Podcast appearances and mentions of sam dolnick

If you're an oh I never cry kind of person, if nothing seems to touch you or move you that deeply, this is for you.Few things might be more impactful — and more challenging — than giving space to what has been avoided for a long, long time.Because that was me. With the exception of brief outbursts, I didn't allow myself a lot of emotions. It was difficult (and expensive!?) to re-connect with my heart and body. Every week I stepped into a bland office with tired carpets and waited for the dreaded words: “How does that make you feel?”I was not feeling anything.If anything, my body felt empty. There was a void. And tension. Like someone holding a door from bursting open.The head was my safe space. I wanted to think about my life, not feel it. Kudos to my therapist who gently prodded me back to my body when I tried to divert and tell a story.Anger might have been the hardest to access.Hot flashing anger. Boiling anger. Stewing anger. Even today, anger is a tough one. I still push it away. If I get angry, I may feel a short pull, a hint at something happening. Then it gets bottled up and placed in the toxic waste storage somewhere down in my guts. Anger does not feel safe. I had to learn, like a toddler, that experiencing anger was not the same as being an angry person. I had to teach myself not to feel guilty for anger simply arising. I had to grasp that being angry at someone I loved did not threaten to break our bond. Don't get me wrong: I don't want to act from a place of anger. I don't want my life to be filled with anger. No, like all feelings and thoughts, it arises and vanishes. The anger burns off. The better my overall state, the more centered I am, the less interesting it is. (This was where meditation changed my life profoundly.) But the self-denial, I found, leads to a dissociated existence, to a disconnect from my truth.It creates tension and numbness in my body. It leads to behavior that is hard to explain — like suddenly avoiding a person or place. It leads to the willful destruction of the gift of time to experience distraction and release.Then I climb down the ladder and open the anger barrel. Ah. That's what's going on…“Until you make the unconscious conscious, it will direct your life and you will call it fate.” ― Carl JungI have found different ways to access that space. What seems to work best is movement, movement that lets the body express and release without the mind as an intermediary. Workouts, dance, TRE, breathwork all seem effective. And, yes, even writing — which has the advantage of being available for free to anyone at any time (well, provided some privacy).It's dead simple, but not easy.I learned this technique from the books of the late Dr. John Sarno (I shared it here with other notes on journaling). Years ago, Jim O'Shaughnessy mentioned Sarno to me, but I was not listening. Sarno focused on chronic pain, particularly back pain, and that was not a major issue for me.Last year, one of my stepbrothers used Sarno's method to overcome long COVID. The way he described it was very moving, as if he was dropping the weights he had been carrying by communing with his heart. It blew my mind.Strange as it may seem, people with an unconscious psychological need for symptoms tend to develop a disorder that is well known, like back pain, hay fever, or eczema. — The Divided Mind“John Sarno was a rehabilitation-medicine specialist at N.Y.U.,” writes Sam Dolnick at the New York Times. A doctor frustrated with his tools which didn't seem to be effective. His encounter with psychology made him see “his own physical ailments — an irritable stomach, itchy skin, shrieking headaches — as manifestations of his emotional well-being.” Mind and body appeared to him as one system and chronic pain often as a psychosomatic phenomenon — a physical symptom caused by psychological factors (he called it TMS).I don't know whether he is right about pain being a ‘distraction' but I don't doubt the connection between mental and physical health.As with Freud's patients, I found that my patients' physical symptoms were the direct result of strong feelings repressed in the unconscious. — The Mindbody PrescriptionThe medical community thought Sarno, who called himself ‘a heretic', went too far. “Because his colleagues wouldn't listen,” writes Dolnick, “he bypassed the journals and instead wrote best-selling books, conversational in tone, that detailed the link he saw between emotional distress and physical pain; he sold more than a million copies.”I didn't suffer from chronic pain, but I was familiar with the issue of bottled-up emotions. How else could they manifest? What issues was I risking down the road?Sarno focused on rage perhaps because that was his predicament (“I am furious!” he said. “It's there all the time! I'm in a rage!”). What about the other stuff we push away? The sorrow, shame, guilt, envy, fear, all the hurt and judgment and nasty stuff we would rather avoid.What if Sarno didn't go far enough?“It is perfectly acceptable to have a physical problem in our culture, but people tend to shy away from anything that has to do with the emotions.” — Healing Back PainI wanted to know the truth about how I felt — the embodied truth, not the story my mind would come up with. And I wanted to drop the weight. I needed to know how Sarno had helped people.For some patients, knowledge was enough. That's why Sarno's books analyze the condition, the treatment methods, and (Freudian) psychology. Unfortunately, Sarno buried a key idea among his many pages (kudos to his student Nicole Sachs for re-surfacing it): if knowing about the connection between psyche and body is not enough, you can choose to face and release whatever you are holding.The best description I've found is in the chapter ‘treatment' in The Divided Mind. Barely five pages of a “daily study program.” It's that simple.* Make three lists with all the sources of your emotional pain:* One list for your past: “Anger, hurt, emotional pain, and sadness generated in childhood will stay with you all your life because there is no such thing as time in the unconscious.”* One list for your current life circumstances: “List all the pressures in your life, since they all contribute to your inner rage.”* And one list for your personality traits, whatever contributes “to the internal emotional pain and anger.” For example: being a people pleaser, self-critical, a perfectionist, very driven, shy, self-sacrificing etc. — “The child in our unconscious doesn't care about anyone but itself and gets angry at the pressures to be perfect and good.” * Set aside time and “write an essay, the longer the better, about each item on your list. This will force you to focus in depth on the emotional things of importance in your life.” I called it write Until the Heart Catches.* Ideally, do this daily. More realistically, commit to it as an experiment, say for a month, then regularly to check in. This is done by hand. With pen and paper. I know you all want to type it and have AI analyze it. Or speak it into a transcription app and avoid typing altogether. That may be effective in different ways, but in this what matters is not insight but to have an emotional experience that was previously avoided.The point of the pen is movement. We need to move from head to body and stay with discomfort. We need to see the words take shape and be able to stare at them. We need to feel the emotional charge. It's work. If you stay at the level of trivial chatter, your experience will likewise be trivial.Yes, your hand may cramp in the beginning. It gets better.Yes, it may be illegible. That does not matter. We're not writing to share.This is about healing, growing, and a chance to get closer to your essence.What happens on that page is for your eyes only. It may be effective to destroy the pages later on. I haven't tried that yet, but I know it can be useful to ‘release' written statements — say a letter of forgiveness — to the ocean, fire etc.Occasionally, this writing yields creative sparks. Ideas and insights, songs and poetry, maybe waiting for you. There is gold in your shadow. When that happens, you just write the spark up somewhere else. Keep the mindbody writing between yourself and the universe.A few things I've learned doing this many times:* Turn off the phone. Practice discipline. You may feel the urge to go to the kitchen, the bathroom, to text someone, check the apps, to do work, to do anything but experience what has been avoided for so long.* Set a timer. It can take a while to go deep. I often start at the level of story with my gaze outward (“my problem is [person] is [doing]”). Give yourself enough space to go beyond the surface. Keep writing until you find the trail of feeling, then discomfort. Look for I feel [X] and, frankly, I'd rather not…* Stay with the body. The mind will try to distract you. For the purpose of this exercise what happened is irrelevant. The story does not matter. All that matters is whether you can give yourself permission to feel what your unconscious is holding.* Privacy. This is about experiencing emotions that don't feel safe to feel, let alone express around others. Even with my therapists and my IFS coach I censored myself. The more privacy you have for this work, the better.* Mindbody experience. I've broken pens, punched through pages, sobbed, cried, yelled, and cursed. I tend to shift back and forth between writing auf deutsch and in English. Many of my pages are illegible. Sometimes the letters get very large, at other times the writing is tiny. Allow yourself a full body experience. Give your parts the space to express themselves the way they want to.* Try speaking. Try reading the emotionally difficult/juicy stuff out loud. Don't think or dictate but rather let the hand write and then say out loud what appeared.* Let go. We're not trying to make this our reality. The goal is to visit the dragon's cave and return to the village. Say what needs to be said, cry if you feel like crying, and when you're done, close the notebook and leave it behind on the page. * End with soothing. Things might get loud and wild and you might feel raw and upset after. Give yourself time to calm down and comfort yourself. I'm not joking. Don't do this and hop on a work call right after.* Find a couple of self-care rituals as rewards for doing the work — a walk in nature, yoga nidra, a nap, hot bath, soothing music or guided meditation..* Add self-love and forgiveness. We're looking to meet ourselves on the page as honestly as we can. You might bump into shadow that can be difficult to face. That's valuable, but we also need to make sure we don't stay in that mindset. Aside from soothing self-care, end with an affirmation to love and forgive yourself. Perhaps find someone to share that love with. Share a hug.* The weirder this sounds, the more important it is. If everything love and forgiveness gives you the ick, try something like Love Yourself Like Your Life Depends on It by Kamal Ravikant.I've used mindbody writing for life circumstances like money or writing, for relationship and family issues, for hang-ups like my avoidance of intimacy, and for the big leaps I have not allowed myself. I could easily find dozens more for which I haven't explored with it yet.Like my reluctance to ask for help. Gotta be independent! Can't rely on others… oh. Is that so. I wonder what feelings are hiding in that space. Or my teeth clenched at night. I wonder what wants to be expressed there… Still, I've found it very effective already. I feel lighter and less tense. My story has been changing. I find peace and bliss on the other side of broken pens and mad pages.It is simply one way I meet my darkness and stuckness to release it, one page at a time.Maybe it's time to start the work?I hope this helps.— Frederik This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.frederikwrites.com/subscribe

The lawyers settle with the County, which agrees to pay the kids who were wrongfully arrested and illegally jailed; the hard part is getting the kids paid. Credits: “The Kids of Rutherford County” is a production of Serial, The New York Times, ProPublica and Nashville Public Radio. It was written and reported by Meribah Knight with additional reporting from Ken Armstrong at ProPublica. The show was produced by Daniel Guillemette with additional production by Michelle Navarro. It was edited by Julie Snyder and Jen Guerra. Additional editing by Anita Badejo, Sarah Blustain, Tony Gonzalez, Ken Armstrong and Alex Kotlowitz. The Supervising Producer is Ndeye Thioubou; research and fact checking by Ben Phelan, with additional fact checking by Naomi Sharp. Music supervision, sound design, and mixing by Phoebe Wang. Our Standards Editor is Susan Wessling. Legal review from Dana Green and Al-Amyn Sumar. Original score by The Blasting Company. Additional production from Jenelle Pifer. Mack Miller is the Executive Assistant for Serial. Art by Pablo Delcan. Sam Dolnick is a Deputy Managing Editor of The New York Times.

Wes Clark reads a telling line in a police report about how Rutherford County's juvenile justice system really works. He and his law partner Mark Downton realize they have a massive class action on their hands. Credits: “The Kids of Rutherford County” is a production of Serial, The New York Times, ProPublica and Nashville Public Radio. It was written and reported by Meribah Knight with additional reporting from Ken Armstrong at ProPublica. The show was produced by Daniel Guillemette with additional production by Michelle Navarro. It was edited by Julie Snyder and Jen Guerra. Additional editing by Anita Badejo, Sarah Blustain, Tony Gonzalez, Ken Armstrong and Alex Kotlowitz. The Supervising Producer is Ndeye Thioubou; research and fact checking by Ben Phelan, with additional fact checking by Naomi Sharp. Music supervision, sound design, and mixing by Phoebe Wang. Our Standards Editor is Susan Wessling. Legal review from Dana Green and Al-Amyn Sumar. Original score by The Blasting Company. Additional production from Jenelle Pifer. Mack Miller is the Executive Assistant for Serial. Art by Pablo Delcan. Sam Dolnick is a Deputy Managing Editor of The New York Times.

A young lawyer named Wes Clark can't get the Rutherford County juvenile court to let his clients out of detention—even when the law says they shouldn't have been held in the first place.  He's frustrated and demoralized, until he makes a friend. Credits: “The Kids of Rutherford County” is a production of Serial, The New York Times, ProPublica and Nashville Public Radio. It was written and reported by Meribah Knight with additional reporting from Ken Armstrong at ProPublica. The show was produced by Daniel Guillemette with additional production by Michelle Navarro. It was edited by Julie Snyder and Jen Guerra. Additional editing by Anita Badejo, Sarah Blustain, Tony Gonzalez, Ken Armstrong and Alex Kotlowitz. The Supervising Producer is Ndeye Thioubou; research and fact checking by Ben Phelan, with additional fact checking by Naomi Sharp. Music supervision, sound design, and mixing by Phoebe Wang. Our Standards Editor is Susan Wessling. Legal review from Dana Green and Al-Amyn Sumar. Original score by The Blasting Company. Additional production from Jenelle Pifer. Mack Miller is the Executive Assistant for Serial. Art by Pablo Delcan. Sam Dolnick is a Deputy Managing Editor of The New York Times.

A police officer in Rutherford County, Tennessee, sees a video of little kids fighting, and decides to investigate. This leads to the arrest of 11 kids for watching the fight. The arrests do not go smoothly. Credits: “The Kids of Rutherford County” is a production of Serial, The New York Times, ProPublica and Nashville Public Radio. It was written and reported by Meribah Knight with additional reporting from Ken Armstrong at ProPublica. The show was produced by Daniel Guillemette with additional production by Michelle Navarro. It was edited by Julie Snyder and Jen Guerra. Additional editing by Anita Badejo, Sarah Blustain, Tony Gonzalez, Ken Armstrong and Alex Kotlowitz. The Supervising Producer is Ndeye Thioubou; research and fact checking by Ben Phelan, with additional fact checking by Naomi Sharp. Music supervision, sound design, and mixing by Phoebe Wang. Our Standards Editor is Susan Wessling. Legal review from Dana Green and Al-Amyn Sumar. Original score by The Blasting Company. Additional production from Jenelle Pifer. Mack Miller is the Executive Assistant for Serial. Art by Pablo Delcan. Sam Dolnick is a Deputy Managing Editor of The New York Times.

“On his first night at the Brooklyn homeless shelter, Tin Chin met his best friend.”So begins an unforgettable story of deceit and friendship, and the loneliness of starting life anew in a foreign country.The journalist Sam Dolnick traces how two men came to find themselves in the homeless shelter, and how their shared backgrounds meant they became fast friends. But the story, as all good stories often do, quickly takes an unexpected turn.This story was written and narrated by Sam Dolnick. To hear more audio stories from publications like The New York Times, download Audm for iPhone or Android.

Today we're bringing you an episode from the recently launched New York Times podcast, Hard Fork. Hosted by veteran tech journalists Kevin Roose and Casey Newton, Hard Fork is a rigorous and fun exploration of Silicon Valley's already-emerging future — and its evolving imprint on the rest of the world.In this episode, Kevin and Casey discuss Elon Musk's on-again-off-again – and recently on-again – interest in Twitter, as the billionaire signals once again that he's buying the social media platform. What might be behind the change of heart? And what will the deal mean for employees and users? Casey and Kevin swap theories and predictions — and also step into the metaverse with the New York Times reporter Kashmir Hill.Hard Fork is produced by Davis Land. Edited by Paula Szuchman and Hanna Ingber. Fact-checking by Caitlin Love. Original music by Dan Powell, Elisheba Ittoop and Marion Lozano. Engineered by Corey Schreppel. Special thanks to Sam Dolnick, Shannon Busta, Julia Simon, Larissa Anderson, Pui-Wing Tam, Kate LoPresti, Nell Gallogly, Mahima Chablani and Jeffrey Miranda.You can find transcripts (posted midday) and more episodes of “The Ezra Klein Show” at nytimes.com/ezra-klein-podcast, and you can find Ezra on Twitter @ezraklein. Book recommendations from all our guests are listed at https://www.nytimes.com/article/ezra-klein-show-book-recs.

What do Clint Eastwood and Bradley Cooper have in common? DEA Agent Jeff Moore and his investigation into the oldest drug trafficker for the Sinaloa Cartel - Leo Sharp. Sharp was 80, broke, alone and facing foreclosure when he was made an offer he didn't refuse...transport cocaine for the most dangerous cartel in the world. The New York Times Magazine article “The Sinaloa Cartels' 90-Year-Old Drug Mule” by Sam Dolnick was made into the movie "The Mule". This is the real story behind the movie.- Donate at paypal.me/gameofcrimes or go to paypal.com and use our email: gameofcrimespodcast@gmail.com- Go to GameOfCrimesPodcast.com for more info- Follow us on...twitter.com/gameofcrimesfacebook.com/gameofcrimespodcastinstagram.com/gameofcrimespodcastSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

This week we talk about the New York Times: Framing Britney Spears documentary, directed by Samantha Stark and produced by Jason Stallman, Sam Dolnick and Stephanie Preiss.

Donate Here: https://paypal.me/pools/c/8uXWKqnLTI Find Rocco here: https://linktr.ee/roccopapa The New York Times Presents: Framing Britney Spears is a 2021 documentary television film, directed by Samantha Stark and produced by Jason Stallman, Sam Dolnick, and Stephanie Priess. The film revolves around the career of American entertainer Britney Spears, her celebrity and popularity within American culture, and the conservatorship that she has been living under since 2008, which has sparked the fan-driven "#FreeBritney" movement.[1] Released on February 5, 2021 as an edition of The New York Times Presents on FX and FX on Hulu, the documentary explores Spears's rise to fame as a pop star, her treatment by the paparazzi, her highly publicized breakdown in 2007 and her subsequent court-mandated conservatorship overseen by her father Jamie Spears. Shortly after the documentary aired, a probate judge dismissed objections by Jamie regarding the co-conservatorship arrangement.[2]

Donate Here: https://paypal.me/pools/c/8uXWKqnLTIFind Rocco here: https://linktr.ee/roccopapaThe New York Times Presents: Framing Britney Spears is a 2021 documentary television film, directed by Samantha Stark and produced by Jason Stallman, Sam Dolnick, and Stephanie Priess. The film revolves around the career of American entertainer Britney Spears, her celebrity and popularity within American culture, and the conservatorship that she has been living under since 2008, which has sparked the fan-driven "#FreeBritney" movement.[1]Released on February 5, 2021 as an edition of The New York Times Presents on FX and FX on Hulu, the documentary explores Spears's rise to fame as a pop star, her treatment by the paparazzi, her highly publicized breakdown in 2007 and her subsequent court-mandated conservatorship overseen by her father Jamie Spears. Shortly after the documentary aired, a probate judge dismissed objections by Jamie regarding the co-conservatorship arrangement.[2]

Donate Here: https://paypal.me/pools/c/8uXWKqnLTI A Britney fan responds to our podcast DON'T FREE BRITNEY. Bee's information as promised: https://twitter.com/BritneyHiatus The fans recklessly chant FREE BRITNEY and now it's become hip for celebrities to do the same. Has anyone stopped to consider if it's safe? The New York Times Presents: Framing Britney Spears is a 2021 documentary television film, directed by Samantha Stark and produced by Jason Stallman, Sam Dolnick, and Stephanie Priess. The film revolves around the career of American entertainer Britney Spears, her celebrity and popularity within American culture, and the conservatorship that she has been living under since 2008, which has sparked the fan-driven "#FreeBritney" movement.[1] Released on February 5, 2021 as an edition of The New York Times Presents on FX and FX on Hulu, the documentary explores Spears's rise to fame as a pop star, her treatment by the paparazzi, her highly publicized breakdown in 2007 and her subsequent court-mandated conservatorship overseen by her father Jamie Spears. Shortly after the documentary aired, a probate judge dismissed objections by Jamie regarding the co-conservatorship arrangement.

Donate Here: https://paypal.me/pools/c/8uXWKqnLTI A Britney fan responds to our podcast DON'T FREE BRITNEY. Bee's information as promised: https://twitter.com/BritneyHiatusThe fans recklessly chant FREE BRITNEY and now it’s become hip for celebrities to do the same. Has anyone stopped to consider if it’s safe? The New York Times Presents: Framing Britney Spears is a 2021 documentary television film, directed by Samantha Stark and produced by Jason Stallman, Sam Dolnick, and Stephanie Priess. The film revolves around the career of American entertainer Britney Spears, her celebrity and popularity within American culture, and the conservatorship that she has been living under since 2008, which has sparked the fan-driven "#FreeBritney" movement.[1] Released on February 5, 2021 as an edition of The New York Times Presents on FX and FX on Hulu, the documentary explores Spears's rise to fame as a pop star, her treatment by the paparazzi, her highly publicized breakdown in 2007 and her subsequent court-mandated conservatorship overseen by her father Jamie Spears. Shortly after the documentary aired, a probate judge dismissed objections by Jamie regarding the co-conservatorship arrangement.

The New York Times’ wildly popular podcast Caliphate came into question after its central character, a Canadian man who claimed he’d joined ISIS and committed executions, was charged with perpetrating a terrorist hoax. A re-investigation of the podcast by The Times concluded that, according to an editor’s note attached to the podcast, “episodes of Caliphate that presented Mr. Chaudhry’s claims did not meet our standards for accuracy.”  The debacle caused Rukmini Callimachi, the reporter and voice of Caliphate, to be reassigned to a new beat. And it has resurfaced allegations of workplace misconduct by Caliphate producer Andy Mills, provoked concerns about The Daily host Michael Barbaro’s efforts to shape coverage of the fallout, and set off a wider conversation about who gets to tell stories in podcasting. In this episode, Washington Post media critic Erik Wemple discusses where Caliphate went wrong. Laila Al-Arian, executive producer of Al Jazeera’s Fault Lines, critiques the reporting biases she believes contributed to the error.  Then, podcast host Jolenta Greenberg weighs in on what this episode tells us about the rise of the podcast industry.When asked for comment by Canadaland, The New York Times pointed us to this letter from assistant managing editor Sam Dolnick, written in response to a letter of complaint by members of the Public Radio Program Directors Association. In it, Dolnick writes: “We believe we’ve handled what was a significant journalistic lapse with accountability.” This episode is brought to you by Dispatch Coffee, SquareSpace, and Article. Additional music by Audio Network. Support CANADALAND: http://canadalandshow.com/join See omnystudio.com/listener for privacy information.

Für Podcasts war das Jahr 2020 ein einziger Energieschub. Durch die Pandemie ist die Nutzung von Online-Audio stark gestiegen und Angebote wie das Coronavirus Update des NDR haben das Medium einer breiten Masse zugänglich gemacht. Immer mehr, teils aufwendig produzierte Formate entstehen und es gibt neue Möglichkeiten zur Monetarisierung. Unter anderem über diese Themen sprechen wir in dieser Folge von „This is Media NOW – der Podcast der MEDIENTAGE MÜNCHEN“. Außerdem erfahren Sie mehr über die Podcast-Strategie der New York Times, die 2017 den weltweit erfolgreichsten News Podcast „The Daily“ gestartet und in diesem Jahr mit dem Kauf von serial productions einen weiteren Meilenstein gesetzt hat. Wir reden darüber mit Sam Dolnick, einem der Podcast-Verantwortlichen der NYT.

An welchen Stellen die ARD manchmal etwas zu spät dran war und warum wir das Thema der Zielgruppendefinition ganz neu denken sollten – das erfahren Sie in dieser Ausgabe von „This is Media NOW – der Podcast der MEDIENTAGE MÜNCHEN“. Außerdem geht es darum, warum Diversität für die Medienbranche so wichtig ist und was Sam Dolnick, Assistant Managing Editor der New York Times, beim Podcast Special erzählen wird.

Sam Dolnick, assistant managing editor of The New York Times who helped launch The Daily and The Weekly sits down with Recode's Peter Kafka to discuss where The Times's digital strategy is headed next. Want to attend Code Media in Los Angeles, CA from November 18th-19th? Click here to register. Featuring: Sam Dolnick (@samdolnick), Assistant Managing Editor of The New York Times Host: Peter Kafka (@pkafka), Senior Editor at Recode More to explore: Subscribe for free to Recode Media, Peter Kafka, one of the media industry's most acclaimed reporters, talks to business titans, journalists, comedians, and more to get their take on today's media landscape. About Recode by Vox: Recode by Vox helps you understand how tech is changing the world — and changing us. Learn more about your ad choices. Visit megaphone.fm/adchoices

Sam Dolnick became the New York Times' mobile editor back when the handheld revolution was only just beginning. "And from there, it kind of shifted to trying to think about how our journalism needs to change." Days after president Trump's inauguration, the paper of record launched The Daily, the blockbuster news podcast that inspired challengers at news organizations including the Guardian, the Washington Post, the Economist, Slate, ABC, and even NPR. The Daily's success also led to The Weekly, a video series that launched on FX and Hulu in June, and is averaging 1.3 million viewers per episode, according to FX. Why FX? Dolnick answers that, and talks about the differences between audio and visual journalism.

38esimo film per il pluripremiato Clint Eastwood, un’icona nella cinematografia statunitense. The Mule- Il corriere è basato sulla storia vera di Leo Sharp, un veterano della seconda guerra mondiale che divenne un corriere per il cartello di Sinaloa raccontata dal giornalista Sam Dolnick nell’articolo The Sinaloa Cartel’s 90-Year-Old Drug Mule pubblicato su The New York […]

New York Times associate editor Sam Dolnick and assistant masthead editor Clifford Levy talk with Recode's Edmund Lee about how the 164-year-old newspaper is modernizing for the web. Levy reflects on the now-defunct NYT Now mobile app, which showed the Times's staff the value of collaboration among departments. The paper must learn to experiment and sometimes fail, the editors say, much like a tech company in Silicon Valley. Dolnick, one of the potential heirs to the paper as a member of the Ochs-Sulzberger family which owns it, shares the behind-the-scenes story of the NYT's first foray into virtual reality last year. Learn more about your ad choices. Visit megaphone.fm/adchoices

Jake Silverstein, editor of The New York Times Magazine, sat down with Jenna Pirog, Graham Roberts and Sam Dolnick to talk about all things virtual reality.

Jake Silverstein, editor of The New York Times Magazine, sat down with Jenna Pirog, Graham Roberts and Sam Dolnick to talk about all things virtual reality.

It is no secret that traditional media such as newspapers and magazines often is seen as somewhat slow to adapt to how news in covered and presented to their readers.  Thanks to this episodes guests, Jenna Pirog and Sam Dolnick, the New York Times have jumped in as a leader in the VR & AR space for journalism. Sending out 1 million Google Cardboard units in a partnership with Google and continually adding new stories that can be viewed in their NYTVR app for Android & iOS, the future of VR & AR in journalism is bright. Make sure to connect with the New York Times along with both Jenna Pirog and Sam Dolnick the following ways: NYT VR on the web Jenna Pirog on Twitter Sam Dolnick on Twitter     Download the NYT VR apps To download the NYT VR apps, you can do so here: Android iOS   Make sure to visit www.thevrara.com for more information about the VRAR Association and how you can get involved. Also, we invite you to follow @thevrara on Twitter.     It pays to listen! Listeners of Everything VR & AR can save $100 off of the purchase of a VirZoom controller by using the following promo code at checkout: VRAR So make sure to head over to VirZoom.com and use the promo code VRAR to save $100 off the purchase of your VirZoom controller!     Subscribe, Follow and Share Feedback To keep up with Everything VR & AR, make sure to subscribe to the show the on your favorite podcast app! Subscribe on iTunes Subscribe on Google Play Subscribe on Pocket Casts Subscribe on Stitcher Radio   You can enter the following in your favorite podcast app should the show not show up in searches is: http://everythingvrar.libsyn.com/rss   As always, make sure to follow the VRAR Association on Twitter at @thevrara   Would you like to share feedback of the Everything VR & AR show? Email your thoughts to podcast@thevrara.com.     Hosts Nathan Pettyjohn is a technology entrepreneur with experience building teams in marketing, advertising, sales and mobile technology, and is currently the Founder and CEO of Aisle411, a global leading indoor location and mobile software company serving some of the world's largest retailers and brands. Aisle411 was an early augmented reality development partner of Google’s Project Tango solution in 2014, offering 3D AR navigation solutions for leading retailers. Nathan is also the Founder of the VRAR Association.   Kevin Harvell is a professional podcaster with over 300+ episodes of hosting, co-hosting and producing experience with a primary focus on consumer technology. Current shows Kevin is involved in include the Tech Informist, MS Mobile Show and the Who's Who in St. Lou Show.  Kevin also loves spreading his passion for podcasting with others via speaking engagements at technology conferences and recently joined Mobile Nations as a freelance writer.