Podcasts about new york group

He is the Industry's CEO Creative Director. It was a dream to speak with Rob Schwartz. He's the Chairman of TBWA New York Group, which includes TBWAChiatDay NY, Lucky Generals NY, and 180NY. He truly is a rare creative that can scale agency business. See his recommended resources on our Instagram @breakingandenteringpod --- Send in a voice message: https://anchor.fm/breakenter/message Support this podcast: https://anchor.fm/breakenter/support

How financial markets and the economy performed last time the Federal Reserve took away the punch bowl by raising its policy rate and pursuing quantitative tightening. Things worked out fine that time. Will it be different this time?Topics covered include:Where did the phrase take away the punch bowl come fromHow central bank actions can slow the economy and lower inflation.The difference between having cash and having wealthHow quantitative easing and quantitative tightening workWhat happened last time the Federal Reserve pursued quantitative tighteningFor more information on this episode click here.SponsorsFarmTogether - Your farmland investment managerLinkedIn - Post your job for freeShow NotesAddress before the New York Group of the Investment Bankers Association of America on October 19, 1955, by William McChesney Martin, Jr.—FRASERM2—Federal Reserve Economic DataAssets: Total Assets: Total Assets: Wednesday Level—Federal Reserve Economic DataAssets: Securities Held Outright: U.S. Treasury Securities: All: Wednesday Level—Federal Reserve Economic DataAmericans Reported Strong Personal Finances Late Last Year, Fed Finds by David Harrison—The Wall Street Journal270: Repo Rates Soared—Here's Why It MattersRelated Episodes270: Repo Rates Soared—Here's Why It Matters295: Federal Reserve Insolvency and Monetizing the National Debt312: What the Federal Reserve's New Policies Mean For Your FinancesSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

­­Rob Schwartz is the Chair of the newly-formed TBWA NEW YORK GROUP which includes TBWAChiatDay NY, Lucky Generals NYC and 180NY. The Group is comprised of three distinct and separate creative agencies unified in their belief that the unreasonable power of creativity leads to unreasonably epic results for brands.Rob is the rare creative person who is fascinated by all aspects of a business and finds ways to create breakthrough platforms and campaigns that build brands and get results. Since he transformed from Chief Creative Officer of Chiat LA to CEO of Chiat New York, the office experienced explosive growth, more than doubling in size. And helping the TBWA Collective earn AdAge A-List honors (back to back), Adweek's Global Agency of the Year. And Fast Company's “Most Innovative Companies.”In 2019, Chiat NY earned 18 Lions marking the best creative performance at Cannes in the history of the office. Throughout his career, Rob has spearheaded work for blue-chip brands including Nissan, Lexus, McDonald's, Pepsi and Visa, to name but a few. Along the way he has won nearly every advertising award including Grand Effie's, Cannes Lions, and One Show pencils. He has also been a Cannes Lions Jury President and jury member of the prestigious Titanium Lion.Rob was recognized as ThinkLA's "Leader of the Year." And is considered one of Adweek's "25 Voices to Follow in Social Media." The story of his New York office turnaround is a case study taught by Harvard Business School professors.A few more facts about him? He's written for Hollywood. He is a board member of the 4As. He is a Friar at the Friars Club. He has been a guest lecturer at Stanford, Harvard, USC, UCLA, CCNY and Yale. He's an original "Manbassador" of the 3% Movement and now proudly sits on their board. And serves in the board of City College of New York (BIC Program). His podcast, The Disruptor Series Podcast was named “Best Agency Podcast” by Adweek.When he's not working or tweeting, you'll find him hanging out with Betsy, his wife of 25+ years. And walking their black Labrador, Pepper around Washington Square Park.

Rob Schwartz | TBWA New York Group Chair

This story was penned by Jim B. who got sober in 1938, and was an member of Bill W’s original New York Group that met on Tuesday nights in Brooklyn. It was published in the Second, Third, and Fourth Editions of the Big Book, but not in the First Edition. However, Jim’s involvement in the program during the writing of Alcoholics Anonymous, is sometimes credited with having influenced Bill W’s references to God in the 12 steps. The agnostically-inclined Jim B. and Hank P., one of the earliest members of AA, insisted that the word “God” be less theologically-specific, more general, and less objectionable to agnostics, atheists, and those who had dissenting views toward religion. As a compromise, Bill W. appended the qualifying phrase “as we understood him” to the word God in the 3rd and 11th Steps. In subsequent years, Jim B. often spoke of having a role in the development of the 12 Steps, by insisting that the phrase be used. Over the years, as stories diverged from memories, Bill W. was sometimes asked about Jim B’s actual influence on the ultimate use of the expression, “God as we understood him". While Bill never attributed the term directly to Jim B. (or Hank P. for that matter), he did acknowledge Jim B’s indirect impact on the Steps by virtue of the agnosticism Jim frequently expressed during discussions in early meetings. Irrespective of whose recollection is more accurate, it’s clear that the expression “God, as we understood him” was a singularly important addition to the Big Book, keeping the doors of AA open to all, while alienating no one to the idea of a power greater than one’s self. Howard L, sober since January 1, 1988, presents this inspired reading of the Big Book and encourages listeners to revisit earlier podcast episodes that feature the main chapters and stories in the First Edition of the Big Book. Enjoy listening on our website, BigBookPodcast.com, or download and subscribe to the podcast for free at Apple Podcasts or wherever you get your podcasts. If you have a minute, please leave a rating and review on Apple Podcasts. Also join our facebook group, Big Book Podcast Listeners, where you can share your thoughts and experiences with fellow listeners.

In Literature, Exile, Alterity: The New York Group of Ukrainian Poets (Academic Studies Press, 2014), Maria G. Rewakowicz explores a unique collaboration of the poets residing in the United States and writing poetry in the Ukrainian language. This research offers a systematized and chronologically organized vision of the group, which, in spite of the geographical limitations implied by its name, appeared to invite artists from a variety of geographical loci and aesthetic backgrounds. Literature, Exile, Alterity focuses on seven founding members of the New York Group: Bohdan Boychuk, Yuriy Tarnawsky, Bohdan Rubchak, Zhenia Vasylkivska, Patricia Kylyna, Emma Andijevska, and Vira Vovk. Acquiring its shape during the 1950s and 1960s and actively participating in the cultural, social, and political dialogues during the subsequent decades, the New York Group expanded and eventually went rather far beyond its original core. Over the decades, the group also dispersed geographically; however, as Rewakowicz argues, it retained its aesthetic and philosophical essentials revolving around the notions of home/homeland, exile, the collaboration of the center and the periphery, political and social impetus of poetry, poetic forms and meanings they generate, etc. Rewakowicz contextualizes the New York Group from the viewpoint of the poets relationship with their native language(s): writing in Ukrainian was a conscious choice for the majority of the groups members. Language thus is presented not only in terms of creative enterprise but also in terms of political, social, and cultural negotiations. As the research attests, the members of the group situate themselves in opposition to Soviet Ukraine, to the mainstream culture (both in Ukraine and the US), and to the literary conventions supported by the literary establishments. From this perspective, the groups focus on linguistic choices and preferences marks a gesture toward re-inventing selves and poetry, re-negotiating selves and others, and disrupting the mainstream. In addition to the theoretical framework for the discussion of the New York Group phenomenon, Literature, Exile, Alterity also offers an exquisite analysis of the poetry. Rewakowicz illuminates the multilayeredness the poets embrace and presents the groups diverse poetic experimentations as the engagement with altered selves. Existential undertones that the poetic works lavishly comprise are discussed in the context of Western European modernism. In spite of the strong modernist influences that the works of the New York Group demonstrate, the researcher also initiates a discussion of the group in terms of the overlapping of modernism and postmodernism. Literature, Exile, Alterity contributes to the discussion of modern Ukrainian literature from the perspective of intercultural and interliterary connections and influences. Rewakowicz also engages in the conversation regarding diverse intricacies of literary developments. Maria G. Rewakowicz, poet, translator, literary scholar, teaches Ukrainian literature at Rutgers. She received a PhD in Slavic Studies from the University of Toronto. Rewakowiczs research interests include: Ukrainian language, culture, and literature; language politics, literature and identity construction; feminism and nationalism in post-Soviet space; women and gender issues in literature; Ukrainian migr poetry; exile and literature; postcolonial studies. Learn more about your ad choices. Visit megaphone.fm/adchoices

In Literature, Exile, Alterity: The New York Group of Ukrainian Poets (Academic Studies Press, 2014), Maria G. Rewakowicz explores a unique collaboration of the poets residing in the United States and writing poetry in the Ukrainian language. This research offers a systematized and chronologically organized vision of the group, which,... Learn more about your ad choices. Visit megaphone.fm/adchoices

In Literature, Exile, Alterity: The New York Group of Ukrainian Poets (Academic Studies Press, 2014), Maria G. Rewakowicz explores a unique collaboration of the poets residing in the United States and writing poetry in the Ukrainian language. This research offers a systematized and chronologically organized vision of the group, which, in spite of the geographical limitations implied by its name, appeared to invite artists from a variety of geographical loci and aesthetic backgrounds. Literature, Exile, Alterity focuses on seven founding members of the New York Group: Bohdan Boychuk, Yuriy Tarnawsky, Bohdan Rubchak, Zhenia Vasylkivska, Patricia Kylyna, Emma Andijevska, and Vira Vovk. Acquiring its shape during the 1950s and 1960s and actively participating in the cultural, social, and political dialogues during the subsequent decades, the New York Group expanded and eventually went rather far beyond its original core. Over the decades, the group also dispersed geographically; however, as Rewakowicz argues, it retained its aesthetic and philosophical essentials revolving around the notions of home/homeland, exile, the collaboration of the center and the periphery, political and social impetus of poetry, poetic forms and meanings they generate, etc. Rewakowicz contextualizes the New York Group from the viewpoint of the poets relationship with their native language(s): writing in Ukrainian was a conscious choice for the majority of the groups members. Language thus is presented not only in terms of creative enterprise but also in terms of political, social, and cultural negotiations. As the research attests, the members of the group situate themselves in opposition to Soviet Ukraine, to the mainstream culture (both in Ukraine and the US), and to the literary conventions supported by the literary establishments. From this perspective, the groups focus on linguistic choices and preferences marks a gesture toward re-inventing selves and poetry, re-negotiating selves and others, and disrupting the mainstream. In addition to the theoretical framework for the discussion of the New York Group phenomenon, Literature, Exile, Alterity also offers an exquisite analysis of the poetry. Rewakowicz illuminates the multilayeredness the poets embrace and presents the groups diverse poetic experimentations as the engagement with altered selves. Existential undertones that the poetic works lavishly comprise are discussed in the context of Western European modernism. In spite of the strong modernist influences that the works of the New York Group demonstrate, the researcher also initiates a discussion of the group in terms of the overlapping of modernism and postmodernism. Literature, Exile, Alterity contributes to the discussion of modern Ukrainian literature from the perspective of intercultural and interliterary connections and influences. Rewakowicz also engages in the conversation regarding diverse intricacies of literary developments. Maria G. Rewakowicz, poet, translator, literary scholar, teaches Ukrainian literature at Rutgers. She received a PhD in Slavic Studies from the University of Toronto. Rewakowiczs research interests include: Ukrainian language, culture, and literature; language politics, literature and identity construction; feminism and nationalism in post-Soviet space; women and gender issues in literature; Ukrainian migr poetry; exile and literature; postcolonial studies. Learn more about your ad choices. Visit megaphone.fm/adchoices

In Literature, Exile, Alterity: The New York Group of Ukrainian Poets (Academic Studies Press, 2014), Maria G. Rewakowicz explores a unique collaboration of the poets residing in the United States and writing poetry in the Ukrainian language. This research offers a systematized and chronologically organized vision of the group, which, in spite of the geographical limitations implied by its name, appeared to invite artists from a variety of geographical loci and aesthetic backgrounds. Literature, Exile, Alterity focuses on seven founding members of the New York Group: Bohdan Boychuk, Yuriy Tarnawsky, Bohdan Rubchak, Zhenia Vasylkivska, Patricia Kylyna, Emma Andijevska, and Vira Vovk. Acquiring its shape during the 1950s and 1960s and actively participating in the cultural, social, and political dialogues during the subsequent decades, the New York Group expanded and eventually went rather far beyond its original core. Over the decades, the group also dispersed geographically; however, as Rewakowicz argues, it retained its aesthetic and philosophical essentials revolving around the notions of home/homeland, exile, the collaboration of the center and the periphery, political and social impetus of poetry, poetic forms and meanings they generate, etc. Rewakowicz contextualizes the New York Group from the viewpoint of the poets relationship with their native language(s): writing in Ukrainian was a conscious choice for the majority of the groups members. Language thus is presented not only in terms of creative enterprise but also in terms of political, social, and cultural negotiations. As the research attests, the members of the group situate themselves in opposition to Soviet Ukraine, to the mainstream culture (both in Ukraine and the US), and to the literary conventions supported by the literary establishments. From this perspective, the groups focus on linguistic choices and preferences marks a gesture toward re-inventing selves and poetry, re-negotiating selves and others, and disrupting the mainstream. In addition to the theoretical framework for the discussion of the New York Group phenomenon, Literature, Exile, Alterity also offers an exquisite analysis of the poetry. Rewakowicz illuminates the multilayeredness the poets embrace and presents the groups diverse poetic experimentations as the engagement with altered selves. Existential undertones that the poetic works lavishly comprise are discussed in the context of Western European modernism. In spite of the strong modernist influences that the works of the New York Group demonstrate, the researcher also initiates a discussion of the group in terms of the overlapping of modernism and postmodernism. Literature, Exile, Alterity contributes to the discussion of modern Ukrainian literature from the perspective of intercultural and interliterary connections and influences. Rewakowicz also engages in the conversation regarding diverse intricacies of literary developments. Maria G. Rewakowicz, poet, translator, literary scholar, teaches Ukrainian literature at Rutgers. She received a PhD in Slavic Studies from the University of Toronto. Rewakowiczs research interests include: Ukrainian language, culture, and literature; language politics, literature and identity construction; feminism and nationalism in post-Soviet space; women and gender issues in literature; Ukrainian migr poetry; exile and literature; postcolonial studies. Learn more about your ad choices. Visit megaphone.fm/adchoices

In Literature, Exile, Alterity: The New York Group of Ukrainian Poets (Academic Studies Press, 2014), Maria G. Rewakowicz explores a unique collaboration of the poets residing in the United States and writing poetry in the Ukrainian language. This research offers a systematized and chronologically organized vision of the group, which, in spite of the geographical limitations implied by its name, appeared to invite artists from a variety of geographical loci and aesthetic backgrounds. Literature, Exile, Alterity focuses on seven founding members of the New York Group: Bohdan Boychuk, Yuriy Tarnawsky, Bohdan Rubchak, Zhenia Vasylkivska, Patricia Kylyna, Emma Andijevska, and Vira Vovk. Acquiring its shape during the 1950s and 1960s and actively participating in the cultural, social, and political dialogues during the subsequent decades, the New York Group expanded and eventually went rather far beyond its original core. Over the decades, the group also dispersed geographically; however, as Rewakowicz argues, it retained its aesthetic and philosophical essentials revolving around the notions of home/homeland, exile, the collaboration of the center and the periphery, political and social impetus of poetry, poetic forms and meanings they generate, etc. Rewakowicz contextualizes the New York Group from the viewpoint of the poets relationship with their native language(s): writing in Ukrainian was a conscious choice for the majority of the groups members. Language thus is presented not only in terms of creative enterprise but also in terms of political, social, and cultural negotiations. As the research attests, the members of the group situate themselves in opposition to Soviet Ukraine, to the mainstream culture (both in Ukraine and the US), and to the literary conventions supported by the literary establishments. From this perspective, the groups focus on linguistic choices and preferences marks a gesture toward re-inventing selves and poetry, re-negotiating selves and others, and disrupting the mainstream. In addition to the theoretical framework for the discussion of the New York Group phenomenon, Literature, Exile, Alterity also offers an exquisite analysis of the poetry. Rewakowicz illuminates the multilayeredness the poets embrace and presents the groups diverse poetic experimentations as the engagement with altered selves. Existential undertones that the poetic works lavishly comprise are discussed in the context of Western European modernism. In spite of the strong modernist influences that the works of the New York Group demonstrate, the researcher also initiates a discussion of the group in terms of the overlapping of modernism and postmodernism. Literature, Exile, Alterity contributes to the discussion of modern Ukrainian literature from the perspective of intercultural and interliterary connections and influences. Rewakowicz also engages in the conversation regarding diverse intricacies of literary developments. Maria G. Rewakowicz, poet, translator, literary scholar, teaches Ukrainian literature at Rutgers. She received a PhD in Slavic Studies from the University of Toronto. Rewakowiczs research interests include: Ukrainian language, culture, and literature; language politics, literature and identity construction; feminism and nationalism in post-Soviet space; women and gender issues in literature; Ukrainian migr poetry; exile and literature; postcolonial studies. Learn more about your ad choices. Visit megaphone.fm/adchoices

In Literature, Exile, Alterity: The New York Group of Ukrainian Poets (Academic Studies Press, 2014), Maria G. Rewakowicz explores a unique collaboration of the poets residing in the United States and writing poetry in the Ukrainian language. This research offers a systematized and chronologically organized vision of the group, which, in spite of the geographical limitations implied by its name, appeared to invite artists from a variety of geographical loci and aesthetic backgrounds. Literature, Exile, Alterity focuses on seven founding members of the New York Group: Bohdan Boychuk, Yuriy Tarnawsky, Bohdan Rubchak, Zhenia Vasylkivska, Patricia Kylyna, Emma Andijevska, and Vira Vovk. Acquiring its shape during the 1950s and 1960s and actively participating in the cultural, social, and political dialogues during the subsequent decades, the New York Group expanded and eventually went rather far beyond its original core. Over the decades, the group also dispersed geographically; however, as Rewakowicz argues, it retained its aesthetic and philosophical essentials revolving around the notions of home/homeland, exile, the collaboration of the center and the periphery, political and social impetus of poetry, poetic forms and meanings they generate, etc. Rewakowicz contextualizes the New York Group from the viewpoint of the poets relationship with their native language(s): writing in Ukrainian was a conscious choice for the majority of the groups members. Language thus is presented not only in terms of creative enterprise but also in terms of political, social, and cultural negotiations. As the research attests, the members of the group situate themselves in opposition to Soviet Ukraine, to the mainstream culture (both in Ukraine and the US), and to the literary conventions supported by the literary establishments. From this perspective, the groups focus on linguistic choices and preferences marks a gesture toward re-inventing selves and poetry, re-negotiating selves and others, and disrupting the mainstream. In addition to the theoretical framework for the discussion of the New York Group phenomenon, Literature, Exile, Alterity also offers an exquisite analysis of the poetry. Rewakowicz illuminates the multilayeredness the poets embrace and presents the groups diverse poetic experimentations as the engagement with altered selves. Existential undertones that the poetic works lavishly comprise are discussed in the context of Western European modernism. In spite of the strong modernist influences that the works of the New York Group demonstrate, the researcher also initiates a discussion of the group in terms of the overlapping of modernism and postmodernism. Literature, Exile, Alterity contributes to the discussion of modern Ukrainian literature from the perspective of intercultural and interliterary connections and influences. Rewakowicz also engages in the conversation regarding diverse intricacies of literary developments. Maria G. Rewakowicz, poet, translator, literary scholar, teaches Ukrainian literature at Rutgers. She received a PhD in Slavic Studies from the University of Toronto. Rewakowiczs research interests include: Ukrainian language, culture, and literature; language politics, literature and identity construction; feminism and nationalism in post-Soviet space; women and gender issues in literature; Ukrainian migr poetry; exile and literature; postcolonial studies. Learn more about your ad choices. Visit megaphone.fm/adchoices