Podcasts about point place

In this episode of the Dover Download podcast, Deputy City Manager Christopher Parker chats with John Swartzendruber, a former Planning Board member who served from 2003 until the 2010s. This is the third episode in a series looking back at the Planning Board over the years. Swartzendruber discusses how he joined the board after his father-in-law, who had been a planning director in Portsmouth, suggested he get involved in the community. He reflects on the positive experience of working with a diverse group of board members and city staff, highlighting the camaraderie and teamwork. Swartzendruber mentions notable projects during his tenure, including Liberty Mutual's campus expansion in 2007 (from which he recused himself as a Liberty employee) and the Point Place development. He describes how planning board members received physical packets of materials delivered to their homes before meetings, a practice that has since shifted to digital delivery. Swartzendruber explains that he eventually left the board when his growing family commitments made it difficult to attend meetings consistently. He encourages listeners to consider volunteering for the Planning Board, emphasizing that no specific experience is required to make a valuable contribution.In This Week in Dover History, we hear from Brian Early of Media Services and Erin Bassegio from the planning department about recent city activities. They discuss April City Council actions including approval of new ballot counting machines, a water main replacement project, and a contract for natural turf maintenance on city fields. The Planning Board reviewed Community Development Block Grant funding, approved a project for five single-family homes, and conducted training for members on their roles and responsibilities. Various subcommittees are working on updates to the Transfer of Development Rights ordinance and addressing community housing needs. Other boards and commissions that met include the Conservation Commission, Zoning Board, Parking Commission, and Waterfront Committee.

Erin is a community member and is running for Perrysburg City Council.  She and Lorenzo Nerdout about Bravo shows, Vanderpump rules, show letdowns, then they get into O Town shows, reality TV, SAHM, volunteering, working for channel 11, riding bikes, Disney adults, riding big rides, Point Place, moving to Perrysburg, engineer husband, journalism, cheerleaders, accidental football game, Western Michigan, Maggies, college experience, baking, board of zoning, City Council, smear campaign and so much more!

Ces séries capturent l'essence de leurs époques respectives dans des contextes différents. That '90s Show sur Netflix Peut-être celle qu'on a le moins besoin de présenter, That '90s Show est une suite de la célèbre série That '70s Show. L'histoire se déroule dans les années 1990 aux côtés de Leia Forman, la fille d'Eric Forman et Donna Pinciotti, qui passe l'été chez ses grands-parents, Red et Kitty Forman (Kurtwood Smith et Debra Jo Rupp dans leurs rôles originels), à Point Place, Wisconsin. Entourée de nouveaux amis, Leia découvre les joies et les défis de l'adolescence, tout en naviguant les relations familiales et les aventures estivales. Pour tous les amateurs ou non de la sitcom originelle, la comédie capitalise sur la nostalgie des années 90 et ramène des personnages familiers de That '70s Show tout en introduisant une nouvelle génération d'adolescents. Une seconde salve d'épisodes vient d'être mise en ligne pour le second été de Leia chez ses grands-parents où elle devra faire face aux conséquences de ses actions. https://youtu.be/OJQxHmLfEkM?si=lH-DvysA9n3Evktr [bs_show url="that-90s-show"] Nos années coup de cœur sur Disney+ Nos années coup de cœur 2021 est une réinvention de la série classique des années 80-90. Cette nouvelle version narrée par Don Cheadle, suit Dean Williams, un jeune garçon afro-américain de 12 ans, grandissant dans les années 60 à Montgomery, Alabama. La série offre une perspective poignante et humoristique sur les événements historiques de l'époque, à travers les yeux de Dean et de sa famille. En réimaginant The Wonder Years avec une famille afro-américaine, cette revisite apporte une nouvelle dimension aux obstacles sociaux ségrégationnistes des années 80. Elle combine la nostalgie avec des réflexions sociales contemporaines, offrant une représentation plus diversifiée de cette période charnière de l'histoire américaine. Au final, au-delà de la couleur de peau, il s'agit aussi des tribulations d'un adolescent qui a ses premiers émois et ses premières peines. La 2e et dernière saison sera bientôt disponible. https://youtu.be/_Nd16IuG8N0?si=v2trK7xegMhj3GW4 [bs_show url="the-wonder-years-2021"] Red Oaks sur Prime Video Avec ses trois saisons, Red Oaks est une comédie originale de Prime Video un peu sous-estimée se déroulant dans les années 80. Notre héros cette fois-ci est David Meyers, un étudiant de classe moyenne travaillant comme assistant tennis au riche Red Oaks Country Club pendant l'été. Entre les membres excentriques du club, les collègues et les romances estivales, David navigue les défis de l'âge adulte naissant et les attentes parentales, tout en essayant de trouver sa propre voie. La comédie capture l'essence des années 80 avec son esthétique rétro, sa bande-son et ses références culturelles. Elle explore les thèmes de la découverte de soi, des attentes familiales et des choix de vie, tout en offrant un regard nostalgique sur une période considérée comme l'âge d'or des comédies adolescentes et des films de passage à l'âge adulte. Red Oaks n'a pas peur de se mouiller avec des scènes rocambolesques mais toujours dans la bonne humeur. https://www.youtube.com/watch?v=OcGIvQJhbSY [bs_show url="red-oaks"] Ces trois séries partagent une thématique commune de nostalgie et d'exploration de l'adolescence à travers différentes décennies.

Ces séries capturent l'essence de leurs époques respectives dans des contextes différents. That '90s Show sur Netflix Peut-être celle qu'on a le moins besoin de présenter, That '90s Show est une suite de la célèbre série That '70s Show. L'histoire se déroule dans les années 1990 aux côtés de Leia Forman, la fille d'Eric Forman et Donna Pinciotti, qui passe l'été chez ses grands-parents, Red et Kitty Forman (Kurtwood Smith et Debra Jo Rupp dans leurs rôles originels), à Point Place, Wisconsin. Entourée de nouveaux amis, Leia découvre les joies et les défis de l'adolescence, tout en naviguant les relations familiales et les aventures estivales. Pour tous les amateurs ou non de la sitcom originelle, la comédie capitalise sur la nostalgie des années 90 et ramène des personnages familiers de That '70s Show tout en introduisant une nouvelle génération d'adolescents. Une seconde salve d'épisodes vient d'être mise en ligne pour le second été de Leia chez ses grands-parents où elle devra faire face aux conséquences de ses actions. https://youtu.be/OJQxHmLfEkM?si=lH-DvysA9n3Evktr [bs_show url="that-90s-show"] Nos années coup de cœur sur Disney+ Nos années coup de cœur 2021 est une réinvention de la série classique des années 80-90. Cette nouvelle version narrée par Don Cheadle, suit Dean Williams, un jeune garçon afro-américain de 12 ans, grandissant dans les années 60 à Montgomery, Alabama. La série offre une perspective poignante et humoristique sur les événements historiques de l'époque, à travers les yeux de Dean et de sa famille. En réimaginant The Wonder Years avec une famille afro-américaine, cette revisite apporte une nouvelle dimension aux obstacles sociaux ségrégationnistes des années 80. Elle combine la nostalgie avec des réflexions sociales contemporaines, offrant une représentation plus diversifiée de cette période charnière de l'histoire américaine. Au final, au-delà de la couleur de peau, il s'agit aussi des tribulations d'un adolescent qui a ses premiers émois et ses premières peines. La 2e et dernière saison sera bientôt disponible. https://youtu.be/_Nd16IuG8N0?si=v2trK7xegMhj3GW4 [bs_show url="the-wonder-years-2021"] Red Oaks sur Prime Video Avec ses trois saisons, Red Oaks est une comédie originale de Prime Video un peu sous-estimée se déroulant dans les années 80. Notre héros cette fois-ci est David Meyers, un étudiant de classe moyenne travaillant comme assistant tennis au riche Red Oaks Country Club pendant l'été. Entre les membres excentriques du club, les collègues et les romances estivales, David navigue les défis de l'âge adulte naissant et les attentes parentales, tout en essayant de trouver sa propre voie. La comédie capture l'essence des années 80 avec son esthétique rétro, sa bande-son et ses références culturelles. Elle explore les thèmes de la découverte de soi, des attentes familiales et des choix de vie, tout en offrant un regard nostalgique sur une période considérée comme l'âge d'or des comédies adolescentes et des films de passage à l'âge adulte. Red Oaks n'a pas peur de se mouiller avec des scènes rocambolesques mais toujours dans la bonne humeur. https://www.youtube.com/watch?v=OcGIvQJhbSY [bs_show url="red-oaks"] Ces trois séries partagent une thématique commune de nostalgie et d'exploration de l'adolescence à travers différentes décennies.

Season Finale !! Season 2 Episode 26 - 'Moon Over Point Place' @hellowisconsinpodcast - Instagram @hello70spodcast - Twitter https://www.teepublic.com/user/hello-wisconsin-podcast Please DM us guys, we would love your feedback or thoughts. And please like, share, rate and review wherever you listen to your podcasts. We greatly appreciate it. --- Send in a voice message: https://podcasters.spotify.com/pod/show/hellowisconsin/message

Emergencies can happen at any time, cause damage, and even cost lives. On this week's Community Focus, I'm joined by Abby Buchhop, director of the Lucas County Emergency Management Agency, to discuss her team's response to the recent Point Place disaster.

Cleveland woman charged with murder because her 16-month-old daughter died after being left home alone while Mom went on vacation for 8 days; Governor DeWine wants to know why there were no tornado sirens activated in Toledo's Point Place neighborhood as a twister approached last Thursday; Ohio State football player Zak Herbstreit, son of Kirk, hospitalized; two of the top-ranked children's hospitals in the US are in Ohio.

Thieves are targeting Kia and Hyundai vehicles in northeastern part of the state; 146 dead dogs found in a house near Akron; Toledo's Point Place tornado sent some medical records blowing away with debris; the Cincinnati Reds are in first place in their division.

Two decades after the original tv show aired, in universe, comes the sequel series to a very popular show! That 70's Show was crazy popular at its height, and a sequel series has already been tried, which failed miserably! BUT, we're here to talk about That 90's Show, and I'm here to tell you that it is worth all of the time to check it out on Netflix! "The show centers on Leia Forman, the teenage daughter of Eric Forman and Donna Pinciotti, forming bonds with other teenagers as she spends the summer of 1995 with her grandparents Red and Kitty in Point Place, Wisconsin, 15 years after the events of That '70s Show." That 90's show touches on a lot of the things that made That 70's show so popular! Not only does it touch on some of the best themes, but it also brings back some of the most popular cast members from the original show. Red and Kitty are the backbone to both series', and they're still funny as ever! This first season is not very long, and it is totally worth all of the time! Go check it out! SUBSCRIBE: Apple Podcasts | Android |  Spotify | Pandora | RSS Tell us what you think! Leave us a voicemail at 970-573-6148 Send us feedback and/or MP3's to outsidethelongbox@gmail.com Follow us on Facebook, Twitter, Instagram, and Youtube! Support the podcast on Patreon! Credit - Doyle Daniels, Juan Muro

Things are happening in Point Place, Wisconsin! Red is gardening, Kitty is making some startling realizations, and the kids don't have their Raisin Bran! This is the true story of Mark, Zach, and Harrison talking about That 70s Frasier, the flannel shortage of 1996, and an old friend's audition for The Real World. Join Mark, Zach, and Harrison every other Sunday as they watch those very shows, their new counterparts, and more! The boys are diving in episode by episode and giving you recaps full of bits, odd tangents, and, hopefully, some genuine insight. For the latest updates, follow us @RewatchPartyPod on Facebook, Twitter, and Instagram! Our email is: rewatchpartypod@gmail.com.

FIRST 26:35 are a spoiler-free review with our See It/Skip It verdict AFTER 26:35 it's a full spoiler review This week we're grabbing the keys to the Vista Cruiser and cruising the vista all the way back to Point Place, Wisconsin and Red & Kitty Foreman's basement in That 90s Show.  How does the writing hold up from the original?  Is Leia too young for the hijinks they get into?  Would these people actually hang out together?  Who is the audience for this show?  How far can sitcom hyperbole help forgive some social ills?  Find out the answers to these questions and more in our "See It or Skip It" review of That 90s Show and then we tell you whether you should SEE IT or SKIP IT.

This week, we are travelling back to the 70s (and also the 90s technically speaking) to visit Point Place, Wisconsin. We talk about the many different characters and plotlines of That 70s Show and determine what made the show such a huge success. And then we level a few complaints against the recent reboot, That 90s Show. To wrap things up, we take a 70s inspired character quiz.

Looks like those AMC Stonks really worked in our favor, (ノಠ益ಠ)ノ彡┻━┻. I am overjoyed that I don't have an AMC near me, because if I did, I would be even angrier. Any who, we had a Pokémon-less Nintendo Direct, but it was heavy on the Zelda, The UK and the EU write stern warning in regards to the Activision Microsoft Deal. Sony has a great gaming quarter, and the Switch jumps to #3 all time. The Justin Roiland drama heats up to a new level, and makes me happy about Rick & Morty's future, The Bad Batch may have peaked, and we get to return to Point Place, Wisconsin for another summer. Meanwhile we have what's new on Streaming, as well as news out of Disney, and of course, the aforementioned nonsense coming from AMC.

Join us as we bring back the nostalgia with a review of "That 90s Show"! This new series centers on Leia Forman, the teenage daughter of Eric Forman and Donna Pinciotti, as she spends a summer with her grandparents Red and Kitty in Point Place, Wisconsin. 15 years after the events of the iconic show "That '70s Show". Get ready for a fun-filled trip down memory lane as we follow Leia as she forms bonds with other teenagers in this nostalgic throwback. If you're a fan of "That 70s Show", this show is a must-watch! Don't miss out on all the nostalgia and laughter.This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5939723/advertisement

Join us as we bring back the nostalgia with a review of "That 90s Show"! This new series centers on Leia Forman, the teenage daughter of Eric Forman and Donna Pinciotti, as she spends a summer with her grandparents Red and Kitty in Point Place, Wisconsin. 15 years after the events of the iconic show "That '70s Show". Get ready for a fun-filled trip down memory lane as we follow Leia as she forms bonds with other teenagers in this nostalgic throwback. If you're a fan of "That 70s Show", this show is a must-watch! Don't miss out on all the nostalgia and laughter.

In this episode we take a look at the first season of the new Netflix spin-off sitcom, That '90s Show (2023). The show centers on Leia Forman, the teenage daughter of Eric Forman and Donna Pinciotti, forming bonds with other teenagers as she spends the summer of 1995 with her grandparents, Red and Kitty in Point Place, Wisconsin, 15 years after the events of That '70s Show. Kurtwood Smith as Red Forman, Leia's paternal grandfather. Debra Jo Rupp as Kitty Forman, Leia's paternal grandmother. Callie Haverda as Leia Forman, a smart, snarky teenager who craves adventure, and is the daughter of Eric Forman and Donna Pinciotti from the original series. Ashley Aufderheide as Gwen, a rebellious Riot grrrl with a loyal heart. She and Nate are half-siblings. Mace Coronel as Jay Kelso, a charming, flirty young videographer, Leia's love interest, the son of Michael Kelso and Jackie Burkhart, and the half-brother of Betsy Kelso, Michael's daughter with Brooke from the original series (born in 1979). Reyn Doi as Ozzie, an insightful and perceptive teen who is openly gay. Sam Morelos as Nikki, Nate's ambitious and intelligent girlfriend. Maxwell Acee Donovan as Nate Runck, Gwen's easygoing and fun-loving older half-brother, and Nikki's boyfriend. Recurring Andrea Anders as Sherri Runck, the Formans' new neighbor and Gwen and Nate's mother who is in a relationship with Fez. Laura Prepon as Donna Pinciotti, Leia's mother, an author. Wilmer Valderrama as Fez, a popular hair stylist. Tommy Chong as Leo Chingkwake, Point Place's local hippie who was friends with the original cast. Guest stars Topher Grace as Eric Forman, Leia's father and an adjunct college professor. Mila Kunis as Jackie Burkhart, Jay's mother. Ashton Kutcher as Michael Kelso, Jay's father. Don Stark as Bob Pinciotti,[4] Leia's maternal grandfather. Brian Austin Green as Brian Austin Green and David Silver. Jim Rash as Fenton, Sherri's landlord. Listen, Rate and Share the show!!! Find us at all2reeltoo.com Listen to Mike on The Family Fright Night Horror Podcast ... https://open.spotify.com/episode/7kstbpDOnLQeI8BQGLzina Check out some cool music by host Matthew Haase at https://youtu.be/5E6TYm_4wIE Check out cool merchandise related to our show at http://tee.pub/lic/CullenPark Become a Patron of the show here.... https://www.patreon.com/CullenPark Listen to Mike on The Nerdball Podcast.... https://pod.fo/e/ba2aa Check out some cool music from Jason Quick at www.jasonquickmusic.com If you can during these troubling times make a donation to one of the following charities to help out. https://www.thetrevorproject.org/ https://www.hrc.org/hrc-story/hrc-foundation https://pointfoundation.org/ https://www.directrelief.org/ https://www.naacpldf.org/ https://www.blackvotersmatterfund.org https://www.tahirih.org/ https://www.monafoundation.org/ Learn more about your ad choices. Visit megaphone.fm/adchoices

With "That '90s Show" we once again find ourselves hanging out (down the street) in the Foreman's basement. This time however the show focuses around Leia, the daughter of Eric and Donna when she decides to spend the summer with her grandparents in Point Place, Wisconsin. This show brings back all the familiar faces and locations of That '70s Show while also focusing on creating a new batch of characters to follow. This '70s spinoff succeeds where That '80s Show failed in using the source material to set the framework. But does That '90s Show just use the nostalgia of the original just to bait and switch you into watching something completely different or does it truly capture the essence of the show we all came to know and love. Find out when the boys do a deep dive of the pilot episode, "That '90s Pilot". www.S1E1POD.com Starring: Kurtwood Smith, Debra Jo Rupp, Callie Haverda, Ashley Aufderheide, Mace Coronel, Reyn Doi, Sam Morelos, Maxwell Acee Donovan, Topher Grace, Laura Prepon, Ashton Kutcher, & Mila Kunis

This week, Justin, Ashley, and Dave watched That '90s Show. Here's the synopsis: “In the summer of 1995, Leia Forman makes friends with a new generation of Point Place kids while visiting her grandparents, Red and Kitty, in Wisconsin.” Dave couldn't figure out the target demographic for this show, but eventually concluded that it was 8 to 12 year-olds. Justin got outraged at the bootleg scene, and declared the multicam live-audience sitcom format officially DEAD. Ashley loved Kitty and Red, but not too much else. Aron, who was brought on as a special guest because of his expected love for this show, did not, in fact, love it. --- Support this podcast: https://anchor.fm/whyarepeoplewatchingthis/support

“Hello Wisconsin!”- Cinematic Reviews stops in Point Place for the summer --- Support this podcast: https://podcasters.spotify.com/pod/show/cinematic-reviews/support

In this episode, Christian and special guest Amanda give their thoughts and insights on THAT 90'S SHOW, the follow-up to the popular sitcom THAT 70'S SHOW now streaming on Netflix TOPICS IN THIS EPISODE:Housekeeping (00:18)​​​​​Our Introduction to that 70's Show (08:22)Initial Reactions  (18:53)That 90's Show Trivia!  (28:19)Final thoughts / Ratings (42:18)Where to Find Amanda  (48:03)Coming Up Next / Closing (51:42)   FOLLOW OUR GUEST:Follow Amanda on TwitterSubscribe to Amanda on YoutubeCheck out Amanda's Website SERIES INFO:Creators:Gregg Mettler, Bonnie Turner, and Lindsey TurnerStars: Debra Jo Rupp, Kurtwood Smith, and Callie HaverdaPlot: Now it's 1995, and Leia Forman is visiting her grandparents for the summer where she bonds with a new generation of Point Place, Wisconsin kids under the watchful eye of Kitty and the stern glare of Red. Watch That 90's Show hereContact Film Optix Rate and Review us on Apple Podcast and Spotify on your podcast platform of choice! Email us at filmoptix@gmail.com Tweet at us @FilmOptix Follow us @Film Optix on Instagram Follow us on Letterboxd Visit our Website Thank you for listening!!!

We're headed back to Point Place, Wisconsin in the late 70s 90s as 14-year-old Mila Kunis had her first kiss onscreen with Ashton Kutcher. Who would have known that 20 years old later the That 70s Show stars would reconnect and live out the plots of their nearly identical 2011 rom-coms (Friends with Benefits vs No Strings Attached)? In an episode all about timing, it's hard not to believe in serendipity as Mel chronicles Ashton & Mila's meant-to-be love story. ***** Significant Lovers is a true-love podcast about historic romances and celebrity couples. You can contact us at significantlovers@gmail.com and follow us on Instagram and TikTok @significantlovers. Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for ‘fair use' for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use. --- Support this podcast: https://anchor.fm/significantlovers/support

News: Emily will be vending all sorts of cute merch at the Logan Street Market in Louisville on 5/21!     FO:   Lauren - Vanilla baby beanie mystery scraps     WIPS: Emily - LOTR sock design in Valkyrie Fibers High Twist BFL base, Shadowfax and Tinuviel colorways - Slipped Stitch Macaron Box crescent shawl design in Junk Yarn Totally 90's Witch sock set https://www.junkyarn.com/ - Vanilla Socks in Knit Picks Felici, Game Over colorway (which apparently contains significant knots and flaws!)     Lauren - Northeasterly, scrappy blanket in DK - LOTR sock design in Valkyrie Fibers Matte Sock base, Bill The Pony and Thranduil colorways - Vanilla socks in Valkyrie Fibers Matte Sock, Go Suck Eggs In Hell! Colorway (debuting in the update on 5/15)     Acquisitions:    Lauren - Deathless Divide by Justina Ireland https://www.authorjustinaireland.com/deathless-divide - Star Wars Droids stamps from the USPS - stickers and greeting cards from Wildwood Maker's Market http://www.wildwoodmakersmarket.com/   Occult Corner: The modern American cryptid: Mothman!  For more info check out episode 47 of the Lore Podcast or two of the paranormal documentaries on Prime Video, The Mothman of Point Place and The Mothman Legacy     Self Promotion:    Lauren will be having an update inspired by Our Flag Means Death on Sunday 5/15 at 9am PST.  There will be the *biggest* self striping to date! 13 stripes! It's called Go Suck Eggs In Hell! and it will be available on High Twist BFL and Matte Sock along with some coordinating skeins. https://etsy.me/2a1hdVK   There will be a 13 day Halloween Advent set available from Emily on Tuesday 5/17 at noon eastern!  This amazing countdown calendar will feature 12 cute halloween themed lobster claw charms that clip onto a charm bracelet and the 13th day will feature a brand new enamel pin.  There will be add on options for a project bag featuring Emily's art and/or a totally unique sock set from Valkyrie Fibers. www.kittywithacupcake.com   The Fiber Coven will be hosting Lauren's There And Back Again KAL for all of 2022, see the public blog post on our Patreon for all the details!

Time to put on your best black suit and put all of the dirt in everybody's eyes, because today we're reviewing: Spider-Man 3! The final entry in Sam Raimi's Spider-Man trilogy takes place in Point Place, Wisconsin as Peter Parker battles the evil Eric Foreman for the love of his red headed girlfriend. Oh and Sandman is there too for some reason. Whatever, it's Spider-Man 3. You know what you're getting. Starring: Colin O'Connell Josh Cicale Michelle Potter Follow us on social media: Instagram Facebook Twitter YouTube Theme Song - "Bop it Remix" by Moon Moon's YouTube Moon's Soundcloud

Join us for a free, live book-to-film event with producers Kim Williams, Edwin Stepp, and Jonathan Burkhart on Thursday, December 2, at 8pm ET / 5pm PT (introvert-friendly! We won't be able to see you). Get your FREE ticket here: https://manuscriptacademy.com/book-to-film Want to meet a Hollywood producer, director or showrunner? Consult with them about your logline and pages here: https://manuscriptacademy.com/meet-hollywood-producers We had a wonderful event with producers Eric Mofford and Keith L. Shaw, and wanted to share with you the fun of live pitching. Over the next hour, you'll hear us reading the pitches everyone shared in the text chat—and learn about how a quick loglines summary of your work, along with a great concept, can open doors for you and your book-to-film dreams. OUR PANEL: Eric Mofford is a producer, line producer and budget consultant. He has been involved in over 150 film, television and web productions as well as numerous music videos and commercials. His credits include the Emmy-winning television series 24 and the iconic indie feature, Daughters of the Dust. Recently he served as Head of Production at Lone Wolf Media overseeing documentary projects for NOVA, Nat Geo, Animal Planet, Smithsonian Channel and PBS. Previously, he served as Head of Production at Lady of the Canyon where he produced projects such as the dramatic television pilot, Finding Hope, with Chris Mulkey, James Morrison, Darby Stanchfield and Molly Quinn; and the comedy documentary, We'll Always Have Dingle, shot in Kerry County, Ireland. He also served as Head of Production at Unconventional Media, producing the Emmy-nominated award-winning documentary, Houston We Have A Problem, and the live action portions for the EA video game, Need For Speed: Undercover, with Maggie Q. Mofford, a member of the DGA, has written and directed projects for Disney Interactive, Saban Entertainment, The Discovery Channel, Image America, United Way and TBS. He co-produced Senior Year, a 13-part PBS documentary series on high school. He has sold two feature film screenplays and has various projects in development. His dramatic blues film, Travelin' Trains, won a dozen national and international film festival awards and continues to play in art museum showcases over 25 years later. He has done schedules and budgets for both large studio productions and small indies and has shared that knowledge teaching numerous media workshops, both in the United States and internationally. Keith L Shaw is currently the Director of Operations for Jaigantic Studios. With over 27 years of experience as a Director, Producer and Assistant Director in both the television and the feature world, Keith has worked on projects for HBO, ABC, CBS, NBC, PBS, Comedy Central, YouTube Red and Teen Nick, to name just a few. Keith served as Director on Season 3 of the Sport-Docu, 3 Gun Nation and Director/Producer on the highly regarded Indie feature, Suicide Dolls. In 2006, Keith produced the feature film, Privileged for Glass House Productions. After a season on Curb Your Enthusiasm, Keith was accepted to the DGA's Director's Single Camera Program, and shortly after, directed on the PBS series, Madison Heights. Keith has filmed on many other projects across the United States and internationally, including Production Supervisor on ABC's, Oprah Winfrey presents The Big Give, 1st Assistant Director on NBC's, The Kenan Show, 2nd Unit-UPM/1st AD for the soon to be released Amazon Prime series, Jack Reacher and Field Producer for 5 seasons of The Apprentice. Keith also serves as Producer/Director and Co-Partner for Last Man Out Productions. The Company was recently nominated for an Emmy award for the Short Documentary, The Prohibition Chronicles: Echos of Point Place.

Welcome back Point Place residents, this week its a one man show and Todd breaks down episode 4, Battle of the sexists! --- Send in a voice message: https://anchor.fm/hellowisconsin/message

In this episode, Shai and Roderick hang out with the gang from the television comedy, That '70s Show. They focus on Point Place, Wisconsin's favorite foreign exchange student, Fez, played by Wilmer Valderama. In addition to exploring Fez's obsession with candy, the Immigration principles they will cover include: F-1 Student Visas, the J-1 Exchange Visitor Program, and the Marriage Based Green Card sponsorship process. Plus, Shai and Roderick reminisce about their favorite high school jobs.

You know it's bad when a monster sighting is a better predictor of the future than the weather channel. Join Lily and Chase as they discuss the enigmatic Mothman, first spotted in Point Pleasant, West Virginia (Despite mistakenly being called Point Place more than a few times). Is it an interdimensional being, a sign of impending doom, or just a mutant bird?

Rick Valicenti (founder and design director of Thirst, a communication design practice for clients in the architectural, performing arts and education communities), Iker Gil (architect, director of MAS Studio, editor in chief of the quarterly design journal, MAS Context), and Jenn Stucker (associate professor and division chair of graphic design at BGSU, founding board member of the American Institute of Graphic Arts, AIGA Toledo) discuss community-based collaborative design.    Transcript: Introduction: From Bowling Green State University and the Institute for the Study of Culture and Society, this is BG Ideas. Intro Song Lyrics: I'm going to show you this with a wonderful experiment. Jolie Sheffer: Welcome to the BG Ideas podcast, a collaboration between the Institute for the Study of Culture and Society and the School of Media and Communication at Bowling Green State University. I'm Jolie Sheffer, associate professor of English and american culture studies and the director of ICS. Today we're joined by three guests working in collaborative design fields. First is Rick Valicenti, the founder and design director of Thirst, a communication design practice for clients in the architectural, performing arts and education communities. His work has been exhibited in the Museum of Modern Art and resides in the permanent collections of the Yale University Library, Denver Art Museum, and the Art Institute of Chicago. In 2011, he was honored by the White House with the Smithsonian Cooper-Hewitt National Design Award for communication design. Jolie Sheffer: We're also joined by Iker Gil, an architect, the director of MAS Studio, editor in chief of the quarterly design journal, MAS Context, and the editor of the book, Shanghai Transforming. He curated the exhibition, Bold: Alternative Scenarios for Chicago, included in the inaugural Chicago Architecture Biennial. Iker is the associate curator of the US Pavilion at the 16th Annual Venice Architecture Biennale. In 2010, he received the Emerging Visions Award from the Chicago Architectural Club. Jolie Sheffer: Finally, I'd like to welcome Jenn Stucker an associate professor and division chair of graphic design at BGSU. Her work has been published in several books on design and she's received various awards including two international design awards from How Magazine for her community based works in Toledo. She's also a founding board member of the American Institute of Graphic Arts, AIGA Toledo. And she previously co-chaired two national AIGA design education conferences. Jolie Sheffer: The three of them are here to talk to me as part of the Edwin H. Simmons Creative Minds series. Thank you and welcome to BGSU. I'm thrilled to discuss more of your work on creativity and collaboration. I like to start by having you each give a little background on your current work and how you came into the kind of design work that you're doing. So Rick, how did your career change from your time as a student at BGSU to your work now? What are some of those major u-turns or forks in the road for you? Rick Valicenti: Well, thank you. That's a good question. That's a really good question. Okay, so let me fast backwards to 1973 when I graduated from Bowling Green. I went back to Pittsburgh, spent some time in a steel mill for two years, went to graduate school at the University of Iowa. Came to Chicago afterwards with two graduate degrees in photography and discovered that I was not interested in photographing hotdogs, cornflakes and beer. So with that I thought I would leverage a time in the writer's workshop doing a little bit of letter press work as well as my time at Bowling Green studying design. And I thought I'll be a designer. It wasn't that easy. But it has been a journey for now almost four decades since then to get to a place where I feel there's relevance in what I do. And that has been the challenge, and it continues to be the challenge. Design, as you know, is a practice that has at its core, or patronage, somebody else. Rick Valicenti: In fact, it's been said you have to be given permission to practice graphic design. Not necessarily the case, you can do self-initiated projects. And it was in leveraging what I learned in graduate school, which was how to make up a project, how to provide for myself a thesis and then create work in response to that. That has allowed me to both do that on my own as well as in collaboration with other people. And then to encourage younger designers under some guidance to do the same. And of late, the more interesting work has been work that has been related to an issue, not unlike the work that Jenn practices in her classwork. But to me that's the most fulfilling and it was unfortunately not the work that I showed because it was work I was prepared to end the evening with. But I chose because we had been blabbing for so long last night to just stop early. But it's okay. Jolie Sheffer: Tell me what led you to start your own firm? Rick Valicenti: I was one of those lucky designers who, while it was difficult to crack the Chicago design scene, two years of doing what I would refer to as thankless design work, design work where I was asked to do something prescriptive. Like do this by Friday. Yes, I could do that. I was quite good at it. I lucked out by having the opportunity to be the dark room guy for a very reputable Chicago designer, who was at that time 63 years old. And so in his last three and a half years of practice I had moved from the new guy in the studio to the last employee he had. And it was a fantastic experience to be in the company of real design practice. Design practice that understood the history, it understood the present, and it was looking out to the future. This guy was connected to the other thought leaders in the Chicago design community and I had access to them even though it was vicarious. Jolie Sheffer: Great. Thank you. Iker, tell us about your journey into Chicago architecture and the current kinds of collaboration you do. How has your approach to design changed over time and what were some of those key junctures for you? Iker: So I'm originally from Bilbao, which is a city in the North of Spain in the Basque country. And I think a lot of the changes in design and a lot of the ways that I've been thinking had been motivated also by the change of place or how the people that I've encounter or any other aspects that really change as I move from other places. So from Bilbao I went to Barcelona to study architecture. I had the chance there to not only have the professors that were faculty there, but also other visiting professors, like David Chipperfield and Kazuyo Sejima. So that was a way of beginning to connect with other experiences that maybe were not the local ones. And I was very interested in expanding that. And I've had the luck to get a scholarship from IIT in Chicago to go there for a year. Iker: So it was a little bit coincidentally in a way that I ended up in Chicago. And I was there for a year as an exchange student, I still had to do my thesis so I went back to Spain. But there was something about Chicago, a apart from my girlfriend that now is my wife, who is from Chicago. But there was something very intriguing about the city, a lot of potential, very different from being in Barcelona. But there was something always in Barcelona that was interesting for me about the cultural aspect of architecture. There was the aspects of people building a significant building or just a civic building that there was always a publication and an exhibition, a way of coming together to talk about why those things were important. Iker: So when I went to Chicago, when I moved back and I did my master's, I worked for an office. I was always interested in the ADL, the community, the design community, the architecture community. How do you strengthen that and how do you create the platforms to do that beyond what you can design? So I decided at some point that I really wanted to make sure that I did both of those things. And I went on my own about 11 years ago just to make sure that I could create the designs within my office, but create other platforms for others to have that conversation. And more recently I've been able to create the structures to support or organize design competitions and really began being interested in not only the final product, but how do you structure the conditions for those things to happen. Jolie Sheffer: So you're talking about not just designing buildings, but designing communities and relationships. Iker: Yep. And I think that's a role of, in my case, an architect or designers. Like the work that you do, but also the work in the city that you do. And how are you part of the community, and also how are you proactive shaping that community? Not something that you want to benefit from someone else's effort to structure something. What is what you can do and why you can give to the community back? Jolie Sheffer: Great. Jenn, talk to us about your path into graphic design and how your approach has shifted over time. Jenn Stucker: So I was at graduate here at BGSU. Very proud of the training and the experience that I had from Ron Giacomini, a chair that Rick also had the opportunity to study under. And when I graduated I went right out into the field, I got a job in graphic design. And I think was pretty good at my craft and pretty good at making. And also at the same time pursuing this educational path. I am originally a transplant from Colorado, I guess you could say. And one of the things about the Toledo area is there's this "neh" mentality. It's the rust belt. I- Jolie Sheffer: Better days are behind us. Jenn Stucker: Yeah. [crosstalk 00:09:16]. Yes. It's definitely like, why did you move from Colorado to Toledo? Is usually the question that I get asked. And I'm always like, wow, there's so many great things here. You're four hours from Chicago, you're this far from Toronto, you're this far from here. In Colorado you're four hours from the border of Wyoming, at least where I live. Right? And you're looking at the same topography and you're not getting any cultural change. And so for me, my family was here. My husband and his family. And so I was here for the long haul. Jenn Stucker: So the idea really just became, I need to bloom where I'm planted. I need to make this space and place better, and contribute to it and work towards that. Changing the attitude, how do we create positivity in this community? And so I started getting involved in creating projects that really illuminated Toledo in a positive way. And so then I reflected back on the fact that I wasn't necessarily armed with that as a student, with that understanding of the fact that I had agency and power that I could do something. I didn't necessarily have training with, how do you collaborate and get a, you know, writing a grant to get the funding for this? And who do I need to talk to and who needs to bring this to the table? And all of those things. Jenn Stucker: So part of that I think now is coming to what I do as an educator, is to show those students. I tell them, I have no idea what I'm doing. I'm completely fumbling through this. I don't know what I'm doing. This dots project in Toledo that I'm literally the one that's going to be photographing all the dots around Toledo, or trying to find spaces in January and it's cold. And then actually putting them down on the ground and actually taking them off the ground and doing these sort of things. I don't know that when I'm creating the idea. But I know it has to get done and I'm going to do that. And the fact that I'm just Jenn is what I tell them. I'm just one person, I'm not any different than you. And so I try to give them a lot of power that they can do that thing that they want to make change for. Jolie Sheffer: You're all talking about very place-based design practices, or in different ways your work is all very much about locating yourself, right? And building in relationship to that community, and creating community. Could you give an example, Rick, of one of your projects that had a very Chicago-centric, and how that place shaped the process and the collaborations that you developed? Rick Valicenti: With pleasure. In 2016, I was the artist in residence at Loyola University. And there we devoted an entire year to prototyping empathetic ways of grieving for those who were left behind by gun violence. That was a very Chicago-centric theme. And it was something that I was curious about beyond the candle vigil, right? Or the protest march. Are there other ways we can come together both as community led by design in order to acknowledge and honor the life lost? And of course help the healing process for the families left behind. That was a very place specific design assignment. The difference was we were doing it on the North side, and a lot of the activity, gun violent activity was happening on the South side. Not all of it because in the building that we were located, in the alley right next door one of the students had been shot. Rick Valicenti: Down the street the young photographer had been shot and killed on that street. So as they call it, the franchising of gun violence had migrated North to the Rogers Park and Edgewater area, which is where Loyola is located. It made it more real and more tangible, but the prototyping of these empathetic gestures was, I think, healing for all of us. And I've been rewarded by that project ever since. And I really want to see now if something like that can migrate to other cities. And I've been talking to a few people like, wouldn't El Paso benefit from this kind of intervention? Dayton, Ohio, would they not benefit from it? Jolie Sheffer: And could you talk through what that project actually ended up looking like? Rick Valicenti: I'll give you an example. There were 20 students in the class, half of them were from the fine arts area, half of them were from design related fields. And so they all had different approaches to it. And every class began with somebody from the outside. Rick Valicenti: Okay? And I thought this was important. And Iker knows this model of practice that I use, I call it moving design is what I have named the umbrella. But I'll give you an example of three kinds of people who came to the class. One person we arranged for a car to pick up the head of the emergency room at Stroger, which is the hospital, Cook County hospital. And this guy was picked up in a car, came to our class in his [Ohar 00:14:07] blacks with his red tennis shoes. And it was the day after a very violent weekend. This guy showed up shell shocked. You could just see the trauma in his face. He never made eye contact with the students. He was a young guy, maybe 38 or something, had his head down as he spoke. And that was a moving moment. More for me, I think, than anybody else. Rick Valicenti: But it was like, oh my God, here's a first responder who's there and he told us of some of the things that he had seen that have kept him from sleeping. We also had Emory Douglas, who was the communication director, minister of the Black Panthers. So Emory talked about the use of graphic design to move an agenda. And how an unskilled, unfunded initiative of communication design could migrate into the public through the printed ephemera. And he was there to really rally these students. That was fantastic. And then another woman, her name was Cecelia Williams. Cecelia Williams was 28 years old. She is an activist. She's a mother. And in her 28 years she has lost 29 family and friends to gun violence. The first one was her second grade teacher. She came to the class, again, with her version of PTSD. Moved the students and begged the students to do something. Rick Valicenti: Just something. It was in the form of just write the mothers of one of these victims a sympathy card after you hear the headline. Right? That's a simple thing. Or, gather all your cards and one person just take it to the funeral home and leave it in the basket. Simple moment. If you'd like I could share you an example of one of the projects, how we manifested our work at the end. We had lots of installations and interventions around the area, but one in particular was a community based exercise. I showed them an image of logging in Wisconsin. Tree logging. And those images that we're all familiar with are the felled trees in the shallow water, and the guys are standing on the tree trunks. And I said, it wasn't too much earlier before that picture was taken that those were living organisms, but now they're felled to the ground. And let's just imagine that we use the tree trunk as a symbol of those who are fallen. Rick Valicenti: And we've returned them to their vertical position. So that was the form of it. And then we started to talk about, well what could we put on those and what is the form? Are we going to be having tree trunks, that seems wrong. So we ordered lots of very long and very huge custom mailing tubes from a firm in Chicago called Chicago Mailing Tubes. And they made 24 inch, 18 inch and 12 inch mailing tubes of varying lengths. We had them wrapped in white paper and then the students took the grid of Chicago and wrapped each of those trees with black tape to suggest, not replicate, the grid of the city. And then we invited the community to come. And we had the list of the 760 some victims from the previous year to write their first names in whatever black calligraphy we could, whether it was with a Sharpie or whether it was with a brush pen. Rick Valicenti: And to see the community members come together with the students, honoring everybody with the names. And so, okay, that's one facet of it. And we have all these tubes now, and we put end caps on the tubes and the students started to talk about things that they would like to say. If you had to say something to a mother, to a community, to just reduce the pain of gun violence, what might it sound like? Everyone is a hero. I miss you, I miss you, I miss you. Whatever those messages were. And they typeset them in a black and white type, in all caps in a Gothic typeface on an orange disk. That orange disk had a hole cut in the middle and there was an orange piece of a cord, nylon cord, that we knotted. And that provided now these tree trunk-like forms to be carried. Rick Valicenti: And so there was a procession around town into the quad of the campus until they... Oh, I'm sorry. When the morning started all of the trunks were there in the center of the quad. That's right. Like the felled tree trunks. And then the procession started. And there were prayers read, and some music played, and some dancers from the music school came and they did a performative dance. A kind of celebration and resurrection, if you will. And then we were all invited to grab the chords and walk the trunks back to the alley where this student had been shot in the back, and return them to their vertical position. And there, I don't know, there we just reflected on it. But it was all quite moving. And we had it filmed and photographed and there was the record of it that could carry on. Rick Valicenti: We thought that could live in other places. The alderman, I'm sorry if I'm going on so long, I'm taking up this whole hour. But the alderman, his name is Harry Osterman, he was also invited to come. And he said, you know what, I would like that to be re-installed in my local park. And sure enough we installed it in his park and complete with all of the rides that a kid would have, the seesaw on the slide. A couple weeks later we get a call from alderman Osterman's office saying, it seems that there has been some violence in the park and your display has been vandalized. In fact, it has been destroyed. It has been cut up. It has been sawed. It has been smashed. Rick Valicenti: And I thought immediately, oh my God, the last thing we need is for Loyola to be a headline. And this good intention to be diminished. So we quickly scrambled and we went and we cleaned up the site and we got a chainsaw, we rented a chainsaw and we cut the things up so that we could transport it. And here what had happened was the other gang from the other side of the street was upset that, right, there had been some franchise in some retaliation of a recent shooting and this was the way that they could mark their territory. So there's lots healing that needs to be done, but design was certainly there to put a mirror to it. To make a good intention. And to certainly reveal the scab or the wound. Jolie Sheffer: Iker, can you give us an example of some of your place specific work? Maybe one particular project. You talked last night about the Marina Towers. I don't know if you want to talk about that or feel free to take that in a different direction. Iker: Yeah. Maybe one thing that I think is more important is structurally I think being in Chicago is what has saved my practice. I think a lot of the opportunities of doing self-initiated projects or projects that I was particularly interested are allowed to happen in Chicago because maybe there is not the pressure that there is in New York or any other places. And I think the idea of having space as a designer and an architect to think about things was something that I found very important and very unique to Chicago. Iker: So I think in a way, the way I was trained and the way I practice right now is different because of being in Chicago. And particularly that project of Marina City, I think it's one that it's very specific to the idea of Chicago about how it reflects how I work and how the projects evolve. And taking one icon of the city and really using that for me as a personal interest in understanding not only the building but understanding the architect, the ambitions of the architect. Why that building was so forward thinking when it opened in the early 60s. And then beginning to understand, how do you capture that value? Iker: How do you tell that story to people who are not architects? What are the tools that you have? And in that case I worked with Andreas Larsson, a photographer, to really begin to capture the diversity of the community. And it was a way of saying, you don't have to read plans in sections and elevations or use models to communicate the value of a building. There are other ways that maybe you can engage. And then through that you can learn some of the other things. Iker: And then that was exhibited, and then it has continued in doing then renovations in the building with Ellipsis Architecture. So always in collaboration with someone else. And the idea there is that, how do you celebrate the spacial qualities of the marina architect, but at the same time making it modern so new people can be living there. So it's an interesting project that has been ongoing for 10 years. And it just summarizes my interest in Bertrand Goldberg. And then as you work with other people, as you evolve or you have other skills, you can really begin to communicate that in different ways. And I can see that he's probably not going to be the last renovation or not the last project in some shape or form that I'm going to do about that building and that architect, which I think it's fantastic. Jolie Sheffer: Well there's something really interesting. You said something about this at your talk about how a project never really ends, it just sort of evolves into some new shape. Right? And clearly that work is an example of that notion that you never really have an end point. And your example too, Rick, went that way. That it takes on a new form and it may be not what you intended or what you imagined, but you have to let that life go on. Iker: I think in the end they are like your own personal obsessions. They are your interest, but it's sometimes it's an interest and sometimes it's an obsession. And they are in the back of your mind and then there is something that happens that it comes forward again, you have the opportunity to do it and then he goes back. But there are things that obviously you have a certain attachment. And then you realize that there are a lot of buildings, in this case, that share some of the ambitions because they were built in the same period. And then you can make a comparison or connect it to other experiences in other cities. So something that is very local and particular you can engage in a conversation with something that is happening in other cities. So I find it very particular, I never let go of those interests. It's just they transform and the outcome is very different. Jolie Sheffer: And Jenn, you mentioned the dots project. Could you talk about what that was and how that was very much play specific to Toledo? Jenn Stucker: Absolutely. So the genesis of that project came from the Arts Commission. I'd previously had done a banner project for them collaboratively with my colleague Amy Fiddler. And at the time I was president of AIG Toledo. And they came to us to say, oh we're having the GAS conference, the Glass Art Society is going to be coming. It's an international conference and maybe you could do some banners again. And I thought about that and really wanted to do something different. And one of the things about banners is the passivity that it has. And you have to be looking up, kind of encountering those. And so I've always been fascinated with maps and the "you are here" dot specifically. When I go to museums, when I go to zoos, wherever I'm going, I look for that and it gives me a sense of place. And the idea of sense of place seemed very important here at this time. Jenn Stucker: They were going to have people coming from all over the world. What is our sense of place? What is Toledo? And knowing that I wanted people to discover the city, and hopefully through walking. And how could I branch out into various places? So thinking about this dot of "you are here" and wanting people to discover the city, came up with this idea of three foot circular dots that had artwork on them created by a hundred different artists in Toledo that were site specific to that place. So working with the Arts Commission, what are the signature places in Toledo? The Toledo public library, the San Marcos Taqueria. It could be anywhere within the Toledo area, Point Place. So they helped curate that list. We talked about signature points, reached out to all of those establishments to say, more or less, congratulations, you're going to be part of this project. So that they would know that there was going to be a dot in front of their place. Jenn Stucker: And then having artists participate in creating those dots. And then on the dots was a QR code, and this was 2012, so it was still kind of cool then. And the idea was that you would scan the dot and you could then get the background information about the place in which you were standing. So you would learn about St. Patrick's Cathedral and get more information. And then to also give honor to the artist that they too would have their artist statement and what inspired the artwork that they created. And so one of the things about public art is that oftentimes if it's a sculpture, it's a very place specific, and only if you go to that place. And it's typically usually one artist. And so what I really liked about this project was that it was a hundred different artists that were participating in this. Jenn Stucker: And it was originally developed for outsiders to discover Toledo. The things that happened secondarily to that were amazing, where I was getting emails from people that had read about it in the newspaper. And one couple in particular said, we've read about this, we went out to start looking for these dots. They collected 25 of them and ended up at San Marcos Taqueria, said they had the best tacos they've ever had, had no idea it was even there. And they said they were looking forward to discovering more of their city. And I was like, that's a mic drop kind of moment. It couldn't have been any better than having people really realize the great things that we have in the community. So the byproduct of that was just, like I said, people seeing the great things that were here. Jenn Stucker: I wish I'd partnered with a cell phone company at the time because we had people that are actually buying cell phones. Because really, the iPhone had only come out, what, 2007 or something. So we're not too far to not everybody having a smartphone. There were people that were going out to buy a smart phone so that they could participate in this project. And there was a scavenger hunt component too, so we had an app for it. And the first hundred people to digitally collect 25 dots got a custom silkscreened edition poster. And so people are posting on Facebook and finding this dot and taking their children out. And I don't know, couldn't ask for a better project. Jolie Sheffer: We're going to take a short break. Thank you for listening to the BG Ideas podcast. Speaker 1: 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: Welcome back. Today I'm talking with Rick Valicenti, Iker Gil, and Jenn Stucker about the importance of interdisciplinary collaboration in creative fields. One of the things that you both talked about during your visit was the idea that the form of a given project will change, right? And I think Iker, you put it as something like, what's the story I want to tell and what's going to be the best form to tell that story? So how do you go about, what is part of your process and figuring out that answer to that question of the relationship between form and story? Iker: Yeah, I think that came out about the work and the way we structure MAS Context. And then really the first thing is just framing what the topic that we want to do, and then who should be the voices that need to be part of that issue. And sometimes you realize that you need something that sets the ground and it might be more academic. It might be an essay that really gives the shape to that. And then there are many other elements that can compliment, that can contra, that could take another direction that comes in the form of a short essay. And you need to be very aware. I think that a lot of the work that I do is actually paying attention to what other people are doing in their work. So whenever there is an issue that is coming together, I know I already have in my head what's the work that everybody's doing so I can make those connections. Iker: So it's really understanding how they work, what they are trying to say, what's the shape that it can be. And we've had, in the issues, we have long essays, short essays, photo essays, diagrams, poems. But also the people who write, they don't come from all the academic world. And some of the most interesting articles have come from people who are just residents in a building. And they can tell a story much better than an academic that has talk about housing. And one of the examples is we've done this for 10 years, and then the most read article is about Cabrini–Green, about our resident who grew up there and live there. And we walk with him, with Andreas Larsson actually. And we told him just let's walk around the neighborhood and tell us the stories of what are the meaningful places for you here that you grew up here and your families. Iker: And we just took photographs of that and we made captions of that. And it really was a way for us to understand what it means to leave there. Yes, there are some negative things, but there are many other positive things about Cabrini–Green that they all mask under headlines and other things from other people who have no relationship. So yes, there are many people who write about public housing, about Cabrini–Green, but his point of view and the way to talk about it in a very clear, succinct, and just experiential way of there. It was remarkable and it obviously resonated with the rest of the people because it's still the most read article. And it was in issue three, 10 years ago. Rick Valicenti: We should also keep in mind that Cabrini–Green, if we're talking about form, no longer exists. That building complex has been raised and it's gone. Now it's a Target. Is it not? Iker: Yep. It is. So it's like, when you demolish buildings you just don't demolish the actual building, you demolish the structures, the society, the relationship, everything that is built around that. So the void that it's in the city with the destruction of public housing is not just the building, it's all the fabric, the social fabric that got destroyed. And it's very complicated to regain. And unfortunately nothing really... It's happening at the level that it should be done. Rick Valicenti: And at the time you had an idea that it was going to be demolished or did you not know it was going to be demolished at that time? Iker: I did know that it was going to get demolished. Rick Valicenti: Oh, you did. Okay. But in either case you have left behind through the medium of design and this documentation a real important record of what it was like there at that moment. Iker: Yeah. Because in a way, these stories are not just headlines that once the headline leaves the story leaves. These are people who this is the place where they grew up. Where they live. Where they have their family. And then once the buildings are remove, they have to keep going with their life. They have to do other things. So it is really unfair to just live through headline after headline. The city is a much more complex thing. And I think one of the goals that we tried to do with the journal is really, yes, talk about issues that are important. But that there is a legacy that those things are looked in depth, that someone can go back 40 years later and finding that it's still relevant because there's another situation that contextualizes in a new way. Iker: So this is just a series of thinking that evolves and it grows and builds from each other. But I think there needs to be some, like paying attention to all these issues and build from those rather than be surprised by the latest thing that happens. And then once it goes, it just, oh, it's all sold. Jolie Sheffer: Could you talk, Rick, about your own forays into book work, as you describe it, and why that form made sense for some of those projects? Rick Valicenti: The book format I particularly love, I love its linearity but I also love its ability to be opened at any page. I also love its form, its tactile nature, its ability to change voices and change perceptions as you change the tactile experience when your hand touches a page. Change the paper, change the size of it. All of those things are available tools to find engagement in that which is being communicated and that which is being received. So you know, perhaps as a writer, you're able to capture your thinking in your typing. Jolie Sheffer: Absolutely. I don't know what I'm thinking until I'm typing it. Rick Valicenti: That's right. Until after maybe you've read it and say, oh my God, that's really special. But the designer takes that source material, if you will, and either amplifies it or adds harmony to it in a harmonic sound, or adds depth to it, or adds another perspective. And so I'm keenly aware when I'm making a book that it's not a typesetting assignment, that it really is a duet at the most basic level with the content. Whether it's with the author, whether it's with a photographer, whether it's with both. And how can you bring something to life in a way that under different hands or different perspectives or different budgets or whatever, it would sound different. Rick Valicenti: And just like you can do that when you're reading a poem, or a kid reading a kid's book, you know it sounds different than the parent. It happens when people perform songs, other than the person who wrote the song. So I like the book form, but I really like its linearity. And I must admit, when non-linearity was all the rage with interactive media, I was like, what's that about here? What's happening? I'm getting used to it, but that doesn't mean I need to like it. Jolie Sheffer: What about you Jenn? You've published work in book form. What for you is your particular process in thinking about that as a medium? Jenn Stucker: Well most of the publications, I guess probably been a little bit similar, it's been mostly for documentation that this happening happened has been a big part of that. The other part is most of the work has been with recent alums or with students, and so there's something about creating the object that adds that secondary level of, I guess, accomplishment, right? Or achievement, or that this thing... I guess the same thing is it happened. And so if we have evidence of that. I taught at SACI in Florence, Italy, through our program here at BGSU, last summer and we self published a book out of that called the FLRX times 14. Or 14 of us and putting material together to sort of, what was our experience here in Florence? All being American citizens coming into this place and space. And I don't see those students again. Right? They were from University of Michigan, Penn State, Parsons, couple from BGSU, Marshall. And it was a nice moment to capture and make a capsule, I guess, of that experience. Jolie Sheffer: Well, I want to thank you so much for taking the time to talk with me. It has been a real delight. Our producers for this podcast are Chris Covera and Marco Mendoza with help from Aaron Dufala, Hannah Santiago and Kaleah Ivory. Research assistants for this podcast was provided by ICS undergraduate intern Tay Sauer. This conversation was recorded in the Stanton audio recording studio in the Michael and Sara Kuhlin Center at Bowling Green State University.  

The On The Radar Podcast features music and interviews from artists coming to, through, and from the greater Midwest regions. Episode 65 features Eerie Point from Eerie, Michigan, and Point Place, Ohio. Eerie Point is a combination of folk, soul, and rock and roll. Music was a part of all the members lives, and they have come together to talk about their goals, their histories, and a whole lot of fun stories!Hear two stripped down versions of their songs "Doomtube" and "Pocket Change" recorded at Bigfoot Studios. Host: Christopher "Peapod" Daher Producer: Travis Geiman of Bigfoot Studios Intro: Dean Tartaglia and Steve Warstler Logo: Alex Baird of Trapezoid Design Company Subscribe and support us at http://www.ontheradarpc.com Submit your bio and press kit to OnTheRadarPodcast@gmail.com We are offering a special discount at our friends at STUPID RAD MERCH COMPANY (listen to the episode and find out your special passcode to get 20% off your order of Stupid Rad Merch line of clothing and accessories). --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Welcome to episode 20! Woop WoopWe are so excited to be talking about the legend of The Mothman.A bird like create thing that stalks the town to Point Pleasant (or Point Place is you ask Bill)We also talk about some other strange events that happen in the areas. Also beware of fedoras! Also, the Sliver Bridge Tragedy.   December 15th 1967 the bridge collapsed and 46 people lost their life.   Join us on social media to have all the convos and we want to do a second episode on Mothman because there are sighting in Chicago!Twitter: @dontgointhere3 Instagram @Dont_Go_In_There Facebook Page & Group Don't Go In there  Email: dontgointhere19@gmail.com Let us know what you love hate or theories on The Mothman!Please please please go ahead and leave us a review on iTunes and a comment!Let us know your thoughts on our little podcast     & Remember.... Don't Go In There.... --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

President Ford visits Point Place. Louisa & Brittany talk about patriotism, the national anthem, flag culture, and their experiences as New Yorkers for 9/11.

It's an Off The Radar EXTRA! Tuesday's tornado touchdown in Point Place and Oregon lead to a great question: what direction do tornadoes typically follow in northwest Ohio? This one certainly bucked the trend.

In a rare moment of clarity in the mysterious timeline of That 70's Show, it's Christmas time in Point Place! Christmas antenna's, Christmas blankets, Christmas bananas, and predator firefighters. Tis the season to get sloppy, after all. In this episode, Cheyenne and Rain discuss Season 3, Episode 9: Hyde's Christmas Rager -- in which we forget, until this moment, that Hyde's moved out of the Forman House and into his father's apartment, Bud's oblivious on how to be a parent, Kitty wants Hyde to come home, Eric gets trashed, and Jackie gets hit on by a man who dated her mother twenty years prior. Because that's not disgusting, at all.Contact us at that70spodcast@gmail.com, that70spodcast.tumblr.com, and @that70spodcast on Twitter with any questions, ideas, or theories to throw our way! And don't forget the Twitter polls!---Instagram: @transparentring/@cheygranTumblr: nancyywheller/c-sandTwitter: nancyywheellers

Welcome to Set Your Expectations, a conversational podcast focused on shining a light on different aspects of everyday life that we may have misconceptions, misgivings, or generally no idea about! Today we have Jonny Flitton, AKA @jonny_eagle_tattoos, a local Tattoo Artist operating out of the private Lake Erie Tattoo Studio in the Point Place neighborhood of Toledo, Ohio. Jonny walks us through some of the roughest and most hopeless times in his life, elaborates on his lifelong love of art, and tells the tale of exactly how that shaped him into the artist he is today. Get ready to Set Your Expectations!

There's nothing quite like a classy dinner party of eight at the Burkhart residence to really make Point Place shine. Only, this classy dinner doesn't have eight people. It has eighty. And there's a pant-less boy running around. And Hyde and Fez are drinking brandy out her fathers' crystal. And Eric's letting it all hang out. And Amy Adams is there! And Donna isn't being a great friend. Until she is. Oh, and Kelso sets the place on fire. Obviously. In this episode, Cheyenne and Rain discuss Season 2, Episode 15: Burning Down the House. In which Jackie's "boring" quiet night of classical music and dignity immediately turns into the biggest party of the year, all courtesy of Kelso, who's so very sure that he's doing the right thing. This party is on fiyyyaa!Contact us at that70spodcast@gmail.com, that70spodcast.tumblr.com, and @that70spodcast on Twitter with any theories, ideas or questions to throw our way. Instagram: @transparentring/@cheygranTumblr: nancyywheller/c-sandPhotograpy Tumblr: rainhammoura.co.vu

Career Day -- the holiest of days in any kids life; not because they have to *shudder* shadow their parents jobs, but because they get a day off school of course! Well, apparently in Point Place, that luxury isn't just given to the juniors, it's given to the entire school. Well, that doesn't seem fair! Keep in mind, though, not every one of Eric's friends happens to have a loving parent figure to be there. In this episode, Cheyenne and Rain discuss Season 1, Episode 18: "Career Day" -- where the day is full of sass, resentment, boredom, and a little something more to the chili than should really be there.Contact us at that70spodcast@gmail.com, that70spodcast.tumblr.com, and @that70spodcast on Twitter with any questions, theories, or ideas to throw our way!

Can you feel the love, tonight? The roses are blooming. The cherubs are singing. It's Valentine's Day in Point Place, Wisconsin and "romance" is supposed to be in the air. In this episode, Cheyenne and Rain discuss Season One, Episode 16: First Date -- where Eric manipulates the situation to get a date with Donna and Kelso manipulates Jackie to drop her pants. Contact us at that70spodcast@gmail.com, that70spodcast.tumblr.com, and @that70spodcast on Twitter with any questions, theories, or ideas to throw our way!

It's time for an [insanely early] holiday season! Break out the eggnog and buy some hot rollers, it's Christmas time in Point Place, Wisconsin and we're all invited. In this episode, Cheyenne and Rain talk Season 1, Episode 12: "The Best Christmas Ever." Contact us at that70spodcast@gmail.com, that70spodcast.tumblr.com, and @that70spodcast on twitter with any questions, theories, or ideas to throw our way!