiar with Tinashe Kajese             ...         Dee The Suicide Squad Adetinpo Thomas ...         Wendy 8 x Black Lightning (TV Series) Robert Walker Branchaud ...         Orville (as Robert Walker-Branchaud) American Horror Story (TV Series) 4 x Stranger Things (TV Series) Deepwater Horizon 2 x The Walking Dead (TV Series) 2 x Black Lightning (TV Series) Adelle Drahos ...         Missy 2 x MacGyver (TV Series) Ashley Ames ...         Eleanor's Assistant Nothing SP is familiar with Monisha Shiva             ...         Mother Nothing SP is familiar with Rhys Bhatia ...         Child Nothing SP is familiar with Candy McLellan             ...         Samurai Nothing SP is familiar with Jolt the Golden Retriever… Lucky the Pizza Dog Zahn McClarnon ...         William Lopez 9 x Fargo 29 x Longmire 6 x Westworld 4 x Reservation Dogs Franco Castan ...         Rivera Yssa Mei Panganiban ...         Sonya Annie Hamilton ...         Ana Michael Silberblatt ...         Man with Ana Gabriella Lahoz Thomas ...         4 year Old with Ana Keon Rahzeem Mitchell ...         Uber Driver   NEWS [41:44]   UPCOMING MARVEL SLATE OF PROJECTS   Eternals premiered domestically in the theaters on November 5th, 2021. Eternals is scheduled to release on Disney+ on Wednesday January 12th, 2022   Hawkeye is scheduled to premiere on November 24th, 2021. There will be 6 episodes The first release date will have two episodes.    Spider-Man: No Way Home is premiered on December 17th, 2021.   Doctor Strange in the Multiverse of Madness (May 6, 2022)   Ms Marvel is supposed to premiere late in 2021 on Disney+ but no date has been announced. The series was confirmed on Disney+ Day 12 Nov 2021 (Summer 2022) Series synopsis: https://www.cbr.com/ms-marvel-captain-marvel-shadow-synopsis/ Ms. Marvel introduces Kamala Khan--a 16-year-old Pakistani American from Jersey City. An aspiring artist, an avid gamer and a voracious fan-fiction scribe, she is a huge fan of the Avengers—and one in particular, Captain Marvel. But Kamala has always struggled to find her place in the world—that is, until she gets super powers like the heroes she's always looked up to   Thor: Love and Thunder (July 8, 2022)   Moon Knight is supposed to premiere late in 2022 on Disney+ 2022 Confirmed During Disney+ Day 12 Nov 2021 Series Synopsis Released: https://www.cbr.com/moon-knight-marvel-synopsis-multiple-personalities/    Spider-Man Across The Spider-Verse Part One (Oct 7, 2022)   Black Panther: Wakanda Forever (Nov. 11, 2022) https://comicbook.com/marvel/amp/news/black-panther-riri-williams-ironheart-mcu-debut-dominique-thorne/   She-Hulk is supposed to premiere late in 2022 on Disney+ It was confirmed the series was coming in 2022 on Disney+ Day 12 Nov 2021.    Secret Invasion is in development for release on Disney+ No date has been announced. Series confirmed during Disney+ Day 12 Nov 21    Ironheart is in development for release on Disney+ No date has been announced. Series confirmed on Disney+ Day 12 Nov 21   Armor Wars is in development for release on Disney+ but no date has been announced.    Echo is in development for release on Disney+ Confirmed on Disney+ Day 12 Nov 21 but no release/premiere date given    Agatha: House of Harkness Announced/Confirmed on Disney+ Day 12 Nov 2021   An untitled Wakanda series is in development for release on Disney+ but no date has been announced.    X-Men ‘97 (2023) Written by Executive Producer Beau DeMayo. Announced Disney+ Day (12 Nov 2021)   The Marvels (Feb. 17, 2023)   Marvel Zombies Animated series announced on Disney+ Day 12 Nov 21 No date given   Also, we know there will be a Loki season two at some point.   What If…? Season 2 Confirmed during Disney+ Day 12 Nov 21 No premiere date indicated   Ant-Man and the Wasp: Quantumania (July 28, 2023)   Guardians of the Galaxy Vol. 3 (May 5th, 2023) Fantastic Four  (???)   I Am Groot is in development for release on Disney+ No date has been announced. Previous mentioned as a holiday special Series confirmed during Disney+ Day 12 Nov 21 as a series of shorts watching Groot grow up   Guardians Of The Galaxy Holiday Special Confirmed during Disney+ Day 12 Nov 21 Different from I Am Groot   Spider-Man: Freshman Year Announced during Disney+ Day 12 Nov 2021 No premiere date given   Untitled (February 16th, 2024)   Untitled (May 3rd, 2024)   Untitled (July 26th, 2024)   Untitled (November 8th, 2024)   List of MCU films in production without premiere dates Fantastic Four Deadpool 3 Blade Avengers-Level Team up to end the phase (not confirmed in development) Could be linked to Russo Brothers story from last week Captain America Sequel Possible X-Men   Projects that have NOT been announced yet Young Avengers    MCU – MARVEL STUDIOS   Destin Daniel Cretton on the Success of ‘Shang-Chi and the Legend of the Ten Rings' and Where He's At With the Sequel https://collider.com/shang-chi-2-comments-director-destin-daniel-cretton/ He also talks about his multi-year deal with Marvel TV and his love of Blu-ray/DVD extras.   With a highly successful theatrical run, its availability to stream on Disney+ and its release on 4K Ultra HD, Blu-Ray and DVD, Shang-Chi and the Legend of the Ten Rings has also been confirmed to be continuing its story with a sequel, at some point in the future. Through its superhero origin story of a parking valet named Shaun (Simu Liu), who was hiding out in San Francisco with his best friend Katy (Awkwafina) until his past catches up with him and he must embrace his power as Shang-Chi, director Destin Daniel Cretton and Marvel Studios introduced audiences to a new aspect of the MCU and a new group of characters that clearly has endless possibilities.   During this 1-on-1 interview with Collider, Cretton talked about how proud he is of what the entire creative team was able to do with Shang-Chi, how terrified he was on the first day of shooting, starting to work on ideas for the sequel and being at the point where everything is a possibility, how excited he is to dig deeper into this world, creating a TV series with Marvel that came from an idea he had while shooting the film, how he views success, and his love of Blu-ray/DVD extras.   Collider: When you first met with Marvel about Shang-Chi, you weren't initially thinking you'd direct it, but here we are. And even after you actually signed on as the director, the film took a journey before coming out, having been planned so far in advance, and then shooting it, and then getting delayed by COVID. What's it like to have it out in the world, to see how people have reacted, to feel the love for it, and to even see people dress up like some of the characters?   DESTIN DANIEL CRETTON: It's a huge relief. There were so many landmines with this movie, early on. Even within the Asian community, there were so many people who were like, “Why are you doing this movie?” We really saw the potential to create something, a character, that would be not only beneficial to the Asian American community, but something that I think I could be proud of and would be a character that I wish I had when I was a kid growing up. I do feel very proud of our team for being sensitive and being open and listening to the voices of people from different cultures on our production to create something that I think anybody can relate to and that people outside of our culture can learn some things, but also can see these characters as people that they can identify with. So, I feel very, very proud of the team for making this movie.   What do you remember about your first day of shooting?   CRETTON: My first day of shooting, I was terrified. When I stepped onto the set, it was like I was stepping into a city of people, and there was all of this giant equipment and cranes and lights, and things that I just was not used to seeing so much of everything. And on top of that, I was directing Tony Leung, on day one, so I was really scared. But what I found, over the course of day one, was how great of a team that I really had, how supportive everyone was, and how incredible Tony Leung is, not only as a performer, but just as a person and now a friend. He's such a gracious man. All of our performers on this movie were the same. I'm always really scared when I start a project, but as we start going and as the creative juices start flowing and the team really comes together, it really is one of the most fulfilling experiences that I have in life.   When you do tackle something this big and you do so successfully, does it make you feel any different as a filmmaker? Are you more confident now than you were before at all?   CRETTON: Confidence is definitely not a straight line. There actually was a weird moment when, in the middle of this production, when I was making hundreds of decisions a day and things were moving so quickly and I was dealing with all of these department heads, that I turned to my wife at night and said, “It's really weird to say this, but I feel really comfortable right now, in the midst of all of this, and it's really fun.” I'm not sure if I'd call that confidence, but it was a surprise to me that I was having such a good time in the midst of the chaos, even though there were tons of giant problems to solve. I credit all of that to being surrounded by a group of really good people.   How long have you known that Disney wanted a sequel for this? Was it something that was always talked about as a possibility or did it become definite, more recently?   CRETTON: It's always a hopeful thing, I suppose, when you're making the movie. While we were shooting, we were throwing around joke ideas of what a sequel could be. But with Marvel, it really is gauging to see how people react to the movie and also gauging what the experience of making the movie was. We had such a good time on it that it would've been a shame not to have a sequel, so I'm very excited to.   Where are you at in the writing process? Have you done any real concrete writing on it or is it just ideas that you're throwing around?   CRETTON: I've done [zero]. It's a fun place to be right now. Everything is a possibility. We're just tossing very loose ideas around and we'll start to hone in on something, hopefully.   Were there ideas that you started having when you did the first film that you knew you wanted to have in the sequel?   CRETTON: There are a lot of ideas that we had in the opener, and some of those ideas are planted as questions, by the end of our movie. There are things that we potentially want to explore in the future. Everything changes so much, so it's hard to say how many of those ideas will actually make it to the finish line, but there are many of them there.   Did you ever have a point where, after the challenges you went through making the film, you thought maybe you should let someone else do the sequel, or did you always know that you wanted to return to keep telling the story?   CRETTON: I just really love this group of people, to be honest. I love these characters and we have simply introduced them to the world in our movie. So, to be able to start from there and explore them even more is very exciting to me.   It was also announced that you have this multi-year deal with Marvel TV and that you'll be doing other projects. Did you pitch them on any ideas, or did they come to you? How does that work?   CRETTON: It's a little of both? Kevin [Feige] and the team there definitely have a clear idea of where they're taking the MCU, but they're also open to pitches and things that we're passionate about. One of the shows that we're creating was initially an idea that I was bouncing around with our producer while we were shooting Shang-Chi and it just happened to fit in with the trajectory of where they're going with the franchise. So, it's a little back and forth.   When you work with a company like Marvel, that is planning four or five years ahead, is it weird to be thinking about stuff that might not happen until that far down the road?   CRETTON: It's very weird. We're talking about release dates and things, and I'm just like, “Am I gonna be alive, at that point?” It's very strange.   What is it like to get to be in on the secrets, or at least some of them? Does it feel like you're a part of this special club with the cool kids, when it comes to the MCU?   CRETTON: The thing that is very cool is that, when you're on the inside, and I hope this doesn't shatter anybody's fantasy, but you realize how normal everybody is. It doesn't feel like you're with the cool kids. It feels like you're just with a bunch of nerds like yourself. It's just a bunch of passionate people trying to tell stories and solve problems. It's very fun, but it doesn't feel exclusive, on the inside. It just feels creative, like anything else.   When you wrapped filming on Shang-Chi, at that moment, what were your hopes for the film? We've seen what's happened with it and you know there will be a sequel now, but you couldn't have fully known that at the time. So, what were you think success for the film would look like?   CRETTON: I have a very low tolerance for anxiety and hype. And so, when a movie is coming out, it's probably the worst time for me. I've had to really redefine what my version of success is. I define my success by the time that we finish the movie completely. When all of the creative is done, if I feel like I have been fulfilled by that process, personally, and if I feel like our team has worked together really well and done everything we possibly could to make the best version of this story possible, then I feel like we've succeeded. I feel like we really did do that on this movie, and everything else has been a very pleasant surprise.   When you put out a Blu-ray and you include fun things, like a gag reel and deleted scenes, and obviously fans love that kind of stuff, is there anything that you personally most enjoy? Is there a moment on the gag reel or one of the scenes that you're most excited about for fans of the movie?   CRETTON: I love extra features. When DVDs started having extra features, back when DVDs were first coming out, I love being able to see a bit of the behind the scenes process, to get a glimpse of the actors when they're not in performance, and to see some of that rapport between characters. I watched the deleted scenes and the gag reel and it just warms my heart because you get to see Awkwafina when she's not playing the role. You get to see her and Simu [Liu] laughing together, which is really what we experienced, every day. You get to see Michelle Yeoh being super silly and weird, and most people do not know that is a big part of her personality. And the deleted scenes are cool because they show you a glimpse into the process of the evolution of the story. It'll give you a glimpse into the things that we tried, but then went a different direction.   ‘Shang-Chi' Team on Their Emotional Journey and Continuing the Story https://www.hollywoodreporter.com/movies/movie-features/shang-chi-and-the-legend-of-the-ten-rings-simu-liu-kevin-feige-journey-sequel-1235060744/ Filmmaker Destin Daniel Cretton, star Simu Liu and Marvel boss Kevin Feige reflect on some of their most challenging — and exhilarating — moments from the groundbreaking film and weigh in on the possibility of awards season recognition.   Simu Liu is normally a gregarious presence on set. So it stood out when the actor fell silent in between takes on the Australian set of Shang-Chi and the Legend of the Ten Rings.   Liu was about to shoot one of his most challenging moments, in which his titular character confesses to his best friend, Katy (Awkwafina), that he killed a man at the behest of his father, and now was prepared to end his father's life.   “We knew a lot of the movie hinged on that moment,” says Liu, who marked the day on his calendar and workshopped it countless times with writer-director Destin Daniel Cretton.   When the day came, Cretton got the wide shot he needed and then asked Liu to go off by himself. The filmmaker cleared the crew from a corner of the set depicting the mythical realm of Ta Lo and left his leading man to be alone with his thoughts.   “Nobody bothered me during that time. Everything was very quiet,” says Liu. “When the time came, one of the ADs came up and quietly said, ‘Hey, we are ready for you.' I remember putting my head down. Not making eye contact with anyone.”   Whatever Liu did during that time, worked, notes Cretton.   “Whatever he was thinking about, using that silence to prep for it, the performance shift between the wide shot and the closeups were pretty dramatic,” says Cretton, who gave Liu a big hug afterward. “A scene like that, it's always such a gratifying thing to experience as a director, particularly when you are shooting on a huge action movie like this.”   Three months after Shang-Chi opened in theaters, it stands as the highest-grossing domestic release of the year ($224.5 million in North America) and has both a sequel and a Disney+ series in development from Cretton. The film, Marvel's first to star an Asian lead, turned a little-known comic book character into a cultural icon and turned Liu into a star. Up next, it hopes to emerge as an awards contender.   Films inspired by comic books have historically had an uphill battle at the Academy Awards, dating back to Christopher Nolan's The Dark Knight (2008) being snubbed for a best picture nomination. But three years ago, Ryan Coogler's Black Panther broke ground as the first superhero movie to earn a best picture nomination and went on to win in three categories.   Looking back at Black Panther‘s accolades, Marvel Studios boss Kevin Feige notes that Oscar wins for composer Ludwig Göransson, costume designer Ruth E. Carter and production designers Hannah Beachler and Jay Hart meant a lot to the Marvel team. Yet he acknowledges such Academy recognition can be a challenge.   “I think we are always at a deficit because of the Marvel logo and because of a genre bias that certainly exists. I just loved that for a shining moment there with Black Panther that was put aside and the work was recognized for the achievement that it was,” says Feige, who would like to see Shang-Chi recognized as well, pointing to the work of team members such as screenwriter Dave Callaham, production designer Sue Chan, composer Joel P. West, costume designer Kym Barrett and cinematographer William Pope, among others.   “There are a lot of comic fans that didn't know who Shang-Chi was. And yet the work that Destin did and Dave did and Sue did and Joel did, created something new that connected with audiences,” says Feige. “We recognized it, the audience recognized it, and I sure would love the hard work of all of these people who are telling their story to get recognized.”   Before Marvel hired Cretton in 2019, the director acknowledges he struggled to imagine the kind of pitch that might win him the job. Since nothing was clicking with him, he instead decided to pitch the type of story he wished he'd seen as a kid.   “I didn't think it necessarily was going to be something that Marvel wanted,” says Cretton. “It was a very intimate pitch about a relationship between a father and a son and a family learning how to come together again with their pain.”   As it turns out, Marvel very much was interested in that kind of story. Cretton also longed to see Asian American people hanging out, doing ordinary things in a film. He brought in imagery from Good Will Hunting because he couldn't find a representative scene that featured Asian Americans in film.   “It said, ‘Like this! But with Asian people,'” Feige recalls of Cretton's presentation use of Good Will Hunting.   Shang-Chi ultimately included two bookend scenes with Shang, Katy and two friends at a restaurant, fulfilling Cretton's dream.   Liu, meanwhile, was best known as the star of the Canadian sitcom Kim's Convenience. Much has been made about a December 2018 tweet in which the actor put it into the universe that he wanted to play Shang-Chi, but he never really believed he'd get it.   “I would literally go through IMDb and see all these other actors who were taller, who were more handsome, who I thought were better martial artists,” Liu recalls. “I was just like, ‘There's no way. Why would it be me?'”   Liu sent off a tape anyway, thinking nothing would come of it. Then he met with Cretton, who was interested in casting an actor to play a human being rather than a superhero.   “At no point did he bring up the martial arts. At no point did he bring up the need to be anything other than human,” recalls Liu. “He was looking for somebody who really exemplified the uncomfortable, insecure, anxiety of what it means to be a human being.”   Suddenly, Liu had hope.   “I came out of the casting office literally feeling like I was going to throw up because I never thought that I had a chance before that moment,” recalls Liu. “After meeting him, I was, ‘Oh, I think I nailed this thing.'”   As part of their process, Liu and Cretton stripped away the trappings and mannerisms that might come with being a superhero.   “I remember specifically going through scenes with him, really feeling this sense of looseness and wanting to play the most natural version of every scene, not doing the superhero version of it,” says Liu. “Not puffing your chest out.”   When it came to the superhero suits worn by Liu and his onscreen sister, Xialing (Meng'er Zhang), Cretton saw them as a tangible way to connect his actors to the film's family theme, as their late on-screen mother, Ying Li (Fala Chen), gifted the suits to them.   “There's a piece of her literally touching their body,” says Cretton. “That in itself gave so much to the performances of the actors, to remember that even though they are in a battle and they are having these larger-than-life Marvel moments, all of this is still watching these characters deal with the loss of this very important person in their lives.”   Screen legend Tony Leung boarded to play Shang-Chi's father, Wenwu, and proved to be a grounding force for Liu, who was learning how to be a movie star on the fly.   “I was so desperate and eager to prove myself, showing people I could do things,” says Liu. “There is such a stillness and a comfort and ease with the way Tony conducts himself. I felt like that was the perfect complement to all of the anxiety that I was bringing in.”   Liu counts Shang-Chi's final scene with Wenwu as his favorite moment, even over the much-praised bus fight early in the film. As Wenwu's final act, he sacrifices himself for his son. Part of the sequence includes flashbacks to Shang as a boy and then a baby.   “We literally cut to that baby three times over the course of the movie, and every time it's an emotional hit in a wonderful way,” says Feige, who says the team debated how much of the storytelling should be told in flashbacks.   Cretton notes the flashbacks weren't initially part of the plan in that scene at all.   “We weren't totally getting into Wenwu's head like we wanted to,” recalls Cretton. “The idea of those flashbacks came late in the game. When we put it in and showed it to Kevin and the team and did a test with it — finally people were feeling the emotions that we wanted them to feel.”    During awards season two years ago, Parasite Oscar winner Bong Joon Ho famously encouraged audiences to get over a fear of subtitles, referring to the new worlds international films could offer.   In a new move for a big-budget American movie, Shang-Chi includes subtitled sections in Mandarin, including an eight-minute opening. When it came time to test screen the film, the team was curious how audiences would react to the opening, in particular.   “Frankly, we were always ready to see if the audience would reject it in our test screenings and to see, ‘OK, are we going to have to pull a ripcord here in any way?' Which was not our first instinct,” says Feige. “Destin very much believed in the fact that audiences would go with it, and sure enough they did. It wasn't even a question. It wasn't even a concern. On the contrary, I think it added to the authenticity in the way the movie started.”   On Dec. 6, Disney announced that Cretton would return to direct a Shang-Chi sequel and develop a related series for Disney+. The post-credits scene for the film teases more to come from the Ten Rings, the organization now run by Xialing.   When presented with the notion that Xialing's Ten Rings sounds like an intriguing Disney+ show, Feige responds with a laugh, “I can't wait for people to discover what it really is that we are working on for Disney+ with Destin.”   Though it's never a foregone conclusion a filmmaker will return to Marvel, Cretton had a sense while making Shang-Chi there was more work for him to do.   Says the filmmaker: “While we were on set, we were already throwing ideas around of what other things we could do in another movie.”   Liu, who has a long journey ahead of him as Shang-Chi, was not surprised his filmmaker is back for more.   “It confirms what I already believed, which was that he was very emotionally invested in this character and this world,” says Liu, who hopes many people from the team will return for the sequel. “Also, I was very relieved, because we need him.”   For Cretton, who came up via the festival circuit with Short Term 12 before graduating to The Glass Castle and Just Mercy, Shang-Chi was particularly fulfilling, as he got to work with artists with similar backgrounds to him. That includes production designer Chan, whom he notes is the daughter of parents who owned a Chinese restaurant on the East Coast.   “It was such a poignant and moving experience for the first time in my career to be surrounded by people who have a similar upbringing as me,” says Cretton, who is half Japanese, half white and grew up in Hawaii. “To share stories and share experiences with other artists like that, it was really emotional for me and very fulfilling.”   Tom Holland Reportedly Signed for Fourth Spider-Man Film, Already In Development https://www.cbr.com/report-tom-holland-fourth-spider-man-film-in-development/ No Way Home star Tom Holland might already preparing for another Spider-Man movie.   According to Puck, multiple sources have reported that Marvel has quietly started developing a fourth movie with Holland in a leading role. It was also reported that Spider-Man: No Way Home, Holland's third Spider-Man movie and fifth appearance overall in the Marvel Cinematic Universe, is not only on track to open to $150 million when it premieres in theaters, but might be the first film to gross $1 billion since the coronavirus (COVID-19) pandemic began.   In a previous interview, Holland was asked about reports that he would reprise his role as Peter Parker/Spider-Man in another upcoming film from Marvel Studios independent of Sony Entertainment. The two companies announced in 2019 that they would be extending their partnership, which in turn allows Spider-Man to appear in Marvel Studios' films. "Yeah, that's not accurate at all," Holland said. "The new deal that was struck up was this understanding between the two studios that should Marvel want me to appear in one of their movies, then it would be an open conversation."   He continued, "I don't think it's as black and white as 'I have a three-picture deal with Marvel and a three-picture deal with Sony.' It's just this open conversation and open dialogue between Mr. Iger and Mr. Rothman."   Holland has also previously spoken about his future in the MCU, hinting that his time as Spider-Man might be coming to a close. "Maybe it is time for me to move on. Maybe what's best for Spider-Man is that they do a Miles Morales film," he said at the time. "I have to take Peter Parker into account as well, because he is an important part of my life ... If I'm playing Spider-Man after I'm 30, I've done something wrong."   However, the actor later clarified those comments, saying that they had been misinterpreted. "I don't know what the future of Spider-Man looks like. I don't know whether I'm going to be a part of it," Holland said. "Spider-Man will always live on in me, and I know that [producer Amy Pascal] and the studio are keen to figure out what the next chapter of Spider-Man looks like."   In terms of the next chapter of Spider-Man, No Way Home producer Amy Pascal has hinted at the Web-Slinger's future, stating that the character will likely appear in future projects for both Sony and Marvel. When asked about the potential to see Holland in a film not connected to the MCU, Pascal said, "We all want to keep making movies together. How's that for an answer?"   For now, Holland is starring as Peter Parker/Spider-Man once again in Spider-Man: No Way Home, which swings into theaters on Dec. 17.   The Hollywood Reporter HEAT VISION E-Mail (Letita Wright set to rejoin Black Panther 2 Filming In January) https://view.email.hollywoodreporter.com/?qs=addba4fe3d9a1a019e86f69923229c5600bf8cb950f6a494e40a22c37d6e3a08ab2530e218c90e2b4a55510675e693b449dc0f6045cbc3bf75cc53d7e79a4cabfb18dcbc1a5068e5 https://www.cbr.com/black-panther-2-letitia-wright-not-leaving-mcu/ And while we're here ... Letitia Wright and Black Panther 2 started trending Thursday with some rumors coming in from the lowlands.   We did some digging and sources close to the production say Panther 2 is indeed on track to resume production in late January in Atlanta. With Wright.    Marvel and Sony Are Planning a Crossover Movie for Tom Holland's Spider-Man https://comicbook.com/marvel/news/spider-man-marvel-sony-future-tom-holland-another-mcu-movie/ Tom Holland has become one of the biggest actors in Hollywood, and his work as Spider-Man helped solidify his talent as an A-list star. Right now, the actor is living large in light of Spider-Man: No Way Home's upcoming premiere. Many have worried the film would be Holland's last as the Marvel superhero, but reports have suggested there is more to come. And when ComicBook.com's Brandon Davis got to speak with Sony Pictures chair Tom Rothman recently, we learned the company is working with Marvel Studios on another crossover pitch.    "It's reciprocal. So we lend one, and they lend one, and that's how Benedict [Cumberbatch] is in this movie," Rothman explained. "So we have one more 'lend back' that's committed. But the thing that I can say, and this actually the accurate scoop on this, which is that the two companies have a terrific working relationship. I think it's a mutual hope that that would continue. But there really isn't anything definitive at this moment, because the truth of the matter is, we gotta ride [Spider-Man: No Way Home] and see what happens."   At the beginning of the month, Spider-Man producer Amy Pascal mentioned in an interview that Marvel and Sony were already working together on a third trilogy with Holland in the lead role. Insider reports then indicated that nothing official had been reached in regards to this new trilogy, but that Sony and Marvel remained close in their working relationship and hope to keep that going into the future.    Rothman's comments on Monday night back up those reports. He specifically stated that nothing official had been decided upon just yet, mainly because the two companies have been focusing their efforts on releasing No Way Home. There may not be news on a new Spider-Man movie for quite a while. What we do know, however, is that Holland will be returning to the MCU in another upcoming MCU title.    Perhaps he reprises his role in next year's Doctor Strange in the Multiverse of Madness, continuing his story with Cumberbatch's sorcerer supreme. It's also worth nothing that the Doctor Strange sequel's director is Sam Raimi, who directed the first three live-action Spider-Man films for Sony.   Scarlett Johansson on What Inspired Her to Produce for Marvel: "Nothing's Ever off the Table" https://collider.com/scarlett-johansson-new-marvel-project-producer/ Johansson also highlights lessons learned that'll influence her own work as a producer.   Perhaps anything can happen in the Marvel Cinematic Universe, but it feels rather safe to say that Scarlett Johansson's run as Black Widow has come to an end. But, that doesn't mean her contribution to the franchise has to stop there.   Johansson is heavily leaning into the producing side of things now. Not only is she credited as a producer on the upcoming Tower of Terror movie over at Disney and the A24 sci-fi drama Bride, but she's also continuing to work on the MCU in a producorial capacity. Just last month, Kevin Feige revealed that Johansson is producing a “non-Black Widow-related top-secret Marvel Studio project.”   With the December 22nd release of Sing 2 right around the corner, I got the chance to catch up with Johansson and opted to ask her about her producing ambitions. Here's what she said when asked what's motivating her to contribute to more films in that position:   “I have worked for 30 years, which is insane when I say it out loud, but I think I just understand the efficiency of how productions run and how you thin the fat on a production and make things well oiled. I've learned that the fish rots from the head, which is very very true I think in any creative space, but particularly a production involves many hundreds of people and so yeah, just working with people that want to be there and all want to creatively contribute to the same kind of idea and building that kind of creative family I think is something I'm really excited about as I produce more and more things for other people.” Johansson also took a moment to address producing for Marvel specifically:   “As far as Marvel goes, it's like working with family there. Marvel has some of the best IP ever and you can really dream big there and nothing's ever off the table and you kind of throw all these blue sky ideas around and see what sticks. It's like a creative playground that's just like a dream. Again, I have that shorthand with my fellow creatives there that comes from being in the world for 10 years with those guys.”   Disney and Sony Are 'Actively' Developing Spider-Man's MCU Future https://www.cbr.com/disney-sony-developing-mcu-spider-man-future/ https://www.nytimes.com/2021/12/17/movies/kevin-feige-amy-pascal-spider-man-no-way-home.html Kevin Feige and Amy Pascal confirm Marvel and Sony are "actively" developing Spider-Man's post-No Way Home story for the Marvel Cinematic Universe.   With Spider-Man: No Way Home now in theaters, the film's producers are "actively" developing Spidey's future in the Marvel Cinematic Universe.   In the lead-up to No Way Home's release, the million dollar question was if the film would be actor Tom Holland's final outing as Peter Parker/Spider-Man in the MCU. However, late last month, Spider-Man franchise producer Amy Pascal revealed that not only was a fourth MCU Spider-Man film with Holland in the works, but that it would be intended as the start of an all-new trilogy. That said, subsequent reports threw cold water on the idea of such a trilogy currently being in development.   Pascal was asked to clarify her comments during a recent interview with The New York Times. "We're producers, so we always believe everything will work out," she said. "I love working with [Marvel Studios President/Marvel Entertainment Chief Creative Officer Kevin Feige]. We have a great partnership, along with Tom Rothman, who runs Sony and has been instrumental, a great leader with great ideas. I hope it lasts forever."   Feige himself chimed in, adding, "Amy and I and Disney and Sony are talking about -- yes, we're actively beginning to develop where the story heads next, which I only say outright because I don't want fans to go through any separation trauma like what happened after Far From Home. That will not be occurring this time."   The "separation trauma" Feige refers to is the incident that saw The Walt Disney Company (owner of Marvel Studios) and Sony (owner of the Spider-Man movie rights) briefly end their partnership following the release of Spider-Man: Far From Home -- the second MCU Spider-Man film -- in 2019, leaving the future of the franchise uncertain. Fences were ultimately mended. Hence, the existence of No Way Home.   Several years ago, Disney and Marvel Studios struck a deal with Sony -- which has owned the license to Spider-Man since 1999 -- to bring the fan-favorite character into the MCU. Holland's version of Spidey made his MCU debut in 2016's Captain America: Civil War, subsequently spinning out into the 2017 solo film Spider-Man: Homecoming. Holland later reprised the role in 2018's Avengers: Infinity War and 2019's Avengers: Endgame before getting a second solo outing in the form of Far From Home. Thanks to Disney and Sony mending their working relationship, Holland was able to round out his solo trilogy with No Way Home. While a fourth Spider-Man film set in the MCU has yet to be officially announced, it definitively looks as though all parties concerned are working towards making such a film a reality.   Spider-Man: No Way Home is in theaters now.   Is Iron Man 3 a Christmas Movie? Disney+ Gives Surprising Answer https://thedirect.com/article/iron-man-3-christmas-movie-disney-plus The holiday season is in full swing before 2021 comes to an end, particularly for Marvel Cinematic Universe fans who are taking in the final episodes of Hawkeye on Disney+. While the internet-breaking reveals such as one for a long-rumored Netflix villain entering the fray are most present, the series also fully embraces the holiday spirit with Clint Barton and Kate Bishop working to complete their mission in time to get Clint home for Christmas.   This series comes as the second sub-franchise within the greater MCU to take on the Christmas season, which first officially came in through 2013's Iron Man 3. While the decision to set a summer blockbuster in the month of December is still a mystery more than eight years after the fact, director Shane Black used his signature style of storytelling in a unique way with Marvel Studios' leading hero.   Although this movie took place in and around Christmastime with Black's influence, one big question still lingers - is Iron Man 3 officially regarded as a Christmas movie? That answer may be surprising if one version of Disney+ is to be believed.   Is Iron Man 3 Christmas Movie?   The United Kingdom's Disney+ server curated a "Merry Christmas" collection in celebration of the holiday season featuring over 40 titles across the streaming service.   In the animated section, movies like Tim Burton's The Nightmare Before Christmas and multiple Mickey Mouse specials make the cut, as do the Frozen films/spinoffs and Beauty and the Beast: The Enchanted Christmas. Live-action movies in the collection include all four Home Alone titles, the first two Die Hard films, and even Edward Scissorhands.   The MCU finds its place in the list thanks to 2021's Hawkeye, whose final Christmastime episode will debut on December 22, 2021. However, 2013's Iron Man 3 didn't end up on the list as an official Disney+ Christmas movie.   Here are some of the most popular movies & shows in the collection:   Originals Home Sweet Home Alone LEGO Star Wars Holiday Special Hawkeye Once Upon a Snowman Godmother High School Musical The Musical The Holiday Special Noelle Arendale Castle Yule Log   Live-Action Christmas Movies and Specials Home Alone The Muppets Christmas Carol Die Hard Die Hard 2 The Santa Clause A Muppets Christmas Letters To Santa Home Alone 2 Home Alone 3 Home Alone 4 Santa Clause 2 Santa Clause 3: The Escape Clause The Nutcracker And The Four Realms   Animated Christmas Movies and Specials The Nightmare Before Christmas Mickey's Christmas Carol A Christmas Carol Beauty And The Beast: The Enchanted Christmas Mickey's Once Upon A Time Mickey's Upon Twice A Christmas Winnie The Pooh: A Very Merry Pooh Year   Christmas Shorts Olaf's Frozen Adventure Ice Age: A Mammoth Christmas Pluto's Christmas Tree   Winter Favorites Olaf Presents Frozen Ice Age Togo Frozen II Narnia: The Lion The Witch and The Wardrobe Edward Scissorhands Frozen Fever Cool Runnings LEGO Frozen Northern Lights   Home Alone Home Alone Home Alone 2 Home Alone 3 Home Alone 4 Home Alone The Holiday Heist Home Sweet Home Alone   Iron Man 3 - To Christmas or Not to Christmas?   The MCU's first Phase 2 movie fully takes place around or at Christmas from start to finish as fans see Tony Stark deal with his post-The Avengers demons. From buying Pepper Potts arguably the biggest stuffed bunny in history as a present to playing a funky version of "Jingle Bells" while summoning his Mark XLII suit for the first time, Iron Man 3 makes no effort to tone down the holiday spirit.   This listing comes as somewhat of a surprise, especially considering how many amongst the fan base view Iron Man 3 as the MCU's first true Christmas movie. The ties back to the holidays are at least as noticeable and present as those from other entries on the list like Die Hard or Home Alone, bringing into question what actually does qualify a movie as a Christmas movie.   Although Disney+ made its own distinction, Marvel Studios president Kevin Feige firmly believes Iron Man 3 is a Christmas movie, and the film is described as such on Marvel's official website as of two years ago. There are certainly arguments for both sides, but it appears that the argument for it being in this category has some big-name support.   Whether Iron Man 3 is officially a part of this catalog or not, it likely won't deter many fans from taking in the MCU's seventh movie in their holiday must-watch list. Filled with trees, wreaths, presents, and holiday songs throughout, there's no mistaking the influence that Christmas has on this outing, which should mean it will continue to be an unofficial go-to movie at this time of year.   Tom Holland Talks His Future as Spider-Man, Reveals He Wants to 'Focus on Starting a Family' Next https://people.com/movies/tom-holland-talks-plans-after-spider-man-family/ Tom Holland opens up about his experience as Spider-Man and his plans for the future   Tom Holland is looking forward to the future.   The Spider-Man: No Way Home actor, 25, opens up about what the superhero franchise means to him — and what he hopes to do next — in the new issue of PEOPLE.   No Way Home is the third (and perhaps final) Spider-Man movie Holland stars in, and he finds that bittersweet.   "I've loved every minute of it. I've been so grateful to Marvel and Sony for giving us the opportunity and keeping us on and allowing our characters to progress. It's been amazing," Holland says. "And that's why for me, I don't want to say goodbye to Spider-Man — but I feel like we might be ready to say goodbye to Spider-Man."   Holland has held the role of Peter Parker and his web-slinging alter-ego since he was cast for Spider-Man: Homecoming in 2015. Now, he says, may be the time to pass the torch.   "I don't want to be responsible for holding back the next young person that comes in who deserves it just as much so," Holland says.   And after he, Andrew Garfield and Tobey Maguire have all played the superhero, Holland thinks it's time for a change.   "I would love to see a future of Spider-Man that's more diverse — maybe you have a Spider-Gwen or a Spider-Woman," he adds. "We've had three Spider-Mans in a row; we've all been the same. It'd be nice to see something different."   While his future in the Marvel Cinematic Universe seems up in the air, Holland — who is dating his costar Zendaya — has a burgeoning career. His action-adventure film Uncharted, with Mark Wahlberg, is due in 2022, and he'll soon star in a Fred Astaire biopic.   But the London native also hopes to turn his attention to his personal life.   "I've spent the last six years being so focused on my career," Holland says. "I want to take a break and focus on starting a family and figuring out what I want to do outside of this world."   Indeed, the star says he looks forward to becoming a father one day — which is why Holland says if he weren't acting, he'd be a schoolteacher.   "I love kids. I can't wait to be a dad — I can wait and I will, but I can't wait!" he says. "If I'm at a wedding or a party, I'm always at the kids' table hanging out. My dad's been such a great role model for me. I think I've got that from him. So I think I'd be a primary school teacher or something like that."   Spider-Man: No Way Home opens in theaters Friday.   CHADWICK BOSEMAN: HE'D WANT T'CHALLA ROLE RECAST ...According to Chadwick's Bro https://www.tmz.com/2021/12/14/chadwick-boseman-tchalla-recast-black-panther-brother/ 'Black Panther' fans have spoken, saying Chadwick Boseman's beloved character should be recast going forward, and believe it or not ... the man's own brother concurs.   CB's bro, Derrick Boseman, tells TMZ ... yes, he does think T'Challa needs to live on in the 'Black Panther' franchise, and if that means tapping another actor to portray the king of Wakanda -- the role Chadwick made famous and legendary, then so be it.   Here's the thing ... Derrick tells us he believes his sibling would've wanted with this too -- explaining Chadwick thought T'Challa was bigger than just himself as one guy. Frankly, Derrick says Chadwick knew the power of the character, and the positive influence it carries.   Derrick says there's so much power in seeing a Black king -- especially in a superhero capacity, like in the Marvel flick -- which has a HUGE impact on African-American youth. DB tells us with Marvel killing off that character so quickly in the wake of Chadwick's death, they're kinda depriving black kids of a role model.   As you know, there's a major push among fans to #RecastTChalla amid all the speculated drama with Letitia Wright.   Derrick says there aren't a whole lot of positive influences for young black children these days -- he thinks hip-hop glorifies certain social ills, and Marvel has a chance to counteract that by bringing back T'Challa -- who he sees as a symbol of Black people's potential.   The guy speaks from experience, telling us his own nephew has told the family he wants to be a scientist and cites 'Black Panther' as his inspiration.   He does note ... Chadwick never explicitly expressed his wishes, before his death, about what should happen with the character -- but Derrick's sure his bro would agree T'Challa should live on in the MCU.   ‘Doctor Strange' Sequel Undergoing “Significant” Reshoots https://www.hollywoodreporter.com/movies/movie-news/doctor-strange-multiverse-madness-reshoots-1235045328/   This doctor is on call till Christmas as the actors and crew shoot six days a week until the end of the year.   In what sources describe as a “significant” production, the new shoot, taking place in Los Angeles, comprises both “additional photography” and “reshoots.”   How significant? Insiders say that Cumberbatch and company are undertaking six weeks of shooting, if not more, working six days a week. Sam Raimi remains as helmer, and Loki head writer Michael Waldron is still on board writing the new material. It is unclear what actors in addition to Cumberbatch are on the call sheet. The crew involved is familiar with the Marvel method and worked on recent pickups for the upcoming Spider-Man: No Way Home and additional shooting for next year's Oscar Isaac series Moon Knight.   One source downplayed the severity of the shoot: “Even while in the middle of production, Marvel is scheduling you for more shooting,” this person says, adding that the size and complexity of Marvel movies often necessitates additional photography.   “We've had bigger reshoots on other MCU movies,” another insider says.   However, other sources raised their eyebrows at the six-week time frame. “They're here until the end of the year. That's like a whole other movie,” says one.   Several factors appear to be driving the return to production. One insider says about two weeks are dedicated to principal photography that wasn't completed during the initial, U.K.-based shoot due to what is described as actor availability issues. The insider also dismissed concerns that the reshoots were related to retooling the story.   Another reason for the shoot concerns compensating for COVID-related production slowdowns that affected the U.K. production. It was those slowdowns that reared their head Oct. 18, when Marvel and Disney unexpectedly announced the pushing-back of Multiverse of Madness from March 25, 2022, to May 6, 2022. Thor: Love and Thunder, Black Panther: Wakanda Forever, The Marvels and Ant-Man and the Wasp: Quantumania hopscotched backward into new dates as well.   First announced at Comic-Con in 2019, Multiverse of Madness is an ambitious project for Marvel, with one aspect dealing with alternate versions of fan-favorite superheroes, much in the way that recent Disney+ series What if …? has reimagined Marvel mainstays.   The movie has had its fair share of challenges. Doctor Strange director Scott Derrickson had co-written a script and was due to direct when creative differences led to a parting of ways in January 2020. Raimi and Waldron were then brought on to, as one source says, create a whole new movie, on an accelerated timetable to boot.   Multiverse of Madness started production in the U.K. in November 2020 but paused in January 2021 due to the worsening pandemic. It then restarted — and ostensibly wrapped — in the spring.   Still, despite story concerns apparently playing a minimal part in the new shoot, it is evident that working in the multiverse requires Reed Richards-level thinking. Half the time, a Marvel movie has to tie to past movies while setting up future movies, and increasingly, TV series.   Despite the major shoot underway, the mood with cast and crew is not downbeat. “There is a pervasive enthusiasm,” one source described.   On Thursday, Cumberbatch spoke about the reshoots on Jimmy Kimmel Live!, where he was asked if he knew what the reshoots were going to be.   “Like everything with Marvel, it comes in fresh, pretty much, most mornings,” Cumberbatch said with a laugh when questioned. “It's really exciting, and the film is shaping up to be something special.”   DISNEY+   ‘Hawkeye' Directors Break Down That Dazzling Car Chase, and the Debut of [SPOILER] in Episode 4 https://variety.com/2021/tv/news/hawkeye-yelena-black-widow-car-chase-1235129461/ How Hawkeye's Alaqua Cox Echoes Echo's Superpowers https://www.cbr.com/hawkeye-directors-alaqua-cox-echo-superpowers/ The car chase sequence in Episode 3 is so much fun. Was that something that you know you wanted to do from the start?   Bertie: It was the thing that we read that we were most excited about, opening the script for [Episode] 3 and going, “Wait, there's an action sequence that's basically half of this episode.” One of the standout moments people are talking about is that opening shot of the 360-revolving camera. That's something very early on we decided we wanted to do, because we wanted to stay with Kate and Clint in the car on this journey as the Tracksuit Mafia are chasing them. Then it was just like the journey of how we achieve that and pre-vizing that and the camera team figuring out the rig. From start to end, that was just joyful.   Was there ever a time where you were thinking you'd do the entire sequence in a oner?   Bert: Yes, there was! You go in with these huge ambitions, but we very quickly realized that the essence of the oner is that we stay with our characters. The action is kind of happening around them, but we wanted to stay with them. So the moment Kate gets out the car, if you're following that rule, then the camera goes out of the car with her. And so that's what happened. We just had to figure out how to get it out of the car.   There were so many trick arrows in that sequence. Was there a brainstorming session where you tried to come up with all the different kinds of trick arrows that you could think of?   Bertie: Constant brainstorming. That's what's amazing about the Marvel process. They're all about plussing. “How can we plus this?” From “What other arrows can we put in the car chase,” came “What would be the arrow that could be used to stop Kazi in his truck and the Christmas tree lot.” So the situations led to new arrows. The smoke arrow [appeared] earlier on in the chase, and it was too much there. It didn't really serve a purpose. Then it came back later, when Kate was trying to get Maya's car to to crash on the bridge.   How early was the Pym arrow introduced into the mix?   Bert: Way, way earlier. That was that was one of the things that was in the script very early on. Then the challenge was figuring out how we were going to do it so it was believable, because the tone of the show is so real that something like that [giant arrow] really stood out for us. We needed to ground it with the emotion of the guys inside of the truck.   Bertie: And here's something we haven't spoken about yet. When we first were going to do the Pym arrow, the [giant] arrow was going to go straight at Kazi's truck and split it down the middle. That sounded great on paper, but we pre-viz'd it, and you couldn't quite figure out what was happening. Once we decided to do the up-and-down apex [of the arrow], you could see the whole thing. It was just staking this huge arrow on Manhattan Bridge, and it meant that the truck literally broke in half. That was fun to make that change.   You also introduced Echo in Episode 3 and showed the audience her experience as person who is deaf and an amputee. What were the conversations like about how you wanted to approach that character?   Bert: It was a huge learning curve for us; Alaqua brought so much to this. We just went in asking to be taught how to do this because we want to represent her wholly and correctly on screen. So there were a lot of discussions ahead of actually filming, but then every day on set was learning with he, and she was very gracious.   Bertie: Maya's story, for obvious reasons, mirrors Alaqua's story in many ways. I think for us, and with Alaqua, it was about looking at these things that people might term as disabilities in Alaqua, and actually using those as her superpowers. So the fact that she's a non-hearing person means that her sense of observation — a heightened awareness as she walks into a room and observes things — is a superpower. Her prosthetic leg, we see that Clint tries to hockey stick [it] out the way, and then she swings that metal leg at him, and it takes his hearing aid out. Using what could be considered her weaknesses as her strengths was a huge part of that character formation.   Finally, you also directed a major moment in Episode 4, when Florence Pugh's Yelena finally appears on her mission to take out Clint. What did you want to accomplish in bringing in a character that most of the audience already has a relationship with, but your other characters don't?   Bertie: So much of “Hawkeye” is seeing the world through the characters' point of view of it. So if we look at the end of [Episode 4], we are with Kate Bishop as she's seeing this person, who she has no concept of who she is, actually, and how she's going to fit into the story. But there's this connection, and you can see and feel the presence of this new character. It's actually a balance between what the audience feels about this character and what Kate's feeling that makes that ending so special.   Bert: When you're directing actresses like Florence and Hailee, they bring so much to it. There was this immediate natural chemistry between them, which — I can't say anything else. But you know, when they give you that, it's this gift, and all you want to do is take care of it and unwrap it slowly.   Hawkeye directors break down that epic chase sequence and working with Lucky the Pizza Dog (It was originally at night) https://ew.com/tv/hawkeye-directors-bert-bertie-episode-3-chase-scene/ Bert and Bertie talk to EW about recent highlights from the Disney+ superhero series.   Hawkeye may not be as high-concept as its predecessors WandaVision or Loki, but the Christmas-set superhero series has proved just how good it is at delivering fun action scenes. Taking a page from the popular Hawkeye comic series by Matt Fraction and David Aja, episode 3 of Hawkeye sent Clint Barton (Jeremy Renner) and Kate Bishop (Hailee Steinfeld) on a wild car chase through Brooklyn, busting out all the trick arrows in Clint's quiver to shake the Tracksuit Mafia off their trail.   The scene was remarkable for how clear and easy-to-follow it was, in an age where so many blockbuster action setpieces feel shrouded in shadow. When EW caught up with episode directors Amber Templemore-Finlayson and Katie Ellwood, a.k.a Bert and Bertie, they admitted that the scene was actually originally planned to shoot at night before a last-minute change courtesy of Marvel Cinematic Universe mastermind Kevin Feige.   "It was only after we'd started shooting the show that Kevin was like, 'there's too much at night. We need to put some sequences in the day,'" Ellwood tells EW. "But we'd planned it all at night! And of course we had been like hey, you can hide things in the shadows. But then suddenly it was daylight. So we just reconvened with our amazing team and decided to embrace it. We'd already decided to do as much practically as possible, but it drove us to do even more practically. The result was amazing."   "It has a grit and it has a danger from being in the daytime when you can see more," Templemore-Finlayson says.   The duo cited the iconic car chases from '60s-'70s films like Bullitt and The French Connection as inspirations. They decided to orient the scene around Kate's perspective in order to make the action easy to follow.   "Our cameras are determined by what the character needs and the central part to this chase sequence is the banter and the relationship between Clint and Kate," Templemore-Finlayson says. "So we were thinking, how do you stay in the car? We've all seen a million car chases, there are huge franchises that do them so well on epic scales. So we were like, well, it's about the characters. So what we wanted to do was keep the camera in the car. Then we thought, how fun would it be that if as that camera is turning, all the action was happening around them? And then when Kate goes out the window, of course our camera goes with her because it's led by character."   Speaking of characters, recent Hawkeye episodes also featured some wonderful moments with another beloved creation from Fraction and Aja's comic: Lucky the Pizza Dog.   "Every opportunity we could get Lucky in a scene, we would," Ellwood says. "Lucky was great, and not only on screen. Off-screen Lucky was great too because you know, there are situations where we're running out of time or it's all a little bit tense and it's just like, stare at the dog! Stare at the dog! So it was joyful."   Hawkeye Finale Promo Features New Kingpin Footage https://www.cbr.com/hawkeye-kingpin-finale-promo/ https://www.youtube.com/watch?v=mgp1OEVDxDM A new prom

This week, host Jason Jefferies is joined by Mike DeCapite, author of Jacket Weather, which is published by our friends at Soft Skull Press.  Topics of conversation include Lou Reed, Spotify Playlists, the Manhattan Bridge, Ray Barretto, acid, Lez Zeppelin, "Don't Stop Believin'" and The Sopranos, solitude, Hot Tuna, The Rolling Stones, and more.  Copies of Jacket Weather can be ordered here with FREE SHIPPING.

Brooklyn Bridge, Manhattan Bridge, Williamsburg Bridge... Les ponts de New York sont des emblèmes de la ville, au même titre que les gratte-ciels les plus célèbres. Ils sont incontournables dans les films, les séries ou encore les documentaires. La Big Apple compte dix ponts classés monuments historiques et près de 2.000 ponts et tunnels. On peut également citer le pont Verrazano. Il relit Brooklyn à Staten Island. C'est du pied de ce pont, à Staten Island que les coureurs du marathon de New York partent au petit matin. Chaque semaine, le mardi, Lionel Gendron nous adresse une lettre d'Amérique. Un podcast sous forme de courrier audio, posté depuis Manhattan, à New York. Une carte postale sonore pour nous aider à mieux comprendre cette Amérique à la fois si familière et parfois totalement déconcertante.

In this bonus episode, we visit the archives and listen to Yiddish and English readings of the poem Manhattan Bridge, written by the Yiddish poet Leyeles. The poem is read by Marc Caplan and Josh Friedman.A special thanks to everyone that made this episode possible.Marc Caplan is the Brownstone Visiting Professor of Jewish Studies at Dartmouth College and author of How Strange the Change: Language, Temporality, and Narrative Form in Peripheral Modernisms and Yiddish Writers in Weimar Berlin: A Fugitive Modernism.Josh Friedman is a member of the band DATCHA and the creator of the podcast, Art and Life and Shit.Joy and Conversation is hosted by Dan OsbornMusic supervision, editing mixing, and mastering by Nico RiversGraphics and Klezmer theme song by Alec HutsonWebsite design by Jakob LazzaroThis episode featured music from the klezmer group, Ezekiel's Wheels Klezmer Band, thanks to Abigale Reisman.Doina for DukeFiddler's SirbaAbigale's HoraJohannes KhosidlNat's NignEpisode photo by Dan Osborn

To hear the full episode and much more, subscribe below: http://heddels.plus Traffic stopped on the Manhattan Bridge, blood spilled in Mulberry Bend, thousands of stick wielding teens in the streets. New York City came to a standstill over the straw boater hat 99 years ago, and we're here to remember it. Also, check out Stan Ray restocks and more in the Heddels Shop, 10% off with code BLOWOUT!

In this bonus episode, we visit the archives of A Bintel Brief, listening to the questions of Yiddish-speaking Jewish immigrants and first generation Americans. These letters written to The Forward's advice column offer a glimpse into the anxieties and aspirations of Eastern European Jews in early 20th century New York City. A special thanks to everyone that made this episode possible. Jordan Gass-Poore' is an investigative journalist and podcast producer who is the co-founder of Local Switchboard NYC, a women-led local news podcast covering New York City's five boroughs. Arielle Nissenblatt is an audio producer and consultant and the founder of EarBuds Podcast Collective. Liz Apple is a product designer and illustrator as well as the co-founder of Paperapple. Elena Raphael is a psychotherapist and life coach. Josh Friedman is a member of the band DATCHA and the creator of the podcast, Art and Life and Shit. Jared Zeidman is an Assistant Coach for the Canisius College Women's Basketball Team.Lee Zeidman is a strategic and crisis communications expert at 3D Communications. Not only that, he is Jared's father.The Yiddish poem Manhattan Bridge was read by Marc Caplan. This episode featured the song "Abigale's Hora" by Ezekiel's Wheels Klezmer Band, thanks to Abigale Reisman.Joy and Conversation is hosted by Dan OsbornMusic supervision, editing mixing, and mastering by Nico Rivers Graphics and Klezmer theme song by Alec Hutson Website design by Jakob LazzaroEpisode photo by Dan Osborn

On this episode of Magical Moments Jill interviews her dear friends Brandon Giodano & Collin Weber of the whimsical, incredible brand James Veloria!  They chat all about moving to New York City, being an amazing couple in love, opening a brick and mortar retail shop and having the most sought after vintage shop in NYC! Both JILL LINDSEY spaces have James Veloria collections in them, come shop the designer vintage collections! James Veloria is in New York, NY sells and rents special vintage and contemporary pre-owned clothing and accessories. The James Veloria brand started as a side project for Collin James Weber and Brandon Veloria Giordano stemming from their love of avant-garde and experimental fashion design. Starting exclusively as an online retailer in 2014, JV opened its doors as a brick and mortar in Chinatown in July of 2017. Located in a mall under the Manhattan Bridge, they've attracted the attention of stylists, photographers, and musicians alike, and have been featured in print editorials and publications including The New York Times, Vogue, I-D Magazine, and WWD.Rather than view fashion as something structured and conventional, the pair use clothing as a form of empowerment and inspiration…a way to present the best version of yourself to the world depending on who you want to be that day. Inspired by innovative design and the use of bold colors and patterns, the store is packed with unique, exciting, and iconic pieces, with an emphasis on Japanese and European designers. The shop is curated with a specific vision and critical eye in order to meet the standards of the James Veloria aesthetic while still maintaining an accessible price point.Check out their website, their very fun social platforms and go to their very inspiring store! https://www.jamesveloria.com/ Instagram and Twitter: @jamesveloria

Aan de voet van de Manhattan Bridge in New York ligt Chinatown. Een plek waar de geur van eten uit restaurants je tegemoet komt en waar veel verschillende Chinese dialecten te horen zijn. Het is de wijk waar de Chinees-Amerikaanse bestsellerauteur Jean Kwok opgroeide. Ze is een kind van ouders die het vasteland van China zijn ontvlucht en zich vestigden in de voormalige Britse kolonie Hongkong. In de wetenschap dat Hongkong, sinds 1997 terug in handen van China, niet voor altijd vrij zou blijven, emigreerde het gezin naar Brooklyn. Als kind leefden Kwok en haar familie daar in diepe armoede. Een uitgewoond appartement, waar de ratten hen vergezelden, was hun thuis. Overdag werkten ze in een kledingfabriek waar ze 1,5 cent per kledingstuk verdienden. Maar Kwok wist een uitweg te vinden. Dat ze auteur zou worden, had ze toen nooit kunnen bedenken. Haar boeken worden in twintig landen verkocht en gaan over Chinese migranten, gebaseerd op haar eigen leven.

Aan de voet van de Manhattan Bridge in New York ligt Chinatown. Een plek waar de geur van eten uit restaurants je tegemoet komt en waar veel verschillende Chinese dialecten te horen zijn. Het is de wijk waar de Chinees-Amerikaanse bestsellerauteur Jean Kwok opgroeide. Ze is een kind van ouders die het vasteland van China zijn ontvlucht en zich vestigden in de voormalige Britse kolonie Hongkong. In de wetenschap dat Hongkong, sinds 1997 terug in handen van China, niet voor altijd vrij zou blijven, emigreerde het gezin naar Brooklyn. Als kind leefden Kwok en haar familie daar in diepe armoede. Een uitgewoond appartement, waar de ratten hen vergezelden, was hun thuis. Overdag werkten ze in een kledingfabriek waar ze 1,5 cent per kledingstuk verdienden. Maar Kwok wist een uitweg te vinden. Dat ze auteur zou worden, had ze toen nooit kunnen bedenken. Haar boeken worden in twintig landen verkocht en gaan over Chinese migranten, gebaseerd op haar eigen leven.

Aan de voet van de Manhattan Bridge in New York ligt Chinatown. Een plek waar de geur van eten uit restaurants je tegemoet komt en waar veel verschillende Chinese dialecten te horen zijn. Het is de wijk waar de Chinees-Amerikaanse bestsellerauteur Jean Kwok opgroeide. Ze is een kind van ouders die het vasteland van China zijn ontvlucht en zich vestigden in de voormalige Britse kolonie Hongkong. In de wetenschap dat Hongkong, sinds 1997 terug in handen van China, niet voor altijd vrij zou blijven, emigreerde het gezin naar Brooklyn. Als kind leefden Kwok en haar familie daar in diepe armoede. Een uitgewoond appartement, waar de ratten hen vergezelden, was hun thuis. Overdag werkten ze in een kledingfabriek waar ze 1,5 cent per kledingstuk verdienden. Maar Kwok wist een uitweg te vinden. Dat ze auteur zou worden, had ze toen nooit kunnen bedenken. Haar boeken worden in twintig landen verkocht en gaan over Chinese migranten, gebaseerd op haar eigen leven.

Finder.com's CEO, Fred Schebesta on why your first business goal should be to make $1 of profit, how to show your employees that you care about them, and focusing on your strengths.And this week, my very special guest is Australia's first ever digital marketer, Fred Schebesta.Over the last 15 years, Fred has built Finder.com a fintech that helps people around the world make better financial decisions and improve their lives.Fred is not only one of Australia's most successful entrepreneurs, but he is also one of the most generous with his time, always willing to help others navigate the challenges of starting and running their own business. And he shares many of his business secrets in today's episode that helped him  grow Finder to over 500 employees across 6 countries. In my conversation with Fred we cover a wide range of topics including why your first business goal should be to make $1 of profit, taking your marketing mastery and turning it into a process and frameworks that you can use make the best decisions for your business.Fred also tells a great story of how he ran over the Manhattan Bridge to secure a whiteboard for his new office for $8 from Craigslist and there is a great business lesson to learn from this story. So please enjoy this wide ranging conversation with Fred Schebesta.What you will learn in this episodeWays that you can make the best decisions for your businessWhy it's important for business owners to save money where they canLessons from Fred setting up international offices in US, Canada, UK and other countriesWhy your first business goal should be to make $1 of profitWhy you need to pay your staff wellHow to show your employees that you care about themFred's advice if you are just starting a business (you need to separate yourself from your company and look at it objectively)Why you need to focus on your own strengthsTake your marketing mastery and turn it into a processHow Fred manages his time between so many exciting projects and responsibilitiesHow Fred has leveraged video to build his personal brandHow Fred learns new skillsQuotes"I believe that the world's a better place when it's well-informed to make decisions. With that premise, I Co-founded Finder. We're trying to better all the world's decisions.""If you separate yourself from your business and look at it objectively, you can start to take actions that are objectively good for the business. *Do what's best for your business."When starting a business, you need to focus on your own strengths. Take your marketing mastery and turn it into a process.I'm engaging in the mastery of video, and therefore translating that into processes and systems that Finder can use. The internet is full to the brim with answers. "In the beginning, I made so many mistakes and they really hurt. They are the scars that you wear that no one else can see, but you can feel them. ""The moments when you are outside your comfort zone is when you tend to fail, but that's the moment where you can find the most incredible opportunities. Those are the moments in time when you're feeling so much anxiety and duress, that if you can just put your head up and look around, you will see the greatest opportunities. ""If you're not growing and not feeling uncomfortable, you're not pushing hard enough.  "Resources & links mentionedFinder.com HiveEx.com – Fred's global OTC & brokerage desk specialised in large order cryptocurrency trading -- https://www.hiveex.com/Running over the Manhattan Bridge for an $8 Craigslist Whiteboard - https://www.linkedin.com/pulse/running-over-manhattan-bridge-8-craigslist-whiteboard-fredAeron Chair by Herman Miller - https://www.hermanmiller.com/en_au/products/seating/office-chairs/aeron-chairs/The 5 Love Languages: The Secret to Love that Lasts - https://www.amazon.com/Love-Languages-Secret-that-Lasts/dp/080241270X#:~:text=The%205%20Love%20Languages%3A%20The,9780802412706%3A%20Amazon.com%3A%20BooksLarry Ellison Co-Founder of Oracle - https://www.oracle.com/corporate/executives/ellison/Brian Armstrong Co-founder of Coinbase - https://twitter.com/brian_armstrongBen Horowitz Co-Founder of a16z - https://twitter.com/bhorowitzBook RecommendationsThe 5 Love Languages: The Secret to Love that Lasts by Gary Chapmanhttps://www.amazon.com/Love-Languages-Secret-that-Lasts/dp/080241270X#:~:text=The%205%20Love%20Languages%3A%20The,9780802412706%3A%20Amazon.com%3A%20BooksTrillion Dollar Coach: The Leadership Handbook of Silicon Valley's Bill Campbellhttps://www.amazon.com/Trillion-Dollar-Coach-Leadership-Handbook-ebook/dp/B07JFKHCNYThe Hard Thing About Hard Things by Ben Horowitzhttps://www.amazon.com/Hard-Thing-About-Things-Building-ebook/dp/B00DQ845EA/ref=sr_1_1?crid=2R9V873FP337Z&dchild=1&keywords=the+hard+thing+about+hard+things&qid=1594418787&s=digital-text&sprefix=the+hard+thin%2Cdigital-text%2C350&sr=1-1Flash Boys by Michael Lewishttps://www.amazon.com.au/dp/B00NX91DR4/ref=dp-kindle-redirect?_encoding=UTF8&btkr=1The 7 Habits of Highly Effective People by Stephen R. Coveyhttps://www.amazon.com/Habits-Highly-Effective-People-Powerful/dp/0743269519How to Win Friends & Influence People by Dale Carnegiehttps://www.amazon.com/How-Win-Friends-Influence-People/dp/0671027034/ref=sr_1_1?crid=1PV401QGJ95ZW&dchild=1&keywords=how+to+win+friends+and+influence+people&qid=1594419470&s=books&sprefix=how+to+win+fr%2Cstripbooks-intl-ship%2C347&sr=1-1The Everything Store: Jeff Bezos and the Age of Amazon by Brad Stonehttps://www.amazon.com.au/Everything-Store-Jeff-Bezos-Amazon-ebook/dp/B00DJ3ITKSWhat business would you build on Mars?I'd start a water business. When I look at a company, I like to solve problems. How would I promote it? I'd call it “Earth”.Reach Fred hereFred Schebesta on LinkedInFred Schebesta on TwitterFinder.com

ON THIS EDITION ITS PART 1 OF THE NEXT BRIDGE IN THE SERIES ON BRIDGES AND TUNNELS, THE MANHATTAN BRIDGE: https://en.wikipedia.org/wiki/Manhattan_Bridge#History FOLLOW US ON ANCHOR FOR ALL ARCHIVED EPISODES FROM THE FIRST 5 SEASONS: https://anchor.fm/thequeensnewyorker THE JASON DECANIO SHOW IS ON MIXCLOUD: https://www.mixcloud.com/jason-decanio/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/thequeensnewyorker/message Support this podcast: https://anchor.fm/thequeensnewyorker/support

Welcome to Episode 51! Conrad Life Report is a podcast about life, including digital media, music, books, food, drink, New York City, and more. Episode 51 topics: Governors Island, limited capacity, Squibb Park Bridge, running over the Manhattan Bridge and Brooklyn Bridge, Bill Frisell Trio at St. Ann's Warehouse, Non-Secure Connection by Bruce Hornsby, Valentine by Bill Frisell, Fugazi Gulf War Protest Concert 1991 on YouTube, Dune by Frank Herbert, Wired Magazine, Hill Farmstead Farmer Wave, Threes Brewing Public Property and Temporary Identity, Mast Landing Wavy Days, Rising Tide Great Diamond Island, Bissell Brothers Here's To Feeling Good All The Time.

After months of going dark online, due to the perpetual anxieties surrounding Covid-19  and the embarrassing loss of Hunter Harris’s episode file, the boys are finally back, masked up, and biking  ... to the infamous Sephora in Soho, treking across Manhattan Bridge and through Dime’s Square to get an inside look at how beauty retail operates during New York’s phase-three reopening. On their frivolous pilgrimage to acquire moisturizers and tinctures, the fellas pause to reflect on the spiraling mental gymnastics they’ve undergone to make sense of the moment, taking inventory of the emotional, economic and societal costs of the new normal. Despite all the depressing shit covered in this ep, Emilio takes you through the motions of copping a new chain at Chinatown’s infamous New Top while Evan explains the logistics of timing adult braces during a global pandemic. Tune in to the dudes’ on-the-go pod wherein they drink their way through multiple Pacificos and Tecates to sanely assess the financial damage that comes with an unemployment-funded skincare shopping spree while grabbling with the indefinite transformation of New York’s consumer economy.

"You can be Bold and gentle-hearted, you can be soft and a warrior. Power in vulnerability” The Fandangoe Kid Host Amanda Blainey talks to The Fandangoe Kid a print artist who makes large-scale narrative pieces for the public realm to create a platform around complex subjects such as grief, trauma release, mental health, and gender constructs. Much of her work is driven by navigating her own story following the death of most of her family in New York in 2011. In this episode we discuss: Sitting with grief The physical & emotional manifestation of grief Post-traumatic growth Dancing through grief Processing grief through meditation and exercise Embodying and making friends with grief Grief as an individual & and non-linear experience The uncertainty of change Legacy and moving on from your ancestors Finding ways to connect more than ever Being a vulnerable warrior Unlearning as we get older The Fandangoe Kid has created work for a wide range of purposes, most recently installing artwork on 14-metre pillar for University of the Arts London's 120th year anniversary and a large-scale permanent piece of public art at the Southbank Centre for the charity CALM. For World Mental Health Day 2019, she installed an 80-metre floor narrative at City Hall for the Mayor of London's charity Thrive, addressing the connection between movement and mental health. Additionally, she screened her film Into Your Light, directed with Tara Darby, at Tate Modern and on the Manhattan Bridge, looking at dancing as a tool for survival following a great personal loss. Podcast references www.fandangoekid.com https://www.cruse.org.uk/ http://taradarby.com/film/into-your-light/ https://www.shedoesfilmz.com/ The Ted interview Elizabeth Gilbert Books Grief Works - Julia Samuel The Body Keeps Score - Bessel Van Der Kolk

Welcome to Majority.FM's AM QUICKIE! Brought to you by justcoffee.coop TODAY'S HEADLINES: Which story indeed: there are curfews in place and war crimes underway across America. The world is watching in horror as Donald Trump, Bill Barr, the Pentagon brass and an army of cops turn the arsenal of an empire against its citizens. Meanwhile, there were elections in a number of states yesterday. But Trump’s dictator act – not to mention corona – made a free and fair vote all but impossible. And lastly, do not forget, that justice will be won for George Floyd, his family, African- Americans, and all of the oppressed people in this country. In Minnesota, where the uprisings in Floyd’s name began, elected officials are now talking seriously about disbanding a corrupt police department – and a lot more. THESE ARE THE STORIES YOU NEED TO KNOW: You may be hearing different things about what happened in the United States yesterday depending on where you live and who you are. Propaganda and disinformation abound -- and not just on social media. But here is what people in other countries are hearing about our situation. From The Guardian: Soldiers reportedly poised outside Washington as curfews set in. From the South China Morning Post, in Hong Kong: Protesters defy curfew in New York after Trump threatens crackdown. From Deutsche Welle: Germany urges press freedom at US protests. This is a serious problem – for you, us, everyone. Journalists, dissidents, and human rights advocates are at this moment being targeted by police, paramilitaries, and at least some of the armed forces. Hundreds have already been have arrested around the country. Hundreds more have been attacked without provocation. Government agents are committing war crimes on American soil -- and it is no secret, it is streamed and broadcast live around the world. At the same time top military commanders have announced they were unaware of developments unfolding around them. By all evidence the ruling Republican Party in cooperation with Donald Trump, organized crime, and a faction of the state security forces at the direction or influence of Attorney General Bill Barr. Mainstream press reports including by correspondents for national networks offered ample video evidence that the forces carrying out Trump’s crackdown have at times inflamed, exploited, and at times even stage-managed this crisis. A nationwide protest movement has in a matter of days led to a full-blown authoritarian crackdown by the executive branch. The integrity of the Congress and the judiciary is uncertain, as even federal court buildings have been seen filled with soldiers. Here is more of our latest information. As of yesterday, before curfew, there were at least 550 active protests in all fifty states. Arrests of demonstrators began on both coasts before the announced start of the curfew. Shown among the marches in Washington, DC, Massachussetts Democratic Senator Elizabeth Warren told world press that Trump was QUOTE imposing violence on our people ENDQUOTE. The US Army’s Eighty-Second Airborne Division was deployed to Washington, DC from North Carolina – these were active- duty forces deployed against civilians, and armed with bayonets. Videos showed some soldiers mixing with crowds, and appearing ill at ease with their mission. Others, taking up riot formations, engaged in brutality. One resident reported his daughter picked up an unexploded police grenade that could have seriously injured her. Reporters spotted new secret police around DC who wear no insignia and who say only that they work for Barr’s Department of Justice. Barr granted the Drug Enforcement Agency extraordinary powers to surveil and arrest protesters, and Trump sought to federalize the DC police department. In New York City, Mayor Bill DeBlasio, whose daughter was arrested and threatened by police yesterday, praised the police even as they attacked thousands of his constituents on Manhattan Bridge and around the city. Police even boasted over public radio channels about shooting protesters. In Portland, Oregon, protesters intentionally took a bridge and laid down in a show of passive resistance. But activists reported pre-curfew visits by police and they, along with journalists and the homeless, were gassed indiscriminately. In Los Angeles, police backed by soldiers dragged groups of people out of cars for no apparent reason. In Denver, one officer bragged on social media that the police were starting a riot. In Flordia and some other states, local law enforcement urged homeowners to take up arms to defend against any criminals who threaten their property. Across the country, mayors and Congressional representatives offered little in the way of substantive resistance. Even Republicans refused to comment on their own leaders’ violent and treasonous power grab. The alleged driver of a semi truck that plowed into a protest in Minnesota on Sunday night was released yesterday by the county attorney without charges being filed. Curfews Undermine Election Integrity There were primary elections in eight states and the District of Columbia. Joe Biden reportedly swept in most states with between sixty-one and eighty-five percent of the vote. Bernie Sanders, who suspended his campaign but also hoped to keep collecting delegates, did best in Rhode Island, with nearly thirty percent of the vote. He did worst in Marland with only six percent. In New Mexico, former Central Intelligence Agency operative Valerie Plame lost her bid for Congress to a progressive, Teresa Leger Fernandez. In Iowa, white nationalist Republican Representative Steve King lost his primary to Randy Feenstra. The results were a mixed bag for progressive candidates in Maryland, Montana, South Dakota, and DC, all of which also had elections scheduled for yesterday. But it is hard to imagine anyone, including professional election monitors from this country and other countries, ever accepting the results as legitimate. And here’s the thing. You would expect some questions about the quality of yesterday’s vote, given the ongoing COVID-19 pandemic, the miliitary and police curfews around the country, and widespread reports of voter intimidation and suppression by forces loyal to Trump. But that was only the beginning of the problems. The Washington Post reported that in several places, in-person voting was severly restricted as the number of polling locations were cut back. Complete results were not available. Some states said they won’t be ready until next week. Lines were long and voters reported feelings of intimidation and confusion around dates and deadlines. Minneapolis Politicians Consider Abolition As stark and frightening as the news has been, there are also many hopeful and heartening signs. In Minneapolis, where protests against the lynching of George Floyd by four city cops inspired the nationwide democratic uprisings, one ward representative spoke of dramatic changes that might have seemed impossible two weeks ago. The city’s Ward Three Representative, Steve Fletcher, said he was working with other members of the council to totally disband the MPD. From there the council could QUOTE start fresh with a community- oriented, non-violent public safety and outreach capacity ENDQUOTE. Fletcher also described how police had traditionally extorted councilmembers by allowing crime to increase in their districts as punishment for unfavorable votes, and by intimidating local business owners to lobby on the department’s behalf. Minnesota Attorney General Keith Ellison filed a civil rights lawsuit against the MPD. The state’s Human Rights Commissioner, Rebecca Lucero, joined the complaint. She told local TV their first goal was to negotiate a consent decree with the city. Then, courts could enforce it by issuing injunctions and unspecified financial penalties. In the meantime, the popular movement for justice for George Floyd continue to take positive action that is too often underreported. A group of protesters took over a former Sheraton Hotel in an area that reportedly saw theft, vandalism and arson. The building now houses two hundred people who were previously homeless, for free, and it’s managed by volunteers. We’ll see how that goes, but in the meantime, at least people are not in the street, or more likely in this new age of arbitrary curfews, in jail. AND NOW FOR SOME QUICKER QUICKIES: The World Health Organization funded a major new study that suggests the US Centers for Disease Control has been dangerously compromised by Trump’s personal interests. The journal Lancet published an analysis, funded by the WHO, of one-hundred and seventy-two different studies about the effectiveness of N95 respirator masks, versus ordinary surgical masks, to protect against the coronavirus. The New York Times says the new study confirms what scientists were already saying about the importance of medical personnel and other high-risk workers actually having N95 masks to wear. Police seem to have plenty available! When financial markets reopened this week, Goldman Sachs bet against the US dollar. Goldman, which looted the Treasury so thoroughly in 2008, has now established short positions on the value of the dollar. The details are complicated, but the upshot is that the more expensive and difficult things get for you as the economy suffers under Trumpism, the more Goldman wins. A rare cyclone headed for Mumbai last night had prompted tens of thousands to evacuate the city on India’s west coast. According to the BBC, it would be the first major cyclone to hit the city in over a century. The Indian Meterological Department was calling it a severe cyclonic storm. The poor will suffer worst and the government is no help. Two weeks ago another cyclone hit the east coast of India, and Bangladesh. Banking regulators in New York have been carrying out a secret investigation of Donald Trump’s lender of last resort, Deutsche Bank. But the investigation reported by The New York Times yesterday is not like other investigations into the bank’s ties to Trump. It involves Deutsche Bank’s relationship with the well-connected serial sex trafficker Jeffrey Epstein, who died in prison last year. The state Department of Financial Services wants to know why the bank kept doing business with Epstein after employees raised concerns about his transactions with federal regulators. Unclear if they’ve tried asking Bill Barr, but he is pretty busy right now. June 3, 2020 - AM Quickie HOSTS - Sam Seder & Lucie Steiner WRITER - Corey Pein PRODUCER - Dorsey Shaw EXECUTIVE PRODUCER - Brendan Finn

Today on Sojourner Truth: After a week of protests, the nationwide (and now worldwide) uprising against racism and police killings of Black people in response to the murder of George Floyd continues to grow. From Los Angeles to Louisville, New York, Philadelphia and Minneapolis, tens of thousands hit the streets while Floyds family called for the arrests of three other officers involved in the Memorial Day murder. Thus far, just one arrest has been made with a third degree murder charge. In Paris, nearly 15,000 demonstrators defied police orders and marched in a sprawling protest against police violence outside the citys tribunal. The crowed was overwhelmingly people of African descent and not only were they connecting with what was happening in the U.S., but they were also opposing the murder by police of a Black youth in Paris. There were multiple reports of police deploying tear gas. Similar protests were held in cities across Europe and in Australia. Meanwhile, back in the U.S., Trump has unleashed the full might of federal law enforcement against protesters. This includes military police, the National Guard, border agencies, the Drug Enforcement Administration and F.B.I. hostage rescue teams. As of Wednesday, June 3, governors in 24 states and Washington, D.C., had called in the National Guard, with over 17,000 troops activated. From the beginning of the protests to the morning of June 3, at least 11 people have died and over 9,300 people have been arrested, according to the Associated Press. In New York City, a group of protesters marched across the Manhattan Bridge, only to be denied entry from Brooklyn to Manhattan by the NYPD. In Los Angeles, thousands peacefully demonstrated in Downtown LA and then marched to Hollywood. Some of the protesters joined Black Lives Matter LA to protest outside of the LA Mayor's residence, opposing the city's proposed budget, which has increased funding for law enforcement while cutting much-needed services. In Washington, D.C., protests continued outside of the White House, which was heavily guarded. In Louisville, Kentucky, people held a gospel prayer service in the parking lot of a Kroger grocery store. And in San Juan, Puerto Rico, police officers used pepper spray as more than 200 protesters broke a 7 p.m. curfew. The protest, organized by Colectiva Feminista, included more than 500 people demanding a stop to racism and police brutality on the island. Protests have been ongoing in Minneapolis, where Floyd was murdered, and several other cities across the country. Protests have been ongoing nationwide. Over 100 cities have participated in the protests thus far.

Today on Sojourner Truth: After a week of protests, the nationwide (and now worldwide) uprising against racism and police killings of Black people in response to the murder of George Floyd continues to grow. From Los Angeles to Louisville, New York, Philadelphia and Minneapolis, tens of thousands hit the streets while Floyds family called for the arrests of three other officers involved in the Memorial Day murder. Thus far, just one arrest has been made with a third degree murder charge. In Paris, nearly 15,000 demonstrators defied police orders and marched in a sprawling protest against police violence outside the citys tribunal. The crowed was overwhelmingly people of African descent and not only were they connecting with what was happening in the U.S., but they were also opposing the murder by police of a Black youth in Paris. There were multiple reports of police deploying tear gas. Similar protests were held in cities across Europe and in Australia. Meanwhile, back in the U.S., Trump has unleashed the full might of federal law enforcement against protesters. This includes military police, the National Guard, border agencies, the Drug Enforcement Administration and F.B.I. hostage rescue teams. As of Wednesday, June 3, governors in 24 states and Washington, D.C., had called in the National Guard, with over 17,000 troops activated. From the beginning of the protests to the morning of June 3, at least 11 people have died and over 9,300 people have been arrested, according to the Associated Press. In New York City, a group of protesters marched across the Manhattan Bridge, only to be denied entry from Brooklyn to Manhattan by the NYPD. In Los Angeles, thousands peacefully demonstrated in Downtown LA and then marched to Hollywood. Some of the protesters joined Black Lives Matter LA to protest outside of the LA Mayor's residence, opposing the city's proposed budget, which has increased funding for law enforcement while cutting much-needed services. In Washington, D.C., protests continued outside of the White House, which was heavily guarded. In Louisville, Kentucky, people held a gospel prayer service in the parking lot of a Kroger grocery store. And in San Juan, Puerto Rico, police officers used pepper spray as more than 200 protesters broke a 7 p.m. curfew. The protest, organized by Colectiva Feminista, included more than 500 people demanding a stop to racism and police brutality on the island. Protests have been ongoing in Minneapolis, where Floyd was murdered, and several other cities across the country. Protests have been ongoing nationwide. Over 100 cities have participated in the protests thus far.

Today on Sojourner Truth: After a week of protests, the nationwide (and now worldwide) uprising against racism and police killings of Black people in response to the murder of George Floyd continues to grow. From Los Angeles to Louisville, New York, Philadelphia and Minneapolis, tens of thousands hit the streets while Floyds family called for the arrests of three other officers involved in the Memorial Day murder. Thus far, just one arrest has been made with a third degree murder charge. In Paris, nearly 15,000 demonstrators defied police orders and marched in a sprawling protest against police violence outside the citys tribunal. The crowed was overwhelmingly people of African descent and not only were they connecting with what was happening in the U.S., but they were also opposing the murder by police of a Black youth in Paris. There were multiple reports of police deploying tear gas. Similar protests were held in cities across Europe and in Australia. Meanwhile, back in the U.S., Trump has unleashed the full might of federal law enforcement against protesters. This includes military police, the National Guard, border agencies, the Drug Enforcement Administration and F.B.I. hostage rescue teams. As of Wednesday, June 3, governors in 24 states and Washington, D.C., had called in the National Guard, with over 17,000 troops activated. From the beginning of the protests to the morning of June 3, at least 11 people have died and over 9,300 people have been arrested, according to the Associated Press. In New York City, a group of protesters marched across the Manhattan Bridge, only to be denied entry from Brooklyn to Manhattan by the NYPD. In Los Angeles, thousands peacefully demonstrated in Downtown LA and then marched to Hollywood. Some of the protesters joined Black Lives Matter LA to protest outside of the LA Mayor's residence, opposing the city's proposed budget, which has increased funding for law enforcement while cutting much-needed services. In Washington, D.C., protests continued outside of the White House, which was heavily guarded. In Louisville, Kentucky, people held a gospel prayer service in the parking lot of a Kroger grocery store. And in San Juan, Puerto Rico, police officers used pepper spray as more than 200 protesters broke a 7 p.m. curfew. The protest, organized by Colectiva Feminista, included more than 500 people demanding a stop to racism and police brutality on the island. Protests have been ongoing in Minneapolis, where Floyd was murdered, and several other cities across the country. Protests have been ongoing nationwide. Over 100 cities have participated in the protests thus far.

Today on Sojourner Truth: After a week of protests, the nationwide (and now worldwide) uprising against racism and police killings of Black people in response to the murder of George Floyd continues to grow. From Los Angeles to Louisville, New York, Philadelphia and Minneapolis, tens of thousands hit the streets while Floyds family called for the arrests of three other officers involved in the Memorial Day murder. Thus far, just one arrest has been made with a third degree murder charge. In Paris, nearly 15,000 demonstrators defied police orders and marched in a sprawling protest against police violence outside the citys tribunal. The crowed was overwhelmingly people of African descent and not only were they connecting with what was happening in the U.S., but they were also opposing the murder by police of a Black youth in Paris. There were multiple reports of police deploying tear gas. Similar protests were held in cities across Europe and in Australia. Meanwhile, back in the U.S., Trump has unleashed the full might of federal law enforcement against protesters. This includes military police, the National Guard, border agencies, the Drug Enforcement Administration and F.B.I. hostage rescue teams. As of Wednesday, June 3, governors in 24 states and Washington, D.C., had called in the National Guard, with over 17,000 troops activated. From the beginning of the protests to the morning of June 3, at least 11 people have died and over 9,300 people have been arrested, according to the Associated Press. In New York City, a group of protesters marched across the Manhattan Bridge, only to be denied entry from Brooklyn to Manhattan by the NYPD. In Los Angeles, thousands peacefully demonstrated in Downtown LA and then marched to Hollywood. Some of the protesters joined Black Lives Matter LA to protest outside of the LA Mayor's residence, opposing the city's proposed budget, which has increased funding for law enforcement while cutting much-needed services. In Washington, D.C., protests continued outside of the White House, which was heavily guarded. In Louisville, Kentucky, people held a gospel prayer service in the parking lot of a Kroger grocery store. And in San Juan, Puerto Rico, police officers used pepper spray as more than 200 protesters broke a 7 p.m. curfew. The protest, organized by Colectiva Feminista, included more than 500 people demanding a stop to racism and police brutality on the island. Protests have been ongoing in Minneapolis, where Floyd was murdered, and several other cities across the country. Protests have been ongoing nationwide. Over 100 cities have participated in the protests thus far. Our guests are Dr. Melina Abdullah, Stephen Bartlett and Rev. Graylan S. Hagler.

A man was shot and killed in Louisville, Kentucky, on Sunday night after police officers and National Guard troops began firing into a crowd. - but a tense confrontation in the middle of a crowded street was partially defused when a black woman stepped forward and offered a policeman in riot gear a hug. They embraced for nearly a minute. In Birmingham, Alabama protesters started to tear down a Confederate monument that the city had previously covered with a tarp amid a lawsuit between the state attorney general and the city. In Boston, a police SUV was set ablaze near the State House. In Philadelphia, police officers in riot gear and an armored vehicle used pepper spray to try to repel rioters and looters. A wall of officers blocked an entrance ramp to Interstate 676 in the city, where the mass transit system suspended service starting at 6pm as part of a citywide curfew. In New York, demonstrators marched across the Brooklyn and Williamsburg Bridges, snarling traffic. The Manhattan Bridge was briefly shut down to car traffic. Chaos erupted in Union Square at around 10 pm, with flames leaping up two stories from trash cans and piles of street debris. The night before in Union Square, the mayor's daughter, Chiara de Blasio, 25, was among the protesters arrested, according to a police official. In Chicago, the police superintendent, David Brown, excoriated the looters on Sunday as Governor JB Pritzker activated the National Guard at the city's request.

Jackson Bliss is an assistant professor of creative writing at BGSU. His genre-bending fiction focuses on being mixed-race in a global world. This episode features a conversation about exploring identity through writing and a reading from his forthcoming novel, The Amnesia of June Bugs.   Transcript: Intro: This podcast features instances of explicit language. If you are listening with children, you may want to save this conversation for later. Intro: From Bowling Green State University and the Institute for the Study of Culture and Society, this is BG Ideas. Musical Intro: I'm going to show you this. It's a wonderful experiment. Jolie Sheffer: Welcome to the Big Ideas Podcast, brought to you by the Institute for the Study of Culture and Society and the School of Media and Communication at Bowling Green State University. I'm Dr. Jolie Sheffer, associate professor of English and American culture studies and the director of ICS. Jolie Sheffer: Today I'm joined by Dr. Jackson Kanahashi Bliss. Bliss is an assistant professor in the creative writing program here at BGSU. He's published in The New York Times, The Boston Review, Ploughshares, Tin House, and many other publications. He earned his MFA from the University of Notre Dame and his PhD in literature and creative writing from the University of Southern California. Today we have the pleasure of hearing him read from his new work, Amnesia of Junebugs. Thanks for joining me today, Jackson. Jackson  Bliss: Happy to be here. Jolie Sheffer: You are both a creative writer and a literary scholar. How do you think of your creative writing as being shaped by scholarship on Asian American literature? Are there other ways in which you see your work as interdisciplinary? Jackson  Bliss: Yeah, it's a funny marriage, actually, and I think it's an accidental one, because, in the beginning, I wrote most experimentally, and then when I started studying Asian American studies, I realized there was a sort of strong bent towards experimentalism and activism and how it connects to ethnic nationalism, ethnic studies, academic studies, and academic centers and universities. So this was completely accidental. I didn't intentionally sort of imitate the preferred genre of activist-minded APIA literature. It just sort of happened that way. But the more I studied Asian American studies, particularly works like Immigrant Acts by Lisa ... What's her last name? Jolie Sheffer: Lowe. Jackson  Bliss: Lisa Lowe. Yeah. It sort of made me realize there's a strong sort of push against the stylistics of the empire, which tends to be connected to linear narratives and coming-of-age stories. That made me want to write that story, particularly because I found it a little bit both historically informed, but also generically arbitrary that a particular sub-genre of fiction would supposedly work so well, right, in something that we are actively trying to deconstruct. Jackson  Bliss: I feel like writers like Viet Thanh Nguyen are perfect examples of people who said, "No, you can have a narrative arc and do a lot of important work instead of deconstructing standardized, sort of imposed European models of narrative." Jackson  Bliss: So I think all of those things appealed to me a lot. So it became much more conscious the more I wrote fiction, I think. Yeah. But in the beginning, it was totally accidental and organic. Jolie Sheffer: Your peace Dukkha, My Love is an experimental hypertext novella, created for the web. Can you describe our audience, what that term means? What is an electronic novella, and what can people expect when encountering a text like that? What were you hoping to explore, both formally and thematically? Jackson  Bliss: I think part of it is that there is a very tiny archive of electronic writing, just in general. If you go to the standard places that catalog experimental writing, for example, they're really small. They're highly limited. A lot of writers that write experimentally or create online hypertext don't even publish through them. They just publish on their website. So it's highly decentralized in a way that can be really frustrating for, for example, scholars in new media, because there is no clearinghouse for someone to find all the works. Jackson  Bliss: I think the thing that new readers of hypertext, which is online experimental writing, have to sort of keep in mind is a lot of it is about the ability to create your own narrative, sort of on your own terms. This is sort of the burden, but the beauty of reading. In Dukkha, My Love, essentially, readers click on hypertext, not knowing where it takes them. So they have control, but they're doing it blindly, right? So there's a lot of that going on. It's highly immersive, but it's also indeterminate in terms of where your freedom and control as a reader will take you. Jackson  Bliss: Eventually, as readers start reading more and more, they sort of participate in the cyclicity of the three intersecting narratives, which is absolutely part of the point of reading it, which is the ways in which there is a historical cycle that would repeat, the ways in which we repeat sort of certain cultural modalities of xenophobia and fear against the other, the ways in which our own understanding of reality sort of goes in these continuous cycles of knowledge and awareness and denial, and the proof of this as well is on the first page, when readers click on one of the destinations, where you can basically pick where you want the story to go. It'll even say, "My life is a circle," right, sort of reinscribing this idea in the reader that they are participating in it, but they are not necessarily aware of where they're going, which I think is kind of a fitting cultural analogy of sort of our own conceptualization of history, right? So we sort of have an idea of where it's going, but we're sort of blind as to where exactly it lands. Jackson  Bliss: So yeah, it took me about probably four years of doing research and writing the excerpts and about four months of teaching myself how to code enough to learn how to strip audio files off of YouTube videos and then basically take my own music and sort of record it and then time it and cut it in such a way where it worked with the videos, which I basically ripped off from the Learning Channel and someone else. God bless all of you. Thank you for your fine work. Jackson  Bliss: Yeah. But I was learning as I was creating. That particular genre was something I had never done before, and that's why I wanted to contribute to the discourse, because I felt like it's pretty emaciated, in terms of a genre, right, but also highly accessible. Those two things really appealed to me. Jolie Sheffer: That project in particular, you set yourself a set of hurdles that were challenges you had to then work within, right? So you make something that is, by nature, through coding, deeply linear and kind of limit certain pathways. It is not an endlessly, right? You have to create a set of possibilities, which means foreclosing others, and yet your work itself and the things that interest you are all about the chaotic, the unpredictable, the messy. So how did you kind of respond to the challenge that you set for yourself? Did you feel like you'd handcuffed yourself, or was it liberating, in some sense, to have to work within these limitations? Jackson  Bliss: To be honest, I thought the limitations were there to keep me sane, because I think I would have lost my (beep) mind if I had literally created a work of infinity, because, originally, the idea was I was going to create [inaudible 00:06:50] Book of Sand, right? You could almost make that argument, but if you read Dukkha, My Love enough, you will eventually hit the same narrative strand. So you do sort of touch on finitude at some point. It's impossible to avoid that textual finitude. Jackson  Bliss: But the constraints ended up being lifesavers for me, because this project otherwise could have gone on forever. Let me give you an example. When I was trying to keep track of all the three separate narrative strands and then create a separate stub for each one on my website, this required a level of organization that, frankly, I don't like to have in my art. That goes against my entire ethos as a multimodal, mixed-race, experimentalist-leaning, voice-driven, stylized writer. Yet here we were, where I basically had to control my choices, one, so that I could finish this product before the next semester started and, two, to sort of create a bottleneck, I guess, a narrative bottleneck, where, at some point, everything does have to go through certain sort of narrative choices. Jackson  Bliss: That's both because of the limitation in my coding skills, frankly, but also because there are certain sort of narrative strands I want readers to go through, and I don't want them to necessarily be negotiable. So, for that reason, the index page is, in and of itself, a sort of delimitation of the narrative choices, right? Readers only have basically 10 to 15 places to choose, and then they only have 4 to 10 actionable links on that page. So it sort of starts and ends with finitude. Jackson  Bliss: There is, believe it or not, those of you that have read this, a goodbye page, an acknowledgement page, but, as it turns out, it's incredibly (beep) difficult to find. I mean, I can't even find it, and there's other details that I put that I think were just a little too [inaudible 00:08:41] for themselves. There was an asterisk next to certain narrative strands, letting readers know, "Hey, this is it. This is about to take you to the final page," and I hope that readers would note that this was connected to the theme of the star colonies. That's why the asterisk's there. But you have to scroll down, and if you don't scroll down, you don't see it, and then it doesn't take you to the final page. Jackson  Bliss: But I'm not upset about this. I don't hate myself. I have accepted that there are limitations to reading, and you really can't predict, unless you're into analytics, what your readers are going to do. To me, that's the beauty of it, is that it gives readers, essentially, some blind power to decide how the story is told, which, frankly, isn't done very often in speculative fiction. So that's why it appealed to me. Jolie Sheffer: Much of your work deals with being hapa, or mixed race. How do you see your identity playing a role in your creative work, or, conversely, how has your fiction played a role in your understanding of your own identity? Jackson  Bliss: It's interesting you ask me that, because, in the beginning, when I look back to my earliest fiction, all my characters were white, and this is for a couple of reasons. One, because, at that point, I was definitely passing as white. Two, it's just simply easier for me and my mom, who's hapa as well, my brother, who's also hapa, to just not push the mixed-race button. I was born in Northern Michigan. I didn't live in a community where we celebrated, right, sort of any sort of multicultural, multiracial identity. Jackson  Bliss: There was a lot of survival going on. I mean, even my obachan would not speak to me in Japanese unless I begged her. This was partially because she had a sort of assimilationist paradigm, when it came to living in America. So she thought she was helping me by just making me only speak English. Jackson  Bliss: So, ironically, as I got older and started realizing I have two very different racial and cultural modalities, I mean, I'm literally the son of Japanese immigrants on my mom's side, and that's how close that side of the genealogy is. It's insane I'm never writing about that. It's bizarre that I don't talk about that. I think part of it's because I didn't know how to. There's a lot of things I love about growing up in the Midwest, but it's culturally not the most progressive place to examine your racial hybridity, and I think if I had grown up in SF or New York City, a place where there are strong multicultural identities as the centering of the urban ethos, I probably would have found myself a lot earlier. So it took me a long time. Jackson  Bliss: So I realized at one point that my racial hybridity, in a lot of ways, sort of mimicked my generic hybridity, right, where I like to write in a lot of different genres. I sort of pick and choose. I don't feel like I should be pigeonholed. I sort of embrace this idea that I can almost pick the concept of the neutral, in terms of what it means and [inaudible 00:11:35]'s notion of you don't have to pick one side or other. You can choose to not pick between two options, especially when they're highly binary and deeply delimiting, existentially. Jackson  Bliss: So these things sort of coincided. My desire to sort of subvert genre conventions and just find whatever's the right genre and voice for me coincided with my realization that I had a lot I wanted to understand and investigate about my own mixed-race identity, as someone who's French, British, and Japanese. So it's really my PhD years where I really started fully embracing this and really interrogating it. Jolie Sheffer: What kinds of research do you do for your creative work? You alluded to some of that. What scholars or authors have shaped your work and worldview? Jackson  Bliss: The first people to influence my voice, Junot Diaz and then JD Salinger, and the third one is Zadie Smith. These three writers really informed my whole conception of voice and textual and racial hybridity. So the thing I liked about JD Salinger as a teenage boy was the authenticity of someone questioning authenticity, right? That sort of self blindness, I found really compelling, right? Jolie Sheffer: All his talk of phoneys, right? Jackson  Bliss: Yeah, phoneys. Right. Jolie Sheffer: Yeah. Jackson  Bliss: In many ways, he's [Salinger] the phoniest of all. But, on the other hand, there's a tender side to him that often gets ignored, where he's deeply concerned about preventing trauma to people, because he himself appears to be traumatized, in a way that Holden Caulfield was incapable of sort of working out. So that was powerful to me, and the stylization of the voice was really powerful. Jackson  Bliss: But then when I read White Teeth by Zadie Smith and then Drown by Junot Diaz, I suddenly realized that there was space for my voice, this sort of multicultural urban realism combining with almost sort of Creole sort of language, patois, right, in English. I didn't know that you could do that. I didn't know we were allowed to put the language of our other identity into English. It sounds really crazy when I hear it, but yeah, it was sort of a revelation to me that we could have a stylized voice that sort of embraced and sort of interrogated and was a product of a multicultural identity. Jackson  Bliss: With White Teeth, I think I was just so invested in the ways in which she sort of did these portraitures of different racial and historical and cultural communities and gave each of them a sort of majesty and humanity and an interrogation that I found really amazing and actually rare and then combine it with a sort of these moments of maximization, where the language just explodes off the page, right? Jackson  Bliss: I realized these writers were doing a lot of important work that I myself wanted to do, that I needed to understand better and also, at the same time, that they were giving me permission to sort of figure out my own narrative modality, my own stylized voice, because it's easy to feel like you have to basically come off as neutral, which is code for sounding white. A lot of writers of color I'm friends with feel the same way. They feel this invisible constraint all the time to write in a way where Ivy League-educated, East Coast white readers will understand and connect with. Jackson  Bliss: The problem is there's things that that demographic cannot connect with, and if we write for this imagined, embodied, universal voice, we can give up a lot of the most vital parts of our own sort of unique lyricism and our own techniques for storytelling. So that was a huge revelation for me. Jolie Sheffer: You recently published an essay in TriQuarterly called The Cult of Likability, or Why You Should Kill Your Literary Friendships. In it, you talk about how readers frequently criticize characters for their likeability, or lack thereof. Do you see this as a racialized or gendered criticism, and what qualities do you think are important to make characters compelling? Jackson  Bliss: I do think it's heavily racialized, and I think it's heavily gendered. I think it works in a really sort of sinister, unconscious way for a lot of people. There's still this notion of universal literary merit. When something's amazing, it has this broad appeal. But universality in literature, at least in the 21st century, is mostly code for literature that appeals to a massive white readership. What I've noticed in my workshops, but also in a lot of book reviews, is that works that are written with characters of color or by authors of color or both, especially when they're women, are much more heavily criticized than when they are, for example, white narrators or white female narrators, right? Jolie Sheffer: Yeah. You don't hear people complaining that Humbert Humbert wasn't likable enough in Lolita. Jackson  Bliss: Right. Exactly. Yeah. Jolie Sheffer: That's not the criticism, or that Rabbit Angstrom isn't likable. Jackson  Bliss: Right. That's right. So one of the arguments I made in this essay is, first of all, some of the most important works that I think have shaped, in a positive way, a sort of expanding sort of foundational text canon in America comes from books that weren't necessarily fun to read, with characters who we didn't necessarily like at all, who are important. I mean, Native Son has Bigger Thomas, I think his name is, and that's a crucial character, right? To say, "I don't like this, because I didn't get him" or "I didn't like him" or "He didn't appeal to me" is so essentially irrelevant to the importance, both culturally and historically and racially, that that voice sort of incarnates. Jackson  Bliss: I'm noticing a tendency now where liter agents and now MFA students and a lot of readers are using love and infatuation as this sort of literary metric for determining the value of something. "I didn't love it. I didn't love the voice. I didn't love the character," as if we are now given permission to not consider the literary value of the work, the importance of the marginalized voice, for example, because we realize we don't like the character. Jackson  Bliss: I think it's connected, partially, to cancel culture. But I also think it's partially connected to reality TV, because, with reality television, when we saw a character we didn't like, we would vote them off. So, essentially, likability had consequences, right? Jackson  Bliss: What I think is happening now is people are reading texts that decenter them or ask them to do work or research. Suddenly, they will just decide, "I don't like this character," and that's the end of it. Jolie Sheffer: It also seems to me, though, related to what you were talking about before, which is that if you don't recognize, if you're encountering a new voice, a new perspective, that is not one that you have been taught to recognize because of literature and because of established kind of genres of reading, that first impulse might be, "I don't like this person," and it takes time to actually get used to new voices. Jackson  Bliss: That's right. Yeah, and I think that sort of discomfort maybe at being de-centered is a completely understandable, very normal one. Everyone feels that way. The problem is communities of color and marginalized communities have felt this their entire lives. They go into any room, they go into any white space, and they are always de-centered, all the time. I think this is something that, in general, white readers are a lot less capable and patient and willing to deal with, in part because they've never had to, right? Jackson  Bliss: So for this to happen in the sort of sacred American pastime of reading I think rubs people the wrong way, but I feel there is a silver lining, which is these readers can sit in that lack of comfort and know, at the end of the day, that it's going to be okay and that they will work it out and they will start to slowly understand these characters and potentially empathize with them. But that takes time, and if we don't learn to learn about people and sort of enter into their space, we will never get there. Jackson  Bliss: That's actually one of the arguments I make in this essay, which is not only would we erase some of the greatest literature written by writers of color if we decide we don't like the characters, but, more importantly, we lose our critical thinking skills and our empathetic ones, because this requires us to learn from the other, whoever the other is for us. Jackson  Bliss: I think that's my issue with likability, is it's become this eroticized literary metric, as if infatuation is actually a legitimate metric to analyze the literary value of a work. Frankly, I don't give a (beep) whether someone loves a book of mine or not. What I care about is if they can enter into it, if they can learn from it, if they can go someplace new, from the end of the book to when they started. To me, that's, in some ways, almost more important. Jackson  Bliss: Whether I'm friends with a character, whether we're besties or not is ... I could give two (beep) about that. But it's becoming a sort of standard comment to make in workshop, and I do my best to sort of interrogate that a little bit. But I feel like we have now reached a point in our culture where not liking something, in our eyes, gives us permission to essentially dismiss it. Jolie Sheffer: We're going to take a quick break. Thanks for listening to the Big Ideas Podcast. Intro: If you are passionate about big ideas, consider sponsoring this program. To have your name or organization mentioned here, please contact us at ics@bgsu.edu. Jolie Sheffer: Hello, and welcome back to the Big Ideas Podcast. Today I'm talking to Dr. Jackson Bliss about fiction, form, and mixed-race identity. You prepared a reading for us called The Amnesia of Junebugs. Can you tell us a bit about the piece you're going to read and where it fits into the work as a whole? Jackson  Bliss: Sure. So this is a tiny excerpt from one of four principal characters. This character's name is Winnie Yu, and he's essentially a culture jammer. So he creates political graffiti, and/or he takes ads from companies and essentially turns the ads against themselves by adding different color, texture to essentially make the ad self-indict itself. It's a very sort of critical novel, as a whole, on capitalism and sort of begs for the role that public art plays in a sort of taking back of streets that are essentially corporatized, in a lot of ways. Jackson  Bliss: So this tiny part here is just a tiny sort of backstory of Winnie describing the first time he realized he did not live in Asia, but that he actually lived in New York City, a tiny secret he didn't realize at the time because he had never taken a train to another borough. So that's sort of like the context for this work. Jackson  Bliss: Winnie had lived off of the Bowery his whole life. Didn't even know that New York was in America until he was six. His parents spoke Cantonese, Taiwanese. Everyone in his fam did. The market signs on Grand Street, where his mom bought her groceries, were written in simplified Chinese characters. His neighbors watched Cantonese soap operas in the afternoon. Old men hung out at Mr. Chang's corner store at night, playing dominoes and drinking ginseng tea and Viper Whiskey, cracking jokes in Wu. His super was Fujian, the cheapest mother (beep) he'd ever seen, who tried to fix everything with duct tape, tinfoil, and DAP. Jackson  Bliss: For the longest time, Winnie believed he lived in Asia. He thought white people were the tourists. But in one day, Mama changed the rules of his storytelling. By taking the subway together for the first time to Brooklyn, she thought it would be cool for them to go over the Manhattan Bridge, and it kind of was. He'd never ridden over a bridge before, didn't understand that New York City had islands or that they were connected together by bridges, the vertebrae of the urban body. It took him a long time to see that subway lines are veins; the major subways, arteries; the streets, capillaries. Jackson  Bliss: Until that fateful and transformative day, Winnie didn't know he lived in a fractal world, in a city of billboards, insects, damaged vascular systems and wandering spirits. He didn't know that New York is an ethnographic sponge, silently absorbing the screenplay of immigration. He didn't know that New York is a megapolis, its streets, highways, and bridges resembling the human nervous system. NYC is an urban hive imploding with refugee stories, diasporic longing, bustling multiculturalism, and inherited fortune, a collapsing urban space where culture dances between neighborhoods and history intersects ethnicity, creating abstract forms that interact, but don't touch each other, like a kaleidoscope. Jackson  Bliss: Until that day, Winnie thought New York was only ten blocks, from Mr. Chang's bodega all the way to Good Times Dry Cleaners. He thought New York was the unofficial capital of Taiwan, a nation and an island and a freaky global village. He was half right, actually. Jackson  Bliss: The straight (beep) is that the day they took the train over the Manhattan Bridge, Mama was showing him the way to St. Ursula's School, were Asian, Latino, and black kids wore unforgiving white polo shirts with stiff colors that dug into their necks like plow yokes and old man pants with creases running down their legs like highway meetings that resisted wrinkles and clumps and refused to be rolled up at the ankles at a school were Asian, Latino, and black girls were forced to wear skimpy plaid skirts, even in the spring, where poor students of color pretended they were rich, rich white students pretended they were gangsta, and all the teachers spoke Midtown English. It was an academy of impersonations and a theater of the restless mind. Jackson  Bliss: The day Mama enrolled Winnie in Catholic school and filled out the paperwork for a St. Martin de Porres Scholarship for Immigrant Students, a detail and a reference he wouldn't even understand until he was in high school, when he realized his mom had accidentally taken away his fixed identity and shoved him into a chrysalis of his own making. As they passed over the Manhattan Bridge again, he didn't understand how the whole world he'd seen that day could all be one city, didn't understand why all the Asian people disappeared, or so it seemed, why no one spoke his family's languages anymore. Jackson  Bliss: Even now, as a 30 something, he still couldn't figure out how his parents had managed to sequester him from the class struggle, the racial conflict, and the spatial tension of inner-city life for as long as they did. What he did know is that after Mama had enrolled him for classes, smoothed his hair back for a school ID, bribed him with feng li su cakes from a Taiwanese Baker he'd never seen before to celebrate his enrollment, and then led his (beep) back to their apartment, pineapple paste caramelized in his teeth, Winnie realized that he didn't know (beep) about his American life anymore, except he wasn't living in Asia, and he certainly wasn't Catholic. Jackson  Bliss: As far as birthdays went, turning six (beep) sucked, the worst thing to happen to him, at least until explosive acne in 10th grade, at least until his Ba peaced out of his life for good too soon. Jolie Sheffer: You really set the scene of this world within a world, where a child could grow up in New York's Chinatown without realizing they were even in the US. You've lived in the Midwest, on the West Coast, in Japan, Argentina, and Burkina Faso. How do you approach the idea of setting a sense of place, in this story in particular and generally in your work? Jackson  Bliss: One thing is that I think places are characters. I have felt this way pretty much ever since, I think, I watched my first Bertolucci film. It's something I learned very early on, and I feel, as a writer who considers himself to be a sort of stylized urban maximalist, it's impossible for me to define or construct characters without understanding the sort of cultural context in which they grew up and evolve, because that's true for me, and that tends to be true for them. So, for me, setting and place are interconnected with voice and identity. Jolie Sheffer: What kind of research did you do for that piece? Jackson  Bliss: Mostly just walked around Chinatown a million times. I wrote a lot of this novel when I had an editorial internship at Hachette Books in New York City. I also visited in the fall of 2006. So I spent a lot of time just walking around New York City, taking the subway, looking for sort of famous graffiti that people were talking about. I spent a lot of time eating vegan dim sum in Chinatown. I feel like sometimes the best way to do research for cities is simply live in the city and see how it breathes. So a lot of it, yeah, was simply walking around, observing, taking notes, talking to my New York friends, asking them questions, asking my Chinese American friends questions. But most of it was just walking, breathing, living, eating in those places. Jolie Sheffer: Your characters always have very distinctive voices. You were just talking about character, but in the characters in your stories, how do you think about approaching developing their particular patterns of speech? Jackson  Bliss: I feel like, a lot of times, the verbal tics, they take time, because who I think a character is in the beginning when I write them is almost never who they are at the end, and then it's sort of up to me to go back and sort of reconcile the voice, so to speak, because there's this implicit rule in fiction where a character's voice has to actually be more consistent than people's voices in real life, right? Because in real life, we, for example, especially people I know who work in different sort of social, professional, racial, and cultural spheres, they code switch all the time, and this can seem inauthentic to people, but it's very normal. But in fiction, you actually have to have a more sort of reconciled voice that readers won't see as too contradictory. Otherwise, they won't think it's the same person. Jackson  Bliss: So this is one of those sort of secret constraints that most fiction writers I know struggle with. How do I keep a voice? How do I construct it, and then how do I maintain it? So I think a lot of times, I will read my dialogue out loud, and I'll just basically understand the character through their orality first, right? How do they sound? How do they feel? Jackson  Bliss: Then, I think, from there, I make modifications, especially when these characters make important sort of plot decisions that might alter their voice or their modulation in some way. For example, I once wrote a character, and then I realized halfway through, "Oh, this character isn't going to be Portuguese-Japanese. They're going to be" ... I don't know. I don't know what I decided, French-Japanese or something, and that changed some of the vocabulary, right? That changed some of the sort of place names and cultural references. Jackson  Bliss: I have another novella that's actually interconnected with this novel, and, for the longest time, it was written from a Senegalese American point of view, because I had spent a decent amount of time in West Africa. Then I realized I was interested to see what would happen if I changed the character and made him mixed-race and made him Japanese Senegalese American. I did that, and it suddenly transformed his voice. There were certain beats that didn't work anymore, right? There's certain slang that doesn't make sense anymore, and there are other things that had to sort of have a presence. Otherwise, it was just a whitewashed mixed-race character. Jackson  Bliss: I think that's the general process, but it always begins and, I think, ends with me simply speaking, because I need to literally hear the voice to understand it on the page. Jolie Sheffer: Lots of creative writers read their work in public, right? That is a kind of professional part of the job. You have a very particular kind of performative approach. How do you think about preparing what you're going to read, how you read, and how do you think that shapes your readers' or listeners' perception of the work? Jackson  Bliss: Yeah, I'll confess right now I'm a speech and debate geek, so in high school and even college, I was a debater, and I was one of those extemporaneous speakers. So I have a long history of sort of seeing the value that public speaking makes. Jackson  Bliss: But I also think that most of my important characters, the ones I'm really invested in emotionally, almost always have some level of identification with their language. So that's where the voice will end up being so sort of important and sort of fleshed out, and I've noticed in the past couple of years that when I give readings, I tend to read either the character or passages from a longer work that allows me to sort of take a very performative, language-driven sort of role in my reading. Jackson  Bliss: For that reason, if I've written a really difficult extemporaneous-feeling work that's actually highly edited and revised, that is really prolix, I guess, and heavily language-driven, I may not read it, especially if, for example, I can't find space to breathe. I have certain work that was pretty much meant to be read, even though I didn't realize it. Jackson  Bliss: So, for me, I think a lot about reading as performance, I think a lot about performance as text, and I think one of my big complaints with a lot of readings I go to is they tend to fall in a couple camps, which is, one, either they just read in this really monotone voice and they have this kind of arrogant idea that work should speak for itself. But the problem with that is what if you suck? What if you're awful? What if everyone's falling asleep? In that case, shouldn't they just stay home and read the book? Why did they waste their time to go out to this reading, where you became the greatest American sleep aid? But on the flip side, I've also seen people who sort of take it really far, and they act like they're basically unpaid beatniks. Jackson  Bliss: So I feel like every writer who ends up becoming a sort of social public figure on some level, which is inevitable once you start publishing, they have to negotiate the sort of reading ethos. For me, it's always been really important. I want readers and listeners to hear the rhythm, because musicality informs a lot of my writing, and that's from my music days. But I also want them to be transported, on some level, by my reading. I want them to feel the language and the cadence and the emotion. Jackson  Bliss: I used to get shamed when I was younger for my performances. People would be like, "Yeah, that was really something." Then you would go to their reading, and half the people were on their iPhones, fiddling away. So, for me, I see my readings as a performance, and I think that to ignore the audience is to be incredibly deceitful and to be delusional. You aren't reading to yourself. You're not reading to your partner. You're not reading to your little Shitzu. You're reading to people, and their experience should be something you think about, because that process is dialectical. It's not just about you, and it's not just about them, but there's an interplay that I honor and that I love. Jackson  Bliss: So yeah, I think a lot about how to read, when to read, and I always practice my readings because of that. Jolie Sheffer: Thank you so much, Jackson, for joining me today and sharing your work. Jackson  Bliss: Oh, it was my pleasure. Jolie Sheffer: You can find Dukkha, My Love and more of Jackson's work at his website, jacksonbliss.com. Jolie Sheffer: Our producers for this podcast are Chris Cavera and Marco Mendoza, with sound engineering by Jackson Williams. Research assistance for this podcast was provided by ICS intern Taylor Stagner, with editing by Stevie Scheurich. This conversation was recorded in the Stanton Audio Recording Studio in the Michael and Sara Kuhlin Center at Bowling Green State University.  

The COVID-19 outbreak is unprecedented. How do we begin to process what we are all experiencing? On this episode of Latino Rebels Radio, we welcome Daniel Colón-Ramos (https://twitter.com/dacolon) , professor of cellular neuroscience at Yale and co-founder of Ciencia PR (https://www.cienciapr.org/) , to talk about what the science is saying and what we can learn about the pandemic. Featured image: In this March 19, 2020 photo, the Manhattan Bridge is seen in the background of a flashing sign urging commuters to avoid gatherings, reduce crowding and to wash hands in the Brooklyn borough of New York. (AP Photo/Wong Maye-E)

A CAPTIVATING COLLECTION OF NUDE PHOTOGRAPHY AND PERSONAL NARRATIVES IN THE NEW BOOK, I AM - CELEBRATING THE PERFECT IMPERFECT, DRAWS A SPOTLIGHT ON THE AGELESS BEAUTY OF 121 WOMEN OVER THE AGE OF 40 What is age anyway? We are all ageless spiritual beings continuing to explore and celebrate our shared journeys. In I AM - Celebrating the Perfect Imperfect, photographer Angelika Buettner celebrates ageless beauty through the voices of 121 women between the ages of 40 and 99. The beautiful photography book pairs nude photography of the women with essays, quotes and poems that depict their powerful stories. To challenge the stereotypes of beauty and age, Angelika uses her camera as a therapeutic tool and instrument of social commentary, and in doing so, she encourages women to embrace their femininity. The book features portraits of strong women who dare to step out of their comfort zone. One of the profiles is around Chiara D’Agostino, who is photographed on pages next to her emotional personal story about her journey of self-love as a result of her battles with breast cancer. “Am I still a woman without breasts?” Chiara asks. “I’m the same person inside [without them], and I believe we shine from the inside out, so sexy and beautiful is how I feel about myself.” Rather than creating another nude book where women are portrayed as sexual objects, Angelika’s vision was to empower women aged 40 and older to feel more visible. She found women from all walks of life and captured them in various urban and suburban settings, from shooting in icy snow and on the Manhattan Bridge, to taking photos on a roof, in the outdoors and more. None of the images have been retouched, and no makeup artist or stylist was involved. Contrary to her regular approach to photography, Angelika had no staff at the shoots for the book – she conducted one-on-one sessions to create a comfortable and intimate experience for each of the women.

SEASON 2: EPISODE 4 Meditator Kate Johnson explores the connection between car horns and anonymous comment sections. ABOUT THE GUEST Kate Johnson teaches classes and retreats integrating Buddhist meditation, somatics, social justice and creativity at the Rubin Museum in New York, the Institute of Contemporary Art in Philadelphia, Spirit Rock Meditation Center, the Kripalu Center and the Omega Institute. Kate works as a culture change consultant, partnering with organizations who are pursuing noble goals to achieve greater diversity and sustainability. She is also an utterly unprofessional dancer and performer who earned a BFA in Dance from The Alvin Ailey School/Fordham University and an MA in Performance Studies from NYU. ABOUT THE HOST Neil Goldberg is an artist in NYC who makes work that The New York Times has described as “tender, moving and sad but also deeply funny.” His work is in the permanent collection of MoMA, he’s a Guggenheim Fellow, and teaches at the Yale School of Art. More information at neilgoldberg.com. ABOUT THE TITLE SHE'S A TALKER was the name of Neil’s first video project. “One night in the early 90s I was combing my roommate’s cat and found myself saying the words ‘She’s a talker.’ I wondered how many other other gay men in NYC might be doing the exact same thing at that very moment. With that, I set out on a project in which I videotaped over 80 gay men in their living room all over NYC, combing their cats and saying ‘She’s a talker.’” A similar spirit of NYC-centric curiosity and absurdity animates the podcast. CREDITS This series is made possible with generous support from Stillpoint Fund.  Producer: Devon Guinn  Creative Consultants: Aaron Dalton, Molly Donahue  Mixer: Andrew Litton  Visuals and Sounds: Joshua Graver  Theme Song: Jeff Hiller  Website: Itai Almor Media: Justine Lee Interns: Alara Degirmenci, Jonathan Jalbert, Jesse Kimotho Thanks: Jennifer Callahan, Nick Rymer, Sue Simon, Maddy Sinnock TRANSCRIPTION NEIL GOLDBERG:  My favorite New York biking experience is going over the Manhattan Bridge into Brooklyn. There's that long, gentle curve as you exit into Brooklyn, and you also don't have to pedal because you're ... KATE JOHNSON: Going down a hill. NEIL:  ... going downhill. KATE: I know what you're talking about ... NEIL:  I live for that. KATE: ... down to Jay Street. NEIL:  Yeah, exactly. And I also love that moment, especially at night, coming from Brooklyn into Manhattan on any of the bridges, and when you reach that midpoint where you can stop pedaling, you're over the water, and you can basically just glide all the way back into Manhattan. KATE: Yeah, from the peak, right? NEIL:  Yeah. KATE: Oh yeah, that is beautiful. Yes. I actually crashed my bike once on that because I was just having this peak moment as I was looking out at the water, then I hit the side and scraped my knee and hobbled the rest of the way. NEIL:  Hello. I'm Neil Goldberg and this is SHE'S A TALKER. Today, I'll be talking to meditation teacher Kate Johnson. But first, here's the premise of the podcast, and I like to say it's better than it sounds. I'm a visual artist, and I have this collection of thousands of index cards on which I've been jotting down thoughts, observations, reflections for a good 20 years. They were originally meant just for me, maybe to hold onto something I wanted to remember, or maybe to use in a future art project. But in SHE'S A TALKER, I'm using them as prompts for conversations with some of my favorite New York artists, writers, performers, and beyond. NEIL:  These days, the cards often start as recordings I make into my phone here and there throughout the course of the day. Here are some recent ones: English. Double letters are okay, triple letters are too much. I'm kind of surprised Trump likes Sharpies. Have to get home to feed one animal to another animal. NEIL:  I'm so happy to have as my guest, Kate Johnson. Kate teaches classes and retreats that integrate Buddhist meditation, social justice work, and creative practice at places like the Rubin Museum, the Institute of Contemporary Art in Philly, Spirit Rock Meditation Center, and the Kripalu Center, among others. She also describes herself as an utterly unprofessional dancer who earned an MA in performance studies from NYU. We talked in January at a recording studio at The New School near Union Square in New York City. NEIL:  I'm so happy to have Kate Johnson with me today on SHE'S A TALKER. Thank you, Kate, for being here. KATE: Oh my gosh, thank you so much for having me. NEIL:  I want to start with a couple questions I ask everybody. The first question would be, what is the elevator pitch for what it is you do? KATE: Oh my God. I am a mediation teacher and organizational consultant, and I often work at the intersections of spirituality, social justice, and creativity. NEIL:  Whoa. That is an elevator pitch. KATE: Right? NEIL:  That absolutely is. KATE: I pulled it together. NEIL:  I can really see how that triad could inform each other. Spirituality, social justice, and creativity, yes? KATE: Yeah. I mean, I also feel like those are the things that I just like and am good at, so there's not a whole lot else, I think, that's for me in this world. I try to just make them go together whenever I can. NEIL:  Right. Oh, isn't that what we're all doing? Just make the things that we like go together. Do you have parents, grandparents who are still around? KATE: Yeah. I have parents who are still around. NEIL:  What, let's say, would your parents say to their friends when their friends ask what you do? KATE: Oh. My mom would say that I'm a spiritual teacher, and my dad would say that I'm a writer. NEIL:  Oh, that's interesting. What's that split about? KATE: Well, my dad was a writer. He was a journalist, and so I think that he always really supported my love of language and saw that part of me. Then my mother, recently she started getting really into meditation, so she practices twice a day, she comes to mediation retreats that I teach. I don't know, I also feel like there are certain people in life where when you talk to them, your wisdom kind of comes out, and I think that my mom and I are that for each other. NEIL:  Oh, that's wonderful. KATE: So I see her as a spiritual teacher, too. NEIL:  Do you get nervous when she comes to a meditation retreat? KATE: A little bit. I mean, partially because I kind of have an internal commitment, even when I'm in meditation spaces, to really be honest about the way that I hope that our spiritual practice can inform our political lives. So oftentimes that means talking about my experience as a black, mixed race woman, and I have a white mommy. And so part of, I think, what's spiritual about our relationship is the willingness not to give up on each other as we have these conversations about what it means for me to be a black woman in America, what it's like for her as a mother of black children, and the ways in which, as a white woman living in kind of a middle-upper class area of Chicago, the things that she doesn't see or the attitudes she unconsciously picks up she didn't mean to. And so I think it's amazing. It's also frustrating in some ways to be in this long-term relationship with this person where we're not going to give up on each other because we have different views. KATE: But just to go back to your question, I'll often look out and be talking about experiences of racism, both within meditation centers and outside, and I'll look out at her and just wonder, "What's she thinking?" Does she feel bad that she couldn't shield me from those experiences? Is she feeling like, "Is Kate making this up? I don't know what she's talking about." So sometimes I'll try to read her face, but most of the time I'm just happy she's there and that she's ... I mean, she raised four children pretty much by herself, so I'm happy she has a little time to relax. We probably terrorized her. NEIL:  You mentioned not giving up on each other. I mean, that's such an interesting way to put it. KATE: Well, every family's different, everyone's relationship with their parents is different. A lot of the people that I interact with often in my social life, they have a relationship with their parents, and I think sometimes with the elder generation in general, where there's a sense of ... I don't know, kind of objectifying them. Like we might have seen them once and then saw a mixed bag, as we all are, someone who in some ways has it together or is loving and in other ways maybe carries outdated notions of themselves or other people, or uses embarrassing language to describe a particular ethnic group. Then we just kind of ... There's this dulling of the perception that happens after that where we no longer are seeing that person, we're seeing our memory projecting it out and then reacting to our own projections. And so- NEIL:  Oh my God. Story of my life. KATE: So I think not giving up is being, in some ways, willing to allow each other the grace that is actually offered to all of life, which is that we're all always changing and to be awake to each others' evolving experience and to be willing to be honest about what our experience is and shape each other. I think that's the other way in which I've seen friends give up on parents, is that they stop really telling the parents who they are. We fear we may not be accepted or parents just don't understand, that kind of thing, and sometimes that's true. Sometimes we have that fear and it's confirmed, and that's really hard. So it's like you can't have your whole sense of worth wrapped up in what a parent thinks, but also what if they couldn't see us once and then one day they could? And we kept kind of showing up and allowing ourselves to be seen, if that's not dangerous to who we are. I like to be surprised. NEIL:  Shall we go to these cards? KATE: Cool, yeah. This is actually the part that I'm most excited about, so ... NEIL:  All right, well. The first card I have is, "Patience always feels somehow wrong." KATE: The wrongness. I relate to the discomfort of patience. I think one of the blessings of Buddhist meditation training is it kind of gets drilled into your bones that just because something is uncomfortable doesn't mean it's wrong. I think to the point where it can even go a little too far and people can become scared of pleasure, and that's also not the point. In the Buddhist tradition, the word that's translated as patience is called khanti. It's K-H-A-N-T-I and it's one of the virtues, and so it's not different than other traditions where patience is a virtue. We often translate it as patience, but it means something like forbearance, also. KATE: So for me, when I learned patience as a child it was like holding on like hell until you get what you want, like, "If you're good, then you can have this treat when you get home." And so you just hold your little hands, you just sit on them and wait until finally, "Oh, I get what I want now that ..." I have a sense of relief and the patience that is talked about in the Buddhist teachings, which I also relate with ... and it's a little bit of a perspective shift, but it's like not just patience until I get what I want, but the patience that one has when we may never get what we want, or whether what we want is gone and will never return. The kind of patience that we have with our bodies as they get older and we go to do something that we used to do effortlessly. The suggestion, I guess, is that we can meet that experience with patience. NEIL:  Yeah, there's so many different types of patience, too. For a long time, I supported myself in a day job that involved a mix of computer graphics and IT work. Working with people around computers brings up, for me, the deepest level of patience or challenges to patience. KATE: Because they're not going fast enough? Is that- NEIL:  You could take the keyboard and mouse out of their hands and just do it absolutely in two seconds, but it is important to develop that muscle memory of using the mouse and the keyboard and da da ... going through the steps and having it be imprinted on your body in that way. KATE: Yeah. I mean, we're talking and I'm like, oh, so much of patience for me is about pace. It's about I either want a task to go faster than it's going, I would like time to go faster than it's going, and the frustration that it's actually not ... It's difficult. It's difficult. I don't know, would you say it's wrong? NEIL:  That really segues, interestingly, into a card I have about honking. "People honking are not where they want to be." KATE: That's deep. I mean, that's really deep. Yeah, I mean, gosh, to just be able to make a noise and be like, "I'm here and I don't want to be." NEIL:  Right, exactly. KATE: It makes me want to have a horn to just carry around and be like ... NEIL:  Oh my God. KATE: Yeah. I don't know. I mean, I think it's like they don't want to be here, but also, "I want someone to know that I'm here and I don't want to be. I want to make that heard. I want to make that visible." I can relate to that feeling. NEIL:  Oh my God, yeah. God, that horn would be on frequent blast in my life. KATE: Yeah, yeah. Or when you see a child have a tantrum and it's just like, that's them honking their horn being like, "Something is not right." NEIL:  Right, right, right. That's so true. Oh my God, the horn is metaphor. But I bike a lot, and I was stopped at a light where someone was honking the horn, and the biker next to me ... I love the conversations you'll have occasionally at a stoplight with someone else in the bike lane. He said, "Car horns should be just as loud inside the car as outside." KATE: Yeah, that's a cool idea. I mean, I can't imagine any car manufacturer picking that up, but you know. NEIL:  I know, right. I think that's also a connection between honking and vulnerability. As a bicyclist, do you ever kind of make that connection? I often feel like when people are honking at me, they're actually expressing a fear of hurting me. KATE: Oh, oh. NEIL:  Have you ever had that, or ... KATE: Yeah. I guess it can be like that the same way a parent will yank a kid, like, "Why'd you do ..." When they're doing something that they feel is dangerous. Yeah, I think the feeling of being in this giant metal thing that's hurling through space that could totally kill somebody is really kind of jarring. NEIL:  Absolutely. KATE: I mean, I love that you're giving people the benefit of the doubt like that, like, I startled them and they don't want to hurt me. I think that's a wonderful attitude to take. I didn't often think that. I often felt like there was so much protection or something that, I don't know, they felt they could do whatever they wanted. I often would pull up next to a car at a stop light and look over and when the person looked at me, the impression that I had is that they forgot that they could be seen inside this compartment. NEIL:  Oh, right. Yeah, yeah, yeah. KATE: So it almost is like an anonymous comment section or something where they can say whatever they want with their ... and then no one has to know it was them that trolled this nice biker. NEIL:  Honking is like the anonymous comment section. That's fucking brilliant. The card says, "Childish laughter at Buddhist lecture." You know what I'm talking about? Any kind of spiritual lecture ... First of all, the teacher will often embrace a kind of, "The bird doesn't worry about da, da, da." You know, say something kind of like that. KATE: Oh God. Yeah. NEIL:  And then in turn, the audience will laugh but it's not funny, and it's a childish kind of laughter. KATE: I was talking with a friend about this recently because we were talking about the kinds of Dharma talks or spiritual teachings that become ritualized to the point that this person is telling a story that they have actually told many, many times. You've heard it on a podcast and you've heard them say it at last year's retreat and they're telling the same story and there's the same punchline and you laugh again and it's like, "Why?" We were wondering if it's less about novelty and more about familiarity, kind of like there's a sense of, "Oh, I know what's coming and it's comforting to me and I laugh because I know what to do here." NEIL:  I hear that. It's why we like sitcoms. You know the joke's about to come ... certain types of sitcoms. KATE: Right. And it also depends on what's coming before it because sometimes I think that Dharma talks can also bring up heavy stuff, like death and aging and heartbreak of various kinds. And so it builds up a kind of energy that can actually be difficult for us to contain, and so there's this sense of it's powerful, but it's almost uncomfortable because it's building up this energy, then wanting it to release in some way. So even if the joke is bad, just being excited that there's a release valve that you can pull. NEIL:  Next card. "How I sometimes keep my shoelaces untied as a kind of mindfulness reminder." I'm aware that my shoelaces are untied as I'm walking. They become untied, it's not like I purposely don't tie them. They become untied and I kind of hold off on tying them just as a way to be like, "Got to walk mindfully." KATE: Oh wow. What effect does it have, or how does it work? Does it help your mindfulness? NEIL:  Absolutely because it's like you don't want to trip. It then becomes a walking meditation. But also, it really makes you aware of how many people will tell you, "Hey, your shoelace is untied." Which is why New York is great. KATE: I was thinking about that. I was like, "Oh my God, do you know what you're doing to people? NEIL:  Right, exactly. KATE: For me, I get so scared when I see someone with their shoelace untied. I'm like, "You're going to fall." But I kind of love that. I also think it's ... Walking meditation can be kind of boring. I mean, all meditation can be kind of boring, so it's like ... NEIL:  Right, exactly. KATE: ... juicing it up a little bit, living on the edge, walking meditation. I like it. NEIL:  Because you could trip, as mindful as you're trying to be. KATE: Right. The wind blows a different way, it swings that little lace underneath you're other foot, and then you're just- NEIL:  Exactly, you're down. KATE: Yeah. But I'm glad you haven't fallen yet. I think that's cool. NEIL:  May you not fall. KATE: May you ever be upright. NEIL:  Do you have any little tricks like that, like meditation hacks? KATE: Yeah. I mean, I think Thich Nhat Hanh's tradition is really amazing for this kind of thing because they talk about mindfulness bells and the way that you can ... And bell is a metaphor, it's something that makes you remember, and so you just ... It can be a bell, like every time your phone rings, you take a deep breath, feeling your feet on the ground before you pick it up. Or every time you touch a doorknob, you allow yourself to begin again, whatever that means. There's ways to do that. NEIL:  Oh, I love that. KATE: I think for me now, a lot of my mindfulness bells are internal. I'll actually notice a disturbance in the field. I'll notice that my chest tightened up a little bit or my belly kind of swerved, or I feel something inside and use this moment to kind of actually pause and notice what happened there, and if necessary, to care of it. I'm big into letting my body talk to me these days as a practice, after having really ignored it for many, many, many years. I'm like- NEIL:  As a dancer, or in dance work? Or just as a human being, or ... KATE: Yeah, definitely in dance work, although ... I was going to say, although I don't know if it started there. I might have ... But in dance for sure, there were ways of moving my body that didn't feel good, but then I thought, "Well, this is what the choreographer wants, so I'm going to do it." There's an element of dance training that is about don't pay attention to what you're feeling and just get it done, and that is capitalism. That's not- NEIL:  Dance is capitalism. That is hilarious, oh my God. KATE: I think, right? It's like what matters is production and not necessarily your human feelings and needs, and so as humble as it is, actually paying attention to what your body is feeling and being willing to attend to that ... at least with your attention, if not with your actions ... is kind of this radical anti-capitalist act. NEIL:  I love it. KATE: For some reason, from a early age I was really drawn to these European concert dance forms. I was really into ballet and then I was really into Martha Graham technique and some parts of the Horton technique, which I ended up in when I went to The Ailey School. They're not actually meant for everybody ... NEIL:  Yeah, everybody. KATE: ... and I'm not even sure if they're meant for anybody. It's kind of this idealized form that we're all ... So anyway, I don't know if feeling or feeling good is always a part of dance for the dancer. I think sometimes it's helping other people feel something. But I don't think that's what dance has to be and I don't think it's what it is at it's best, but I think somehow that's the kind of dance that I end up doing most of the time. NEIL:  That's an interesting way of thinking of it. It's almost like this Christlike thing of, "It doesn't feel good for me, but it makes someone else feel good." KATE: Feel amazing. NEIL:  Right, yeah. "I could imagine thinking as I'm dying, 'Here we go again.'" KATE: Where did this come from? NEIL:  I just had the idea it could have a sort of familiarity to it, in the same way that falling asleep has a familiarity to it or something. I mean, of course, the beauty of it is I'll know but I won't be able to have a followup podcast episode about it. I think. KATE: You'll just have to send us a sign or something. NEIL:  Yeah. And it's not even for me about necessarily believing in reincarnation, which I don't know if I believe in. But I don't think beyond that. KATE: The thought that I had just now was like, I hope I'm familiar enough with death by the time I experience it myself that I can think, "Oh, this is normal, this is natural, this is the way of all things," instead of, "Oh, why is this happening to me?" Which, I think, from talking to people who volunteer in hospice and stuff, that can be the thought. Like, "Why me, doctor? Why me?" And it's like, "Well, you're 90." NEIL:  "Why not you?" KATE: But yeah, so there's a lot of Buddhist practices that are preparations for death and dying, and some of them are visualizations, some of them are reminders. There's one that's, "I am of the nature to grow old. I am of the nature to become sick. I am of the nature to die. Everything and everyone I love will be taken from me and I am the owner of my karma, it's my only true inheritance." KATE: I mean, I think that one of the things that make Buddhism a hard sell is that it can feel like a downer to be like, "Okay, we want to talk about suffering. We're going to talk about impermanent." The paradox is that somehow being in touch with those things lends a sense of, "Oh, I'm actually alive now and this is what life is," and maybe even a sense of urgency around understanding, "This will not always be the case, so I don't just have forever to bumble along until I finally decide I'm going to do the thing that I need to do." And that leads to a kind of freedom and happiness that denial of death and denial that things are changing actually ... We will never win that game. NEIL:  Right, oh wow. Yeah. KATE: We will never succeed. This is a setup, actually, but it's a setup that you can buy a lot of products and goods on the way to realizing that's possible. So it's good for the economy, but it's not necessarily good for our spirits. NEIL:  Capitalism again. What's a bad X you'd take over a good Y? KATE: A bad X I'd take over a good Y. So first thought is a bad day sober I'd take over a good day drunk. NEIL:  Are you in recovery, can I ask? KATE: Yeah. Almost nine years, which means I was definitely meditating before I got sober. I was trying to become less attached to wine without actually having to stop drinking wine. But that didn't work out as well and I think that the meditation practice helped me to get real enough with myself to be like, "Oh, this is actually never going to work out. No matter how I dress it up or dress it down, it's never going to work out for me." Yeah. NEIL:  What is it that keeps you going? KATE: Oh man. I think it changes. A couple of answers came to as I was letting your question resonate, and one is a sensory sense of smell kind of thing, like being able to smell a different future that's ... I think it's something ... What keeps me going feels like it's something in a future that is looking back or calling to me from a future moment, saying, "You really want to get here, actually. Keep going. I love you. Keep going. You're doing great." NEIL:  And that connects to smell for you? KATE: Yeah, it's like a whiff. Having a whiff of something that is just kind of like cooking. I genuinely want to see what's going to happen. Like, "What's going to happen today?" It's very close to anxiety, but it's not anxiety. I know that there is kind of a way that anxiety can get people up in the morning for momentum, and I had that experience also, and this one is just a half-step back from that and it feels a little bit more sustainable for my system just to be like, "I wonder what's going to happen?" NEIL:  That seems like a beautiful place to end it. Kate Johnson, thank you so much for being on SHE'S A TALKER. KATE: Thank you. Thanks for inviting me. It's been awesome. NEIL:  Thank you so much for listening to this episode of SHE'S A TALKER. Before we get to the credits, there were some listener responses to cards that I'd love to share. It's a new thing we're doing in season two. NEIL:  In my conversation with artist and baker Andy Hawkes, we talked about the card, "Leftovers as a kind of embodied memory." In response, Lex Brown wrote, "More than memory, leftovers make me think of the seemingly endless future of packing my lunch in middle and high school. I thought it would never end. Gladware, monotonous future food, foggy plastic lids, leftovers for school night dinner or for lunch the next day." John Pilson wrote, "I feel like the leftover with teeth marks deserves its own category, probably a name other than leftovers. Maybe evidence?" And finally, [Com and See 00:27:59] wrote, "One of my uncles in Hong Kong as a personal rule never keeps leftovers, even if he's making lobster or crab or abalone or delicious meats. It's so ruthlessly unsentimental, it breaks my heart every time I eat at his table." NEIL:  Thanks to everyone who wrote in. I loved all the responses. If you have something you'd like to share about a card on the podcast, email us or send us a voice memo at shesatalker@gmail.com or message us on Instagram @shesatalker. And also, as always, we'd love it if you'd rate and review us on Apple Podcasts or share this episode with a friend. NEIL:  This series is made possible with generous support from Stillpoint Fund. Devin Guinn produced this episode. Molly Donahue and Aaron Dalton are our consulting producers. Justine Lee handles social media. Our interns are Alara Degirmenci, Jonathan Jalbert, and Jesse Kimotho. Our card flip beats come from Josh Graver, and my husband, Jeff Hiller, sings the theme song you're about to hear. Thanks to all of them and to my guest, Kate Johnson, and to you for listening. Jeff Hiller:                       (singing

Most visitors to New York City only explore Manhattan. But what do you do when you want to explore the other boroughs? Local mom Ranjana Armstrong shares what she recommends to do with kids in Brooklyn -- beyond just walking across the Brooklyn Bridge. ON THE PODCAST 00:30 - Talking with Kim and Tamara 04:25 - Talking with Ranjana about Nugget 11:05 - Neighborhoods in Brooklyn 18:58 - What to do in Brooklyn 28:00 - Coney Island/Aquarium 29:20 - When to go 31:20 - Where to stay/getting round 34:40 - Eating out 38:55 - Favorite Travel Gear 40:00 - Coming up next for Ranjana 42:20 - Next Week’s Episode ABOUT RANJANA ARMSTRONG Ranjana Armstrong is the founder of Nugget, a global community for millennial parents to share and discover travel itineraries and ideas for unique family vacations. She's also the co-host and co-producer of two travel podcasts for families: Go With Nugget for Kids and Go With Nugget for Parents. She lives in Brooklyn, NY with her husband and 3 boys. Follow Ranjana on Facebook, Instagram, and Twitter. TIPS FOR VISITING BROOKLYN, NEW YORK WITH KIDS Depending on how much time you have, you might want to stay in Manhattan and the go into Brooklyn for part of your trip. If you decide to stay in Brooklyn, most people stay in DUMBO. Brooklyn neighborhood breakdown: Dumbo is a neighborhood that is on the waterfront and is located right next to the Brooklyn Bridge and the Manhattan Bridge. There are great cafes and creative places. Brooklyn Heights is another neighborhood that on the other side of the Brooklyn Bridge. This is a more residential area, but has some cute boutiques for shopping and a nice promenade to walk along the water. Williamsburg is a little further north and used to be more of the hipster area. It still has some art scenes, funky shops and people with tattoos. There is also the Domino park that is great for kids. Things to do with kids in Brooklyn: New York Transit Museum in Brooklyn that is a great place to take kids or even just go as adults if you are interested. It is a smaller Museum but still has a lot to offer. The museum is located in an old subway stop! Brooklyn Bridge Park is a great place to hang out. It is located just on the other side of the Brooklyn Bridge. So if you are staying in Manhattan and want to walk over the Brooklyn Bridge you will come off right at the park. Also there is the largest outdoor bouldering area in north America. If you have any interest at all in rock climbing you should definitely check out  The Cliffs. Domino Park is another great area to spend the day with your kids. There is an area with great slides and a good Mexican taqueria right next to it that would be a great place to get lunch. Whether you like museums or not, you should really think about checking out The Brooklyn Children’s Museum. It is really well done and has a lot of interactive things to do with your kids. You are really into the old school amusement park rides you should check out Coney Island. Just keep in mind that it is quite a trek to get there, so depending on where you are staying, make sure it is something that you really want to do. You can also check out the New York Aquarium which is right next door to the amusement park. Depending on the time of year you plan on visiting you may want to look up what is going on in other areas including: Dyker Heights has a lot of Christmas lights that you can see all the different kinds of decorations during the holidays. In Park Slope there is a large Halloween parade where your kids can trick or treat and join the parade. There are also some parks that offer movies in the park and festivals. FAVORITE TRAVEL GEAR Ranjana loves to wear her Patagonia Nano Vest anywhere she goes. It’s lightwieght and can fold up really small. MENTIONED ON THE PODCAST What to do in NYC with kids Local Guide Things to do in NYC kids ultimate vacation guide Podcast The Pilot Restaurant Tacocina Smorgasburg Berg’n Habana Outpost Shake Shack Sweetgreen FOLLOW US AND SPREAD THE WORD! If you liked this show, please be sure to subscribe on iTunes, Stitcher, or Google Play and leave us a review! Have a question or comment? Send us an email at podcast@vacationmavens.com. You can also follow our travels on Stuffed Suitcase and We3Travel, or follow the Vacation Mavens on Instagram, Facebook or Twitter. Thanks for listening!

Last week I walked you through the history of the Guggenheim Museum to mark its 60th anniversary on October 21, 1959, and this week I wanted to point you to a podcast by 99% Invisible, a design and architecture podcast, which worked with the Guggenheim to produce a special audio walkthrough that talks about the history of the building and some of the art that has been displayed in the museum over the years. For instance, you may not have known that Frank Lloyd Wright initially intended for museum attendees to ride an elevator to the top of the building and experience the museum's exhibitions from top to bottom. Learn more about the Guggenheim at 99pi.org and listen to episode 375 of 99% Invisible while you tour the museum. — The Guggenheim Museum Opens on the Upper East Side A few more details this week on the observation deck at Hudson Yards that we talked about in Episode 13 of the podcast: The deck is the glass triangle jutting off the southeast corner of 30 Hudson Yards that the surrounding neighborhood lovingly referred to as a bird beak! The observation deck is called New York Edge and will be the highest observation deck in the western hemisphere at 1,131 feet above street level, surpassing both the observation deck at 1WTC and the former Sears Tower, but still falling far short of overseas marvels like Shenzhen's Ping An International Finance Centre's observation deck that is 700 feet higher. The most striking aspect is the glass floor section at the center of the triangle, offering a view straight down the side of 30 Hudson Yards. Walking to the tip of the triangle-shaped deck will offer views across the entire city, from the new skyscrapers lining Billionaire's Row, full views of the Empire State Building, and a look down the western side of Manhattan all the way to 1WTC. The deck won't open until March 2020, but tickets are already on sale at an introductory price of $36/person for a specific time or $56/person for a daily pass. If you're a New York resident, you can receive a few more dollars off the list price. Both prices are comparable to what you'll pay to rise above the city at One World Observatory or the Empire State Building's observation decks. — Living with a view like that doesn't come without a hefty price tag, either! In PropertyShark's latest data, Hudson Yards ranked as the most expensive neighborhood, pushed to the top by a slew of expensive new sales in newly-opened buildings. For the third quarter of 2019, Hudson Yards sailed past Tribeca to post a median sale price of $5 million — more than twice Tribeca's $2.4 million median price for the same time period. Since PropertyShark's ranking of expensive neighborhoods is based on real estate transactions that closed during each quarter, neighborhoods can jump up the list quite drastically, as was seen in this report when the Lower East Side made an appearance at #8 on the list, jumping up eight places, after a number of units were sold at 250 South Street, a massive 72 story tower that grew along the waterfront at the base of the Manhattan Bridge. Sales during the third quarter in that building alone had a median price of $1.6 million. While you're up on the new observation deck at Hudson Yards, bring a pair of binoculars and see if you can spot some new signage in Dumbo: The former glowing-red Watchtower sign that stood along the Brooklyn waterfront for nearly 50 years will now be replaced with a glowing-red Welcome sign. The architectural renderings show a slightly less ominous font than the Watchtower sign, but the new Welcome sign will still be displayed in bold letters and still feature the LED clock above the sign. The building was sold by the Jehovah's Witnesses for $340 million in 2016 and the new owners are redeveloping the site into a mixed-use complex named the Panorama, which will incorporate shopping and innovative outdoor public spaces. Interestingly, the website for the Panorama still features an earlier rendering of the replacement sign, where the word Panorama would be spelled out in a similar font to the Welcome sign which will now be installed. The Rockefeller Center ice rink recently opened, the Bryant Park rink will open in Winter Village after Halloween, but you may notice a difference at the Central Park rink this winter: After buildings along Riverside Boulevard removed the Trump name from their buildings, two ice-skating rinks in Central Park were some of the last remaining Trump branding in the city, but as skating began this year, the Trump name was covered over or replaced with a small footnote where there had previously been large red letters on the rink's walls. As the Washington Post reports, some of the signs have been amended with a small "Operated by the Trump Organization" note at the bottom, while the skate rental counter simply hung a tarp over the name. According to the Parks Department, the change was unexpected and was the decision of the Trump Organization, which will still run the rinks, but voluntarily decided to downplay their branding for the first time since the 1980s. Although the rinks are still officially named the Wollman and Lasker rinks, the branding is a result of Trump's real estate company aiding the city in completing the construction and renovation project in the 1980s. Skating at Wollman rink is open now at 62nd Street and costs between $12 and $19, and skating at Lasker rink at 110th Street opens on October 27th and costs $9. For a free option, head to Bryant Park or the Conservatory Water pond on the east side at 74th Street, where remote control boats float during the summer, but free ice skating is available once the ice freezes thick enough! If you're not ready to get in the winter mood and go ice skating just yet, keep an eye on our listing of Halloween events in the city! Coming up on Saturday, October 26: The Fort Greene Great PUPkin costume contest for dogs at 11am and the larger Fort Greene Halloween Festival from noon to 3pm. On Sunday, October 27: The Howl-o-Ween dog costume party in Riverside Park at 87th Street at noon. On Wednesday, October 30: The Halloween Pumpkin Floatilla in Central Park's Harlem Meer at 110th Street at 4pm. And on Halloween, the Riverside Park costume parade at the Soldiers' and Sailors' Monument at 89th Street at 3pm and the city's biggest party, the Village Halloween Parade at 7pm along Sixth Avenue in the West Village! Visit agreatbigcity.com/halloween for more info. 16 years ago on October 24, 2003 — The Concorde makes its final commercial flight from JFK Airport to London, ending the era of supersonic travel 1 year ago on October 26, 2018 — A suspect is taken into custody in Florida after mailing bombs to prominent critics of Donald Trump, including two to CNN's Columbus Circle headquarters and one to Robert De Niro in Tribeca 115 years ago on October 27, 1904 — The original 28 subway stations open 56 years ago on October 28, 1963 — Demolition begins on Penn Station, razing all above-ground structures to make way for Madison Square Garden despite outcry from architects and the public 7 years ago on October 29, 2012 — Hurricane Sandy hits New York City, causing a five-day blackout across downtown Manhattan and damage to infrastructure across the city, on Long Island, and in New Jersey 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: 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 Dunbar Playground Parks Events Halloween Fest 2019 — Date: October 26, 2019 at 11am in Bushwick Inlet Park Halloween Pet Costume Party — Date: October 26, 2019 at noon in Jackie Robinson Park Fort Totten Halloween Festival — Date: October 26, 2019 at noon in Queens 40th Annual Halloween Haunted Walk + Fair — Date: October 26, 2019 at noon in Prospect Park Halloween Harvest Festival — Date: October 26, 2019 Movies Under the Stars - Shocktoberfest: Beetlejuice — Date: October 26, 2019 Halloween Fest 2019: Beetlejuice — Date: October 26, 2019 Mad. Sq. Dogs Howl-o-ween — Date: October 27, 2019 Howl-o-ween — Date: October 27, 2019 Riverside Park Howl-O-Ween Costume Party — Date: October 27, 2019 Halloween Pumpkin Flotilla 2019 — Date: October 30, 2019 Glow-in-the-Dark Paint Night: Halloween Special — Date: October 31, 2019 Concert Calendar This is the AGBC Concert Calendar for the upcoming week: Power 105.1's Powerhouse with Migos, Meek Mill, A Boogie Wit Da Hoodie and more are playing Prudential Center on Saturday, October 26th at 7pm. Scotty Sire with Toddy Smith is playing Gramercy Theatre on Saturday, October 26th at 8pm. Bad Bunny is playing Prudential Center on Sunday, October 27th at 7pm. Still Woozy is playing Webster Hall on Sunday, October 27th at 8pm. Hiatus Kaiyote with Rich Medina is playing Brooklyn Steel on Monday, October 28th at 8pm. Melanie Martinez with Lauren Ruth Ward is playing Hammerstein Ballroom on Tuesday, October 29th at 8pm. Trey Anastasio is playing Carnegie Hall - Stern Auditorium on Tuesday, October 29th at 8pm. Bob Seger & The Silver Bullet Band is playing Madison Square Garden on Wednesday, October 30th at 7pm. X Ambassadors is playing Terminal 5 on Wednesday, October 30th at 7pm. Pink Martini is playing Beacon Theatre on Wednesday, October 30th at 8pm. Trey Anastasio is playing Carnegie Hall - Stern Auditorium on Wednesday, October 30th at 8pm. Dead & Company is playing Madison Square Garden on Thursday, October 31st at 7pm. Flatbush Zombies is playing Brooklyn Steel on Thursday, October 31st at 8pm. Dead & Company is playing Madison Square Garden on Friday, November 1st at 7pm. King Princess with Girlpool is playing Terminal 5 on Friday, November 1st at 8pm. Blues Traveler is playing Beacon Theatre on Friday, November 1st 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: The current Times Square New Years Eve Ball weighs 11,875 pounds, about as much as three Checker Cabs! Weather The extreme highs and lows for this week in weather history: Record High: 83°F on October 28, 1919 Record Low: 28°F on October 27, 1936 Weather for the week ahead: Rain on Sunday through next Thursday, with high temperatures falling to 58°F next Thursday. 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 TuneIn Radio, Player FM, Overcast, 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

The Homie, the Graffiti Legend... OJae FYC returns along with his long time friend and graffiti artist DEAR FYC. Stories about bombing in NYC when the city was grimy and nowhere near as pretty as it is now. How it was hitting the Manhattan Bridge for the first time with holes on the catwalk going all the way down to either the street or the water. These guys have a lot of both good and crazy memories that they share here. Definitely a good time. I hope you enjoy this. Respect.

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.

Sure, the Brooklyn Bridge gets all the praise, but New York City's second bridge over the East River has an exceptional story of its own. In this episode, we'll answer some interesting questions, including: -- Why is the bridge named for a 19th century industrial neighborhood in Brooklyn and why is it not, for instance, called the Manhattan Bridge (a name not in use yet in 1903) or the East River Bridge (which was its original name)? -- Why did everybody think the bridge looked so unusually ugly and how did the city belatedly try and solve the problem? -- Why did one population in the Lower East Side find the bridge more important than others? -- Why was the bridge is such terrible shape in the 20th century? Did it really almost collapse into the river? -- And where can you find the original name of the Brooklyn neighborhood -- Williamsburgh? PLUS: How the fate of the two neighborhoods linked by the Williamsburg Bridge would change radically in 115 years boweryboyshistory.com We'd like to thank WeWork for sponsoring the Bowery Boys as well as our additional sponsors Hulu (and the gripping new thriller The Looming Tower) and Audible. For a free 30-day trial (and a free audiobook) go to audible.com/bowery or text BOWERY to 500-500 Support the show.

On Episode #005 of Sounds Like NYC, we sat down with photographer/digital marketing strategist Rob Stamm. Rob gave us a view of what it means to be a photographer in the most photographed city in the world. From climbing the Manhattan Bridge to going underground in NYC tunnels, photography is all about perception and memories attached to that picture. "For me, half of my content isn't even for the public eye... it's about solidifying a memory and a story... it's about who I was with for that photo in many cases what did I have to go through to get to that location"    --Follow Rob Here:Instagram: https://www.instagram.com/Robstamm14 --Follow Us Online Here: Instagram: https://www.instagram.com/SoundsLikeNYC Twitter: https://twitter.com/SoundsLike_NYCFacebook: https://www.fb.me/SoundsLikeNYCTumblr: https://soundslikenyc.tumblr.com/Website: http://soundslike-nyc.com/

On Episode #005 of Sounds Like NYC, we sat down with photographer/digital marketing strategist Rob Stamm. Rob gave us a view of what it means to be a photographer in the most photographed city in the world. From climbing the Manhattan Bridge to going underground in NYC tunnels, photography is all about perception and memories attached to that picture. "For me, half of my content isn't even for the public eye... it's about solidifying a memory and a story... it's about who I was with for that photo in many cases what did I have to go through to get to that location"    --Follow Rob Here:Instagram: https://www.instagram.com/Robstamm14 --Follow Us Online Here: Instagram: https://www.instagram.com/SoundsLikeNYC Twitter: https://twitter.com/SoundsLike_NYCFacebook: https://www.fb.me/SoundsLikeNYCTumblr: https://soundslikenyc.tumblr.com/Website: http://soundslike-nyc.com/

Synopsis Sell sheets have a simple mission. To Sell More Books. They're really just a way to showcase the benefits of your book in a concise and impelling way. And if your sell sheet is created and utilized skillfully, it can become a powerful marketing tool – especially when it's included as part of your media kit. What You Will Learn In This Post 1. You will learn the three most important steps to creating an effective sell sheet. 2. You will learn how important it is to your own financial success to study the sell sheets of other books and authors that are successful. 3.You will learn how imperative it is for you to ALWAYS keep the reader in mind. Introduction Sell sheets have a simple mission. To Sell More Books. They're really just a way to showcase the benefits of your book in a concise and impelling way. And if your sell sheet is created and utilized skillfully, it can become a powerful marketing tool – especially when it's included as part of your media kit. But in spite of the fact that it has a simple mission, is only 8.5” x 11”, and not overly difficult to create, many sell sheets that I see are still not very good. So, here's how to start creating a winning sell sheet for your book: Step # 1. Look At The Sell Sheets Of Other Books It's easy to search Google Images to find sell sheets to look at. If your book is non-fiction, for example, find the sell sheets of non-fiction books. Try to find books that are similar to yours. See what images, and colors, and copy are being used. How are they communicating their message about the book they are selling? How many images are they using? How big are those images on the page? How much white space is on the page? What are the hot points about their book that they are spending the most time on? Thank you to Joel Friedlander of TheBookDesigner.com for linking to this article from his blog Carnival Of The Indies #79 Are they using bullet points? How are they displaying the information? Is the author's head-shot included? Are there any testimonials? Are they using a one-line benefit statement on the top of the page? How is their contact information displayed? If you answer these questions, you will start to learn the differences between an ineffective sell sheet, and one that has the ability to capture the attention of the reader and sell more books. Step # 2. Keep The Reader In Mind Identifying and addressing the reader's needs is the most fundamental concept in book marketing. Your sell sheet will be a complete failure if their needs are not discussed in a convincing way. The reader must truly believe that you have the answers they are looking for. You will not sell books without accomplishing this. Your sell sheet must address these needs quickly and directly. Readers don't have the time or patience for long-winded and flowery sentences. “Identifying and addressing the reader's needs is the most fundamental concept in book marketing.” (Tweet) And they don't have any tolerance for ambiguous or deceptive language. Readers are way too sophisticated for this. They want to quickly understand how your book will benefit them. If you genuinely did the research for your book, and indeed understand your topic, you will certainly understand who the readers are for your book. Therefore, you should easily be able to write copy that shows the readers that you understand them and that you are the one that can help them solve their problems. This will unequivocally help you make an emotional connection with the reader, which will help you sell more books. Springtime in NYC. Taken from the Manhattan Bridge, showing the Brooklyn Bridge and lower Manhattan, by Eric J. Kunz Step # 3. Include A Great Cover Image Having an eye-catching and pleasant-looking book cover is important for many different reasons. Most of the marketing reasons are probably apparent to you already. But, including an image of your book's cover can also help to m...

Today's episode of The Books By Josh Show was inspired by some graffiti that I read while walking the Manhattan Bridge. In this episode, we tackle the topic of changing your approach to get the results you want. 

I veckans program ska vi snurra hundra år tillbaka i tiden och ta en titt på en kvinna som skulle kunna kallas för USA:s första supermodell Audrey Munson. Audrey Munsons proportioner ansågs vara perfekta. Hon jämfördes ofta med den kända grekiska marmorstatyn Venus de Milo, som numera finns på Louvren i Paris. Och för exakt hundra år sedan, 1916, gjorde denna likhet med en grekisk gudinna henne till en storfavorit bland dåtidens kända skulptörer, som blev alldeles till sig i trasorna över denna kvinna som de nästan slogs om att vilja avbilda.Än idag finns resultaten att se över hela USA i Washington D.C, Jacksonville Florida, Atlanta, Georgia. Men framför allt i New York. Det är till exempel bara Frihetsgudinnan som slår Audrey Munson ifråga om höjd. En nästan åtta meter hög skulptur, baserad på Audrey Munson, och tillverkad av förgylld brons, tronar nämligen på det fyrtio våningar höga, och mycket pampiga, Manhattan Municipal Building, New Yorks kommunhus, på nedre Manhattan. På natten glimmar hon i skenet av starka strålkastare. Statyn, som är gjord av Adolph Alexander Weinman har titeln Civic Fame (det vill säga en hyllad stadsmedborgare, ungefär) och har beskrivits som elegant och ovanligt charmerande.Men det är långt ifrån det enda stället där man kan se Audrey Munson avbildad. Statyer av henne finns på New York Public Library, ovanför fontänen på Plaza Hotel, vid brofästet till Manhattan Bridge och vid entrén av Brooklyn Museum. Bland annat. Audrey Munson finns kort sagt både lite här och där i staden, om man tittar efter.Hon hyllades och och kallades för konstnärsateljéernas drottning den mest perfekta kvinnan i världen och Miss Manhattan. Hon fick skriva tidningskrönikor, där hon gav goda råd om skönhet och mode. Även om hon inte deltog i tiden suffragettrörelse, så fördömde hon korsetten, och manade kvinnor med ambitioner att bli modell, att tänka på yrket som en business.Men efter att ha hyllats och kallats för konstnärsateljéernas drottning den mest perfekta kvinnan i världen och Miss Manhattan, så föll Audrey Munsons namn, och gärning, i glömska. Redan på sin fyrtioårsdag blev hon intagen hon på ett mentalsjukhus. Där förblev hon ända fram till 1996, då hon avled, 104 år gammal. Men under senare år har alltfler börjat fråga sig vem som egentligen döljer sig bakom alla dessa statyer i New York.I veckans program pratar vi med författaren och journalisten James Bone, som i våras gav ut boken The Curse of Beauty. När han för tre år sedan förstod att det var Audrey Munson som man kunde se i många av New Yorks statyer blev han intresserad och började titta närmare på Audrey Munsons spännande liv.Vi träffar också konstnären Hanna Lidén som bland annat blivit känd för sin utställning Everything, som var ett hedersuppdrag för staden New York och bestod av skulpturer föreställande gigantiska bagels. Och så pratar vi med filmregissören Sara Broos, aktuell med filmen Speglingar som handlar om relationen mellan henne och hennes mamma, konstnären Karin Broos. I hela sitt liv har Sara Broos figurerat i sin mammas bildkonst, men med sin film vänder Sara Broos på blicken och riktar sin filmkamera mot sin mamma istället, för att förstå både henne och sig själv bättre. Veckans gäst är Karin Smeds, stylist och modechef på Cover Magazine.

In this episode of the Out of Chicago Podcast, Out of New York Conference presenter James Maher joins Chris Smith. James talks about his involvement in the conference, including his class, “Exploration Through the Works of Famous Street Photographers.” James also gives some of his favorite locations for street photography in the city — Central Park, Strand Bookstore, Coney Island, the New York subway system, Bushwick, the City Hall District, Manhattan Bridge and the Brooklyn waterfront. He also tells us some of his favorite street photographers, including New Yorkers Garry Winogrand, Bruce Davidson and Matt Weber. Finally, James also gives some tips on how to overcome your fears and get started with street photography. To learn more about what James is presenting at the Out of New York Conference, visit his speaker page (http://ny.outofchicago.com/speaker/james-maher/) , and don’t forget to register at http://outofnewyork.com. To find out more about James, visit http://jamesmaherphotography.com. The post New York street photography with James Maher: OOC Podcast Episode 54 (https://www.outofchicago.com/2016/10/05/new-york-street-photography-james-maher-ooc-podcast-episode-54/) appeared first on Out of Chicago Photography (https://www.outofchicago.com) .

Comedian Sarge Pickman is less a comedian who talks about his recovery and more a recovering addict who incorporates his comedic gifts into the work that he does. While he started off working the comedy circuit in LA and still does plenty of comedy gigs, Pickman's main career path these days is leading groups at treatment centers, doing what's known in the recovery world as in-the-trenches work. The Sarge story, in short, is this: Florida-born and dwelling, Pickman was adopted by Jewish parents and raised on Long Island where, as a mixed race youth, he suffered from plenty of identity confusion. Drugs and alcohol helped him to handle these feelings and all that led where addiction can lead—to homelessness, hanging out under the Manhattan Bridge and feeling hopeless. In this episode, he and AfterParty's Anna David talk about smoking angel dust, realizing that chasing stardom is an empty goal and realizing an ultimate purpose, among many other topics. Photo courtesy of DPreview

I love the Manhattan Bridge, but there's no doubt it's had a rocky history. For one hundred years, it's withstood more than just comparisons to its far more iconic neighbor, the Brooklyn Bridge. Built to relieve pressure on the East River's best known bridge, the Manhattan Bridge went through two different engineers -- and a couple different ambitious designs -- before finally being completed by another architect who then went on in 1940 to design one of the WORST bridges in America. And what serious design flaw has afflicted the bridge for its entire history? Listen in and find something to appreciate in this seriously under appreciated marvel of the East River. www.boweryboyspodcast.com Support the show.

In this episode I speak to comedian Sarge whom is an extraordinary entertainer that has performed worldwide to adoring audiences. But Sarge's road to success has not been smoothly paved. Florida-born, he was adopted by Jewish parents and raised on Long Island where, as a mixed race youth, he suffered from plenty of identity confusion. Drugs and alcohol helped him to handle these feelings and all that led where addiction can lead—to homelessness, hanging out under the Manhattan Bridge and feeling hopeless. Now sober 29 years, Sarge has dedicated himself to assisting others who are facing the same battle. Support this podcast at — https://redcircle.com/the-dave-pamah-show/donations