North/south avenue in Manhattan, New York City, also known as Avenue of the Americas
POPULARITY
10 episodes with Sixth Avenue
2 episodes with Sixth Avenue
2 episodes with Sixth Avenue
6 episodes with Sixth Avenue
2 episodes with Sixth Avenue
2 episodes with Sixth Avenue
2 episodes with Sixth Avenue
2 episodes with Sixth Avenue
2 episodes with Sixth Avenue
Today we connect with Trista Jablonski, the new owner of To and From Gifts, 5535 Sixth Avenue. Trista tells us all about her early days growing up in Kenosha – attending Indian Trail Academy during one of the darkest periods in Kenosha High School history, why she left Kenosha for a few years to pursue a career in youth ministry, and why she returned to her hometown and decided to, with zero retail experience, buy To and From Gift Shop in Downtown Kenosha and make it her own! Visit To and From Gift Shop to find that perfect gift for yourself or a loved one! Check them out on Facebook here. Trista and her husband are double dippers when it comes to local businesses, she helps out her husband with his business – Reliant Home Services, check them out if you are in the need of handyman repair work! This episode was recorded on March 24, 2025 at the Better Call Parise Recording Studio in Downtown Kenosha – call on the Law Offices of Frank J. Parise when your bad day gets even worse! The Ktown Connects hotline is open! Visit us at ktownconnects.com, click on the phone and leave us a message telling us about the last great meal you had in Kenosha! Theme song performed by Dropping Daisies, written by James “Red” McLeod. Your hosts are Donny Stancato and Jason Hedman Get your Ktown Connects merchandise at The Lettering Machine, 725 50th St. Drop us an email at ktownconnects@yahoo.com Get additional episodes early and ad-free, along with bonus material with this week's guest and more great exclusive material by becoming a patreon supporter! Click here for more! Ktown Connects is brought to you by: Shannyn Franklin – ReMax Elite Franks Diner, 508 58th St Aason Hunzinger of AHDidIt Union Park Tavern, 4520 Eighth Ave. About Time Moving Systems Casey Family Options Funerals & Cremations, 3016 75th St Dickow Czak Tile Carpet One, 6403 75th St Public Brewing Company 628 58th St Carbox, 1750 22nd Ave Wink Beauty Boutique, 10909 Sheridan Rd A+ Mobility, 2324 18th St The Port of Kenosha Beverage House, 705 50th St Faded Barbershop for Men, 2227 63rd St Lucci's Grandview 6929 39th Ave Lakeshore Pedal Tours, 5001 Simmons Island Dr Alpaca Art, 4326 Seventh Ave White Lilac, 5029 Sixth Ave Sallese & Co, 709 56th St
Tucson's rodeo tradition just got a monumental tribute!
Kim and her daughter Amelia went to New York City in December to experience the Big Apple for the holidays. In addition to enjoying the holiday markets, ice skating, and decorations, they went on a quest to find all the of the Taylor Swift related spots in the City. If you have a Swiftie fan, give this episode a listen! Trip Highlights: Kim stayed at the Grayson Hotel near Bryant Park, which has a good location but the rooms are very small and the rooftop bar is pretty loud and crowded They visited from Sunday - Wednesday to avoid the weekend crowds Earlier December is better because the crowds get heavier the closer it gets to Christmas and between Christmas and New Years Ice skating in Bryant Park is much cheaper than skating in Rockefeller Center and if you have your own ice skates, it is free. You need to book your time slot when it opens a week in advance. You get 20 minutes to get your skates and 50 minutes on the ice for your time slot. Kim and Mia used CityPASS New York to see many of the sights. The passes are available digitally and you can book reservations (when needed) from within the CityPASS app. They did Top of the Rock at night and then the Empire State Building during the day. During the holidays, Top of the Rock has a seasonal Christmas pop up bar. There are Christmas Markets at Columbus Circle, Bryant Park, Herald Square, and Union Square to visit. Bryant Park is one of the busiest markets. The storefronts on Fifth Avenue are decorated and Sixth Avenue has a lot of large ornaments and other holiday decorations. They didn't get to visit the lights in the neighborhood of Dyker Heights, Brooklyn. Taylor Swift Spots in NYC: Housing Works - where Taylor Swift filmed part of the "All too well" video House on Cornelius Street Bus Stop Cafe near Cornelius Street Walk on the Highline Chelsea Hotel See more details in Kim's Instagram post
As we step into 2025, we take a moment to honor the visionaries who shaped Tucson's urban core and left lasting legacies. In this special retrospective episode of Life Along the Streetcar, we revisit the stories of individuals whose passion, creativity, and commitment have transformed Tucson into the vibrant community we love today.
The Legal Connection No One Saw Coming It was an unexpected twist that no one saw coming, the kind that leaves you re-reading the headline just to confirm it isn't satire: The lawyers for accused killer Luigi Mangione and embattled music mogul Sean “Diddy” Combs are married. Two men, worlds apart in their alleged crimes, somehow tied together by a high-powered husband-and-wife legal team. The news landed like a grenade in the quiet corners of the legal world, a surreal connection linking two of the most sensational cases currently dominating headlines across the country. A Reputation Built in Courtrooms Karen Friedman-Agnifilo, a name well-known in New York's legal circles, stepped into the spotlight again when she was retained to represent Mangione, the man accused of gunning down UnitedHealthcare CEO Brian Thompson. Just as heads were spinning from the magnitude of that case, another revelation surfaced: Friedman-Agnifilo's husband, Marc Agnifilo, is one of the lead attorneys representing Sean Combs, who faces a barrage of federal charges, including sex trafficking and racketeering. Suddenly, two of the nation's most closely watched cases had an unexpected overlap, a professional connection that no one could have predicted. Friedman-Agnifilo's name alone carries weight in Manhattan courtrooms. For years, she served as the head of the sex crimes unit under District Attorney Cyrus Vance. Her no-nonsense approach earned her a formidable reputation as a prosecutor who didn't shy away from high-profile cases. In fact, her time in public service reads like a who's-who of New York City's most notorious cases. From prosecuting brutal assaults to unmasking white-collar predators, her work became a hallmark of the city's justice system. But in 2021, she made a surprising career move, stepping down from public service to join her husband's private law firm, Agnifilo Intrater LLP. It was a decision that drew attention at the time, especially given her role in prosecuting sex crimes and her husband's high-profile defense of individuals accused of similar misconduct. The irony of that career shift was not lost on many, but it cemented her reputation as a powerful advocate—no matter which side of the courtroom she stood on. Their professional partnership hasn't come without complications. During her time as a prosecutor, Friedman-Agnifilo was forced to recuse herself from cases when her husband represented defendants. Perhaps most notably, she stepped aside during Harvey Weinstein's rape prosecution after Weinstein retained representation from her husband's firm. The spotlight on such decisions created waves of debate within legal circles—where exactly do you draw the line when work and personal relationships collide? Such instances underscored the delicate balance between their personal and professional lives—a balance now playing out on an even bigger stage with Mangione and Combs. The Case Against Luigi Mangione For Luigi Mangione, the stakes couldn't be higher. The 26-year-old University of Pennsylvania graduate faces a barrage of charges after allegedly shooting and killing UnitedHealthcare CEO Brian Thompson outside the Hilton Hotel on Sixth Avenue. The attack happened on December 4, just as the healthcare giant's parent company was hosting its annual investor conference. The brazen act shocked the city, turning Thompson's killing into a moment of nationwide reckoning. A corporate leader, gunned down in public, during an event meant to celebrate one of America's largest healthcare organizations. The shockwave rippled far beyond the walls of UnitedHealthcare, raising questions about security, public safety, and Mangione's still-unclear motivations. Law enforcement launched into overdrive, setting off a manhunt that would dominate news cycles for days. Police pursued leads across state lines until Mangione was finally cornered in the most unassuming of places: a McDonald's in Altoona, Pennsylvania. His arrest was the kind of anticlimactic moment that feels ripped from a script—a fugitive on the run, brought down by an eagle-eyed fast-food worker. Yet, despite the arrest, the investigation raised more questions than answers, including why Mangione allegedly targeted UnitedHealthcare, how he learned of the investor conference, and whether the attack was driven by personal grievances, broader ideology, or a more chaotic rationale. While Mangione has pleaded not guilty, investigators have uncovered unsettling details about his alleged motives. Chief of Detectives Joseph Kenny stated that Mangione had prior knowledge of UnitedHealthcare's investor conference and had referenced the company in a note found when he was arrested. Yet, despite Mangione's alleged fixation, there's no indication he was ever a client of UnitedHealthcare. This curious detail raises broader questions: Why UnitedHealthcare? Was Thompson a specific target, or was the company itself symbolic of something larger in Mangione's mind? As those threads are pulled, investigators continue to search for clues, leaving many wondering whether this was an act of premeditated calculation or something more chaotic. The Fall of Sean “Diddy” Combs Meanwhile, 160 miles away in Brooklyn's Metropolitan Detention Center, Sean “Diddy” Combs sits behind bars. Once regarded as one of music's most untouchable figures, Combs now faces a litany of charges that threaten to dismantle the empire he spent decades building. Sex trafficking by force, racketeering conspiracy, and prostitution charges are just the tip of the legal iceberg. The sheer gravity of the allegations has sent shockwaves through the entertainment industry, forcing a reckoning about power and accountability in celebrity culture. Combs, for his part, has pleaded not guilty to all charges and remains steadfast in his defense. Marc Agnifilo, Diddy's lead attorney, has his hands full navigating the fallout from these mounting accusations. Known for his unflappable demeanor and strategic courtroom tactics, Agnifilo now faces the arduous task of dismantling a case that grows stronger with each new allegation. His work on Combs' case stands as a stark contrast to his wife's role in Mangione's defense. Together, the Agnifilos find themselves at the center of two of the most polarizing cases in the country, their marriage now under the microscope as much as their clients. Every decision they make—every strategy they employ—is scrutinized by an increasingly curious public. What Lies Ahead? Public reaction to this unexpected connection has been swift and incredulous. Social media erupted as word spread of the Agnifilos' dual involvement, with commentators expressing everything from shock to outright suspicion. How could two seemingly unrelated cases converge in such an intimate way? Was it simply coincidence, or does it say something deeper about the small, intertwined world of elite legal defense? The fact that these cases are happening in tandem—with lawyers who share not only a firm but a home—has added a surreal element to an already extraordinary series of events. What happens next in these cases remains to be seen. For Mangione, extradition proceedings continue as he awaits his day in court. For Diddy, the countdown to trial looms large, with every new revelation fueling further scrutiny. In both cases, the stakes couldn't be higher, and for the Agnifilos, their clients' futures rest squarely in their hands. The legal world is no stranger to strange bedfellows, but even by those standards, this professional overlap feels surreal. Two cases, two clients, two lawyers—and one marriage that now links it all together. A shocking coincidence? Perhaps. A curious twist of fate? Undoubtedly. What began as shocking headlines now unfolds as a story of unexpected intersections and public fascination. And as these two cases march forward, the public can't help but watch—waiting for the next twist in a story that only seems to grow more unbelievable with each passing day. Want to listen to ALL of our podcasts AD-FREE? Subscribe through APPLE PODCASTS, and try it for three days free: https://tinyurl.com/ycw626tj Follow Our Other Cases: https://www.truecrimetodaypod.com The latest on The Downfall of Diddy, The Trial of Karen Read, The Murder Of Maddie Soto, Catching the Long Island Serial Killer, Awaiting Admission: BTK's Unconfessed Crimes, Delphi Murders: Inside the Crime, Chad & Lori Daybell, The Murder of Ana Walshe, Alex Murdaugh, Bryan Kohberger, Lucy Letby, Kouri Richins, Malevolent Mormon Mommys, The Menendez Brothers: Quest For Justice, The Murder of Stephen Smith, The Murder of Madeline Kingsbury, The Murder Of Sandra Birchmore, and much more! Listen at https://www.truecrimetodaypod.com
Hidden Killers With Tony Brueski | True Crime News & Commentary
The Legal Connection No One Saw Coming It was an unexpected twist that no one saw coming, the kind that leaves you re-reading the headline just to confirm it isn't satire: The lawyers for accused killer Luigi Mangione and embattled music mogul Sean “Diddy” Combs are married. Two men, worlds apart in their alleged crimes, somehow tied together by a high-powered husband-and-wife legal team. The news landed like a grenade in the quiet corners of the legal world, a surreal connection linking two of the most sensational cases currently dominating headlines across the country. A Reputation Built in Courtrooms Karen Friedman-Agnifilo, a name well-known in New York's legal circles, stepped into the spotlight again when she was retained to represent Mangione, the man accused of gunning down UnitedHealthcare CEO Brian Thompson. Just as heads were spinning from the magnitude of that case, another revelation surfaced: Friedman-Agnifilo's husband, Marc Agnifilo, is one of the lead attorneys representing Sean Combs, who faces a barrage of federal charges, including sex trafficking and racketeering. Suddenly, two of the nation's most closely watched cases had an unexpected overlap, a professional connection that no one could have predicted. Friedman-Agnifilo's name alone carries weight in Manhattan courtrooms. For years, she served as the head of the sex crimes unit under District Attorney Cyrus Vance. Her no-nonsense approach earned her a formidable reputation as a prosecutor who didn't shy away from high-profile cases. In fact, her time in public service reads like a who's-who of New York City's most notorious cases. From prosecuting brutal assaults to unmasking white-collar predators, her work became a hallmark of the city's justice system. But in 2021, she made a surprising career move, stepping down from public service to join her husband's private law firm, Agnifilo Intrater LLP. It was a decision that drew attention at the time, especially given her role in prosecuting sex crimes and her husband's high-profile defense of individuals accused of similar misconduct. The irony of that career shift was not lost on many, but it cemented her reputation as a powerful advocate—no matter which side of the courtroom she stood on. Their professional partnership hasn't come without complications. During her time as a prosecutor, Friedman-Agnifilo was forced to recuse herself from cases when her husband represented defendants. Perhaps most notably, she stepped aside during Harvey Weinstein's rape prosecution after Weinstein retained representation from her husband's firm. The spotlight on such decisions created waves of debate within legal circles—where exactly do you draw the line when work and personal relationships collide? Such instances underscored the delicate balance between their personal and professional lives—a balance now playing out on an even bigger stage with Mangione and Combs. The Case Against Luigi Mangione For Luigi Mangione, the stakes couldn't be higher. The 26-year-old University of Pennsylvania graduate faces a barrage of charges after allegedly shooting and killing UnitedHealthcare CEO Brian Thompson outside the Hilton Hotel on Sixth Avenue. The attack happened on December 4, just as the healthcare giant's parent company was hosting its annual investor conference. The brazen act shocked the city, turning Thompson's killing into a moment of nationwide reckoning. A corporate leader, gunned down in public, during an event meant to celebrate one of America's largest healthcare organizations. The shockwave rippled far beyond the walls of UnitedHealthcare, raising questions about security, public safety, and Mangione's still-unclear motivations. Law enforcement launched into overdrive, setting off a manhunt that would dominate news cycles for days. Police pursued leads across state lines until Mangione was finally cornered in the most unassuming of places: a McDonald's in Altoona, Pennsylvania. His arrest was the kind of anticlimactic moment that feels ripped from a script—a fugitive on the run, brought down by an eagle-eyed fast-food worker. Yet, despite the arrest, the investigation raised more questions than answers, including why Mangione allegedly targeted UnitedHealthcare, how he learned of the investor conference, and whether the attack was driven by personal grievances, broader ideology, or a more chaotic rationale. While Mangione has pleaded not guilty, investigators have uncovered unsettling details about his alleged motives. Chief of Detectives Joseph Kenny stated that Mangione had prior knowledge of UnitedHealthcare's investor conference and had referenced the company in a note found when he was arrested. Yet, despite Mangione's alleged fixation, there's no indication he was ever a client of UnitedHealthcare. This curious detail raises broader questions: Why UnitedHealthcare? Was Thompson a specific target, or was the company itself symbolic of something larger in Mangione's mind? As those threads are pulled, investigators continue to search for clues, leaving many wondering whether this was an act of premeditated calculation or something more chaotic. The Fall of Sean “Diddy” Combs Meanwhile, 160 miles away in Brooklyn's Metropolitan Detention Center, Sean “Diddy” Combs sits behind bars. Once regarded as one of music's most untouchable figures, Combs now faces a litany of charges that threaten to dismantle the empire he spent decades building. Sex trafficking by force, racketeering conspiracy, and prostitution charges are just the tip of the legal iceberg. The sheer gravity of the allegations has sent shockwaves through the entertainment industry, forcing a reckoning about power and accountability in celebrity culture. Combs, for his part, has pleaded not guilty to all charges and remains steadfast in his defense. Marc Agnifilo, Diddy's lead attorney, has his hands full navigating the fallout from these mounting accusations. Known for his unflappable demeanor and strategic courtroom tactics, Agnifilo now faces the arduous task of dismantling a case that grows stronger with each new allegation. His work on Combs' case stands as a stark contrast to his wife's role in Mangione's defense. Together, the Agnifilos find themselves at the center of two of the most polarizing cases in the country, their marriage now under the microscope as much as their clients. Every decision they make—every strategy they employ—is scrutinized by an increasingly curious public. What Lies Ahead? Public reaction to this unexpected connection has been swift and incredulous. Social media erupted as word spread of the Agnifilos' dual involvement, with commentators expressing everything from shock to outright suspicion. How could two seemingly unrelated cases converge in such an intimate way? Was it simply coincidence, or does it say something deeper about the small, intertwined world of elite legal defense? The fact that these cases are happening in tandem—with lawyers who share not only a firm but a home—has added a surreal element to an already extraordinary series of events. What happens next in these cases remains to be seen. For Mangione, extradition proceedings continue as he awaits his day in court. For Diddy, the countdown to trial looms large, with every new revelation fueling further scrutiny. In both cases, the stakes couldn't be higher, and for the Agnifilos, their clients' futures rest squarely in their hands. The legal world is no stranger to strange bedfellows, but even by those standards, this professional overlap feels surreal. Two cases, two clients, two lawyers—and one marriage that now links it all together. A shocking coincidence? Perhaps. A curious twist of fate? Undoubtedly. What began as shocking headlines now unfolds as a story of unexpected intersections and public fascination. And as these two cases march forward, the public can't help but watch—waiting for the next twist in a story that only seems to grow more unbelievable with each passing day. Want to listen to ALL of our podcasts AD-FREE? Subscribe through APPLE PODCASTS, and try it for three days free: https://tinyurl.com/ycw626tj Follow Our Other Cases: https://www.truecrimetodaypod.com The latest on The Downfall of Diddy, The Trial of Karen Read, The Murder Of Maddie Soto, Catching the Long Island Serial Killer, Awaiting Admission: BTK's Unconfessed Crimes, Delphi Murders: Inside the Crime, Chad & Lori Daybell, The Murder of Ana Walshe, Alex Murdaugh, Bryan Kohberger, Lucy Letby, Kouri Richins, Malevolent Mormon Mommys, The Menendez Brothers: Quest For Justice, The Murder of Stephen Smith, The Murder of Madeline Kingsbury, The Murder Of Sandra Birchmore, and much more! Listen at https://www.truecrimetodaypod.com
The Downfall Of Diddy | The Case Against Sean 'Puffy P Diddy' Combs
The Legal Connection No One Saw Coming It was an unexpected twist that no one saw coming, the kind that leaves you re-reading the headline just to confirm it isn't satire: The lawyers for accused killer Luigi Mangione and embattled music mogul Sean “Diddy” Combs are married. Two men, worlds apart in their alleged crimes, somehow tied together by a high-powered husband-and-wife legal team. The news landed like a grenade in the quiet corners of the legal world, a surreal connection linking two of the most sensational cases currently dominating headlines across the country. A Reputation Built in Courtrooms Karen Friedman-Agnifilo, a name well-known in New York's legal circles, stepped into the spotlight again when she was retained to represent Mangione, the man accused of gunning down UnitedHealthcare CEO Brian Thompson. Just as heads were spinning from the magnitude of that case, another revelation surfaced: Friedman-Agnifilo's husband, Marc Agnifilo, is one of the lead attorneys representing Sean Combs, who faces a barrage of federal charges, including sex trafficking and racketeering. Suddenly, two of the nation's most closely watched cases had an unexpected overlap, a professional connection that no one could have predicted. Friedman-Agnifilo's name alone carries weight in Manhattan courtrooms. For years, she served as the head of the sex crimes unit under District Attorney Cyrus Vance. Her no-nonsense approach earned her a formidable reputation as a prosecutor who didn't shy away from high-profile cases. In fact, her time in public service reads like a who's-who of New York City's most notorious cases. From prosecuting brutal assaults to unmasking white-collar predators, her work became a hallmark of the city's justice system. But in 2021, she made a surprising career move, stepping down from public service to join her husband's private law firm, Agnifilo Intrater LLP. It was a decision that drew attention at the time, especially given her role in prosecuting sex crimes and her husband's high-profile defense of individuals accused of similar misconduct. The irony of that career shift was not lost on many, but it cemented her reputation as a powerful advocate—no matter which side of the courtroom she stood on. Their professional partnership hasn't come without complications. During her time as a prosecutor, Friedman-Agnifilo was forced to recuse herself from cases when her husband represented defendants. Perhaps most notably, she stepped aside during Harvey Weinstein's rape prosecution after Weinstein retained representation from her husband's firm. The spotlight on such decisions created waves of debate within legal circles—where exactly do you draw the line when work and personal relationships collide? Such instances underscored the delicate balance between their personal and professional lives—a balance now playing out on an even bigger stage with Mangione and Combs. The Case Against Luigi Mangione For Luigi Mangione, the stakes couldn't be higher. The 26-year-old University of Pennsylvania graduate faces a barrage of charges after allegedly shooting and killing UnitedHealthcare CEO Brian Thompson outside the Hilton Hotel on Sixth Avenue. The attack happened on December 4, just as the healthcare giant's parent company was hosting its annual investor conference. The brazen act shocked the city, turning Thompson's killing into a moment of nationwide reckoning. A corporate leader, gunned down in public, during an event meant to celebrate one of America's largest healthcare organizations. The shockwave rippled far beyond the walls of UnitedHealthcare, raising questions about security, public safety, and Mangione's still-unclear motivations. Law enforcement launched into overdrive, setting off a manhunt that would dominate news cycles for days. Police pursued leads across state lines until Mangione was finally cornered in the most unassuming of places: a McDonald's in Altoona, Pennsylvania. His arrest was the kind of anticlimactic moment that feels ripped from a script—a fugitive on the run, brought down by an eagle-eyed fast-food worker. Yet, despite the arrest, the investigation raised more questions than answers, including why Mangione allegedly targeted UnitedHealthcare, how he learned of the investor conference, and whether the attack was driven by personal grievances, broader ideology, or a more chaotic rationale. While Mangione has pleaded not guilty, investigators have uncovered unsettling details about his alleged motives. Chief of Detectives Joseph Kenny stated that Mangione had prior knowledge of UnitedHealthcare's investor conference and had referenced the company in a note found when he was arrested. Yet, despite Mangione's alleged fixation, there's no indication he was ever a client of UnitedHealthcare. This curious detail raises broader questions: Why UnitedHealthcare? Was Thompson a specific target, or was the company itself symbolic of something larger in Mangione's mind? As those threads are pulled, investigators continue to search for clues, leaving many wondering whether this was an act of premeditated calculation or something more chaotic. The Fall of Sean “Diddy” Combs Meanwhile, 160 miles away in Brooklyn's Metropolitan Detention Center, Sean “Diddy” Combs sits behind bars. Once regarded as one of music's most untouchable figures, Combs now faces a litany of charges that threaten to dismantle the empire he spent decades building. Sex trafficking by force, racketeering conspiracy, and prostitution charges are just the tip of the legal iceberg. The sheer gravity of the allegations has sent shockwaves through the entertainment industry, forcing a reckoning about power and accountability in celebrity culture. Combs, for his part, has pleaded not guilty to all charges and remains steadfast in his defense. Marc Agnifilo, Diddy's lead attorney, has his hands full navigating the fallout from these mounting accusations. Known for his unflappable demeanor and strategic courtroom tactics, Agnifilo now faces the arduous task of dismantling a case that grows stronger with each new allegation. His work on Combs' case stands as a stark contrast to his wife's role in Mangione's defense. Together, the Agnifilos find themselves at the center of two of the most polarizing cases in the country, their marriage now under the microscope as much as their clients. Every decision they make—every strategy they employ—is scrutinized by an increasingly curious public. What Lies Ahead? Public reaction to this unexpected connection has been swift and incredulous. Social media erupted as word spread of the Agnifilos' dual involvement, with commentators expressing everything from shock to outright suspicion. How could two seemingly unrelated cases converge in such an intimate way? Was it simply coincidence, or does it say something deeper about the small, intertwined world of elite legal defense? The fact that these cases are happening in tandem—with lawyers who share not only a firm but a home—has added a surreal element to an already extraordinary series of events. What happens next in these cases remains to be seen. For Mangione, extradition proceedings continue as he awaits his day in court. For Diddy, the countdown to trial looms large, with every new revelation fueling further scrutiny. In both cases, the stakes couldn't be higher, and for the Agnifilos, their clients' futures rest squarely in their hands. The legal world is no stranger to strange bedfellows, but even by those standards, this professional overlap feels surreal. Two cases, two clients, two lawyers—and one marriage that now links it all together. A shocking coincidence? Perhaps. A curious twist of fate? Undoubtedly. What began as shocking headlines now unfolds as a story of unexpected intersections and public fascination. And as these two cases march forward, the public can't help but watch—waiting for the next twist in a story that only seems to grow more unbelievable with each passing day. Want to listen to ALL of our podcasts AD-FREE? Subscribe through APPLE PODCASTS, and try it for three days free: https://tinyurl.com/ycw626tj Follow Our Other Cases: https://www.truecrimetodaypod.com The latest on The Downfall of Diddy, The Trial of Karen Read, The Murder Of Maddie Soto, Catching the Long Island Serial Killer, Awaiting Admission: BTK's Unconfessed Crimes, Delphi Murders: Inside the Crime, Chad & Lori Daybell, The Murder of Ana Walshe, Alex Murdaugh, Bryan Kohberger, Lucy Letby, Kouri Richins, Malevolent Mormon Mommys, The Menendez Brothers: Quest For Justice, The Murder of Stephen Smith, The Murder of Madeline Kingsbury, The Murder Of Sandra Birchmore, and much more! Listen at https://www.truecrimetodaypod.com
Where the left & the right come together & discuss… The Big Picture. with your hosts Dr. Uwe Boll & Gary Otto.Visit http://www.uwebollraw.net
America was shocked after hearing the news that UnitedHealthcare CEO Bryan Thompson was killed in cold blood in the heart of New York City. As the city swarms with tourists and New Yorkers stand on edge -- will police be able to catch the killer who seemingly had a hit out for the insurance executive? Kennedy shares her thoughts on who did the crime and what drove them to commit the unforgivable act. Learn more about your ad choices. Visit megaphone.fm/adchoices
The original Tin Pan Alley was in Fifth and Sixth Avenue in Manhattan, New York, where music publishers set up shop in the late 19th century, attracting songwriters and coming to dominate American popular music. Since then Tin Pan Alley has come to mean a quarter where there are music shops and where musicians gather. Cities all over the globe have Tin Pan Alleys of their own. For instance, if you wanted to buy a bass guitar in London, you'd head to the UK's Tin Pan Alley, Denmark Street. In this week's series of the Essay BBC correspondents from Madrid to Tokyo explore the Tin Pan Alleys of their towns, talking to musicians trying out the instruments before they buy, and to the shopkeepers selling them. They explore the state of the musical culture, and culture more generally, of the countries they are reporting from.The series begins in Beijing where Stephen McDonell visits Xinjiekou Street, where the shops sell Chinese traditional instruments: the erhu, a two string fiddle; the pipa, a pear shaped lute; the guzheng, a zither...and several others. He discovers that there is renewed enthusiasm for them and their music, and meets some musicians playing in a tunnel, not for the acoustic but because, in an odd reversal of the norm, if they play in the street young people object to the noise and shop them to the cops. Presenter: Stephen McDonell Producer: Julian May
Join Kenny and Mark for an ultra-thick FOUR HOUR conversation about the Mount L'Olympia of Madonna tours - 2012's MDNA Tour. Topics include the legacy of Christopher Ciccone, trading recipes, the first selection for the Alain Delon Film Club, new faces on tour, fighting (already) with Interscope, transgression, FREEDOM, Australia, Zoey Bartlett and The West Wing, cosplay, the return of the Pussy Posse, priests under beds, the perfect hotel room for $45, a polarizing “Hung Up” and “Like a Prayer”, Baby Jesus on Sixth Avenue, “Born This Way”, batons, unshackling one's self from old ideas, Ryan Murphy's inspiration, George Michael, Miley Cyrus, masturbation, gas masks, slavery, zip lines, trust falls, Yankee Stadium, a goth Monte Pittman, David Crosby's benefit, the evolution of gender-bending, Mark's obsession with drummers, Wilco, Madonna as PTA President, the Williamsburg in Virginia, Kevin Antunes, harmonizing with the Kalakan trio, the Golden Triangle bitches, Kenny's thwarted trip to Dallas, lip-syncing to “Justify My Love”, plastic surgery, musical checking of the box, the return of Gus: Floor Mopper, Joan Ciccone, the lackluster Nicki Richards, the blend-able Kiley Dean, the fickleness of the Generation Gap, the waste of a social media nude, keeping your finger on the zeitgeist, and whether it's better to show your ass or show your feelings. Plus, a comping through of all that bootleg pre-show rehearsal footage from around the world and Madonna makes a run for the car! As Season Six: BUSINESS, WOMAN (2010-2012) wraps, THANK YOU THANK YOU THANK YOU to every single listener to the show - and to Madonna herself for keeping Mark and Kenny on their toes. “This is a song about LOVE!”
Co-Host Paul Minhas sits down with parents Lyndsay Cotterall and Tony Gilligan for an exclusive interview to discuss the issue of intersection safety. The focus is on 2nd Street and 6th Avenue - adjacent to the Herbert Spencer elementary. Tony and Lyndsay represent over 500 parents who have signed an online petition calling upon City Hall to take action to invest in safety upgrades for this intersection. A motion that came before Council on January 8th to set aside $500K for improvements to the intersection was defeated 3-3 (tie vote is a lost vote). However, both Lindsay and Tony think Council may have a change of heart and be willing to reconsider their previous decision. Listen to this inciteful interview about some of the challenges the parents face in turning advocacy into action. If you want to sign the online petition, click here.
Welcome to the daily304 – your window into Wonderful, Almost Heaven, West Virginia. Today is Thursday, Nov. 7, 2024. Generation WV announces big plans to boost digital access in 18 WV counties…construction is expected to begin early next year on the Alpha Technologies data center in Huntington…and a restoration in the Blue Bend Recreation Area receives an Preservation Alliance award…on today's daily304. #1 – From WVVA-TV – Generation West Virginia has announced plans to help 18 West Virginia counties with their digital access, affordability, and skills. The goal is to equip local stakeholders with resources and tools to address gaps in broadband access and improve digital literacy. The qualifying counties will be given a comprehensive guide for expanding digital inclusion programs and applying for state and federal funding. Digital Equity Sub grants are expected to be available through the West Virginia Office of Broadband in early 2025. Check out the story at wvva.com for a list of participating counties. Read more: https://www.wvva.com/2024/10/29/generation-west-virginia-announces-plan-improve-digital-access/ #2 – From METRO NEWS – The former Appalachian Power building in Huntington will soon be converted into a new data center for Alpha Technologies. Alpha Technologies announced that $10 million will be invested into a 60,000 square-foot headquarter building on Sixth Avenue. The center will help bring high-speed fiber internet and give customers a choice of internet providers. Construction of the data center is expected to begin early in 2025. The new location is expected to employ around 30 people. Read more: https://wvmetronews.com/2024/10/30/new-alpha-technologies-data-center-coming-to-huntington/ #3 – From WV EXPLORER – One of the most significant restorations underway in West Virginia has attracted the attention of state preservationists, who are awarding its developers and proponents for their efforts. The Preservation Alliance of West Virginia has awarded the repair of a log-built picnic pavilion and other structures at the Blue Bend Recreation Area with the title of “Most Significant Save of a Historic Site.” One of the principal structures in the recreation area, which is part of the Monongahela National Forest, is the pavilion, which was built by the Civilian Conservation Corps in the 1930s. Forest officials partnered with the non-profit HistoriCorps, the Appalachian Conservation Corps, and 20 volunteers to repair the deteriorated pavilion, rebuilding its roof and repointing its flagstone foundation. Read more: https://wvexplorer.com/2024/10/25/blue-bend-west-virginia-preservation-alliance/ Find these stories and more at wv.gov/daily304. The daily304 curated news and information is brought to you by the West Virginia Department of Commerce: Sharing the wealth, beauty and opportunity in West Virginia with the world. Follow the daily304 on Facebook, Twitter and Instagram @daily304. Or find us online at wv.gov and just click the daily304 logo. That's all for now. Take care. Be safe. Get outside and enjoy all the opportunity West Virginia has to offer.
In this special episode of Life Along the Streetcar, we sit down with Erin Durband, widow of the late Donovan Durband, to honor his life and legacy. Known for his visionary contributions to Tucson's urban core, Donovan played a pivotal role in revitalizing downtown Tucson, transforming it into the vibrant hub we know today. Erin shares personal stories about Donovan's passion for the city, his work behind the scenes, and the ongoing efforts to memorialize him—such as the movement to rename the Sixth Avenue underpass in his honor. Together, we explore how Donovan's work continues to influence the community through the Donovan Dean Durband Supports Tucson Foundation, ensuring that his legacy of growth and connection lives on. Listen now to discover the legacy of a Tucson trailblazer, as told by the person who knew him best—his wife, Erin Durband. Follow us on SoundCloud for more episodes celebrating Tucson's culture, stories, and urban development!
Today's Post - https://bahnsen.co/4dQg4Og Monday Market Insights from Dividend Cafe's New NYC Office In this special edition of Dividend Cafe, recorded for the first time in the new office on Sixth Avenue, New York City, David discusses recent market performance, including a rally in all 11 sectors of the S&P 500, interest rate movements, and the behavior of the dollar. The video also touches on Bitcoin's price stability over the past three years, a critical analysis of recent economic policies and market indices, and insights into the housing market's current state. Additionally, there's a link to an article by Matthew Gregory on recent IRS rulings and Secure Act changes. The episode wraps up with an overview of Fed rate expectations and a preview of Chairman Powell's upcoming speech at the Jackson Hole symposium. 00:00 Welcome to the New Office 01:02 Market Rally Overview 02:00 Dollar Dynamics and Market Impact 03:35 Bitcoin's Volatility 04:22 Retirement Account Updates 05:26 Policy Proposals and Economic Insights 06:23 Housing Market Trends 07:02 Fed Rate Cut Speculations 07:55 Jackson Hole Symposium Preview 08:13 Ask TBG and Final Thoughts Links mentioned in this episode: DividendCafe.com TheBahnsenGroup.com
In a dramatic turn of events, Mary Carbone, a 60-year-old woman from Manchester, pleaded guilty on Monday to aggravated manslaughter in the 2020 death of her roommate and occasional lover, Frank Sochel. Originally facing a murder charge, Carbone accepted a plea bargain that guaranteed her a 10-year prison term, significantly less than the minimum for murder. The case, which was set to go to trial next week, saw Carbone abandon her defense of battered woman's syndrome. Tearfully addressing the court, she acknowledged the events leading to Sochel's death, stating, "It still happened, but, yes." According to court proceedings, the relationship between Carbone and Sochel had deteriorated into one marked by domestic violence, prompting numerous calls to the Manchester police. On the night of February 23, 2020, a heated altercation escalated in their Sixth Avenue home, during which Carbone used household items including a shower curtain rod and tape dispenser as weapons against Sochel. Despite causing severe injuries, Carbone did not seek medical assistance for Sochel, who was later discovered unconscious by a health officer conducting a welfare check the following day. The crime scene revealed signs of a violent struggle, with bloodstains and the presence of weapons identified as having been used in the attack. During Monday's plea hearing, Mary Carbone affirmed under questioning from her attorney, Paul Zager, that she had shared a residence on Sixth Avenue in Manchester with Frank Sochel, initially as her landlord and, as Zager described it, "in the beginning, a friend with benefits." Carbone also admitted that their relationship deteriorated into one marred by domestic violence, prompting her to make 58 calls to the Manchester police over nine months, some concerning incidents of domestic abuse. Continuing her testimony, Carbone acknowledged the events of February 23, 2020, when Sochel allegedly entered her bedroom uninvited, breaking down the door and causing a confrontation that Zager characterized as "a heated altercation." She conceded to using household items, including a shower curtain rod and tape dispenser, as weapons during the ensuing fight with Sochel. When pressed by Zager about Sochel's state during the altercation, Carbone initially claimed she thought he had passed out due to drinking. When asked if she had called emergency services upon realizing his condition, Carbone stated she lacked a phone and didn't seek aid from neighbors due to her inability to transport him to a hospital. Assistant Ocean County Prosecutor Meghan O'Neill then questioned Carbone directly, to which she admitted inflicting injuries on Sochel with various household objects. When asked directly if she had killed Frank Sochel, Carbone responded affirmatively, marking a pivotal moment in the plea hearing. The plea agreement, which includes the possibility of parole after serving 85% of her sentence, was reached after expert evaluations related to Carbone's mental state and claims of self-defense were considered. Ocean County Prosecutor Bradley D. Billhimer expressed that the decision reflected a careful assessment of the case's complexities and input from Sochel's family. Mary Carbone's sentencing is scheduled for September 13, where the judge will determine the final terms of her imprisonment. Want to listen to ALL of our podcasts AD-FREE? Subscribe through APPLE PODCASTS, and try it for three days free: https://tinyurl.com/ycw626tj Follow Our Other Cases: https://www.truecrimetodaypod.com The latest on The Downfall of Diddy, The Karen Read Trial, Catching the Long Island Serial Killer, Awaiting Admission: BTK's Unconfessed Crimes, Delphi Murders: Inside the Crime, Chad & Lori Daybell, The Murder of Ana Walshe, Alex Murdaugh, Bryan Kohberger, Lucy Letby, Kouri Richins, Malevolent Mormon Mommys, Justice for Harmony Montgomery, The Murder of Stephen Smith, The Murder of Madeline Kingsbury, and much more! Listen at https://www.truecrimetodaypod.com
Hidden Killers With Tony Brueski | True Crime News & Commentary
In a dramatic turn of events, Mary Carbone, a 60-year-old woman from Manchester, pleaded guilty on Monday to aggravated manslaughter in the 2020 death of her roommate and occasional lover, Frank Sochel. Originally facing a murder charge, Carbone accepted a plea bargain that guaranteed her a 10-year prison term, significantly less than the minimum for murder. The case, which was set to go to trial next week, saw Carbone abandon her defense of battered woman's syndrome. Tearfully addressing the court, she acknowledged the events leading to Sochel's death, stating, "It still happened, but, yes." According to court proceedings, the relationship between Carbone and Sochel had deteriorated into one marked by domestic violence, prompting numerous calls to the Manchester police. On the night of February 23, 2020, a heated altercation escalated in their Sixth Avenue home, during which Carbone used household items including a shower curtain rod and tape dispenser as weapons against Sochel. Despite causing severe injuries, Carbone did not seek medical assistance for Sochel, who was later discovered unconscious by a health officer conducting a welfare check the following day. The crime scene revealed signs of a violent struggle, with bloodstains and the presence of weapons identified as having been used in the attack. During Monday's plea hearing, Mary Carbone affirmed under questioning from her attorney, Paul Zager, that she had shared a residence on Sixth Avenue in Manchester with Frank Sochel, initially as her landlord and, as Zager described it, "in the beginning, a friend with benefits." Carbone also admitted that their relationship deteriorated into one marred by domestic violence, prompting her to make 58 calls to the Manchester police over nine months, some concerning incidents of domestic abuse. Continuing her testimony, Carbone acknowledged the events of February 23, 2020, when Sochel allegedly entered her bedroom uninvited, breaking down the door and causing a confrontation that Zager characterized as "a heated altercation." She conceded to using household items, including a shower curtain rod and tape dispenser, as weapons during the ensuing fight with Sochel. When pressed by Zager about Sochel's state during the altercation, Carbone initially claimed she thought he had passed out due to drinking. When asked if she had called emergency services upon realizing his condition, Carbone stated she lacked a phone and didn't seek aid from neighbors due to her inability to transport him to a hospital. Assistant Ocean County Prosecutor Meghan O'Neill then questioned Carbone directly, to which she admitted inflicting injuries on Sochel with various household objects. When asked directly if she had killed Frank Sochel, Carbone responded affirmatively, marking a pivotal moment in the plea hearing. The plea agreement, which includes the possibility of parole after serving 85% of her sentence, was reached after expert evaluations related to Carbone's mental state and claims of self-defense were considered. Ocean County Prosecutor Bradley D. Billhimer expressed that the decision reflected a careful assessment of the case's complexities and input from Sochel's family. Mary Carbone's sentencing is scheduled for September 13, where the judge will determine the final terms of her imprisonment. Want to listen to ALL of our podcasts AD-FREE? Subscribe through APPLE PODCASTS, and try it for three days free: https://tinyurl.com/ycw626tj Follow Our Other Cases: https://www.truecrimetodaypod.com The latest on The Downfall of Diddy, The Karen Read Trial, Catching the Long Island Serial Killer, Awaiting Admission: BTK's Unconfessed Crimes, Delphi Murders: Inside the Crime, Chad & Lori Daybell, The Murder of Ana Walshe, Alex Murdaugh, Bryan Kohberger, Lucy Letby, Kouri Richins, Malevolent Mormon Mommys, Justice for Harmony Montgomery, The Murder of Stephen Smith, The Murder of Madeline Kingsbury, and much more! Listen at https://www.truecrimetodaypod.com
The Alan Cox Show
The Alan Cox Show
Mayor Adams reports that police data show the majority of those arrested Tuesday night for protesting at Columbia and CUNY were students. In other news, a Manhattan landlord already jailed for failing to complete hundreds of court-ordered repairs now faces additional legal problems. WNYC's David Brand reports on criminal charges that were unsealed Wednesday. Additionally, six Manhattan officials are urging the Department of Transportation to fill a gap in the protected bike lane along Sixth Avenue. Finally, a year after subway rider Jordan Neely died when another passenger, Daniel Penny, put him in a chokehold on the F train, the case remains a focal point in politically polarized debates about homelessness, mental illness, and the fine line between danger and discomfort in shared spaces like train cars. WNYC's David Furst speaks with reporter Samantha Max to learn more.
While in Colorado, Brit Windel met his wife Stacie and shortly after, Brit fell in love with Stacie's hometown of Kenosha. The couple came to town in 2012 and two years later, they launched their DayBreak Church inside Bullen Middle School. In 2014, they got their brick-and-mortar location in Downtown Kenosha at 5631 Sixth Avenue. Their service is every Sunday at 10am. See more at ourdaybreak.churchBrit is also an advocate for helping our community, and that shows with DayBreak Church's many interactive community events, and his volunteer work on the Kenosha Lakeshore Business Improvement District (aka the “BID”). Currently, Brit is serving as the president of BID. Click here to learn more about what BID is and what they do for the community! This episode was recorded on February 26th, 2024 at the A+ Mobility Recording Studio – home of Ktown Connects! This show would not be possible without our wonderful sponsors:Aason Hunzinger of AHDidIt Union Park Tavern, 4520 Eighth Ave. Public Craft Brewing Company 628 58th St Casey Family Options Funerals & Cremations, 3016 75th St About Time Moving Systems Law Offices of Frank J. Parise, 7001 30th Ave Shannyn Franklin – ReMax Newport Elite Franks Diner, 508 58th St The Port of Kenosha Beverage House RockIt Optical Eyewear, 815 57th St, 2nd floor Vintage Underground, 5817 Sixth Ave Wink Beauty Boutique, 10909 Sheridan Rd Get your Ktown Connects merchandise at The Lettering Machine, 725 50th St. Drop us an email at ktownconnects@yahoo.com Find us on Facebook, Instagram, Tiktok, and Twitter – and at ktownconnects.com Theme song performed by Dropping Daisies, written by James “Red” McLeod. Your hosts are Donny Stancato and Jason Hedman Get additional episodes early and ad-free, along with bonus material with this week's guest and more great exclusive material by becoming a patreon supporter! Click here for more!
#CRE: #ScalaReport: In New York and Los Angeles commercial real estate discount 45-50%.More mentioned elsewhere. Chris Riegel, CEO, Scala.com #Statacache https://www.bloomberg.com/news/features/2024-02-14/real-estate-lenders-confront-falling-us-commercial-property-prices?sref=5g4GmFHo 1910 34th and Sixth Avenue
After revisiting Sex and the City's extravagant two-part finale, we decided to throw it back to season one. A simpler time when Carrie still talked to camera and had a lot of random straight male friends that were never heard from again. A highlight from this era is Secret Sex, a.k.a. the episode where Carrie and Big go on their first date, Miranda discovers her love interest's spanking fetish, and Charlotte reveals her illicit affair with a Hasidic folk artist. Plus: a eulogy for the Bed, Bath, & Beyond on Sixth Avenue.
Delve into Tom's creative journey as a fiction author and his role in Tacoma's street art project, Beautiful Angle. Discover the inspiration behind "The 5 Impossible Tasks of Edin Smith" and how Tom infused his late relatives' personalities into the charming characters of the book. The setting for the book is inspired by Tacoma's very own Rust Mansion. As the conversation unfolds, Tom mesmerizes us with Tacoma's rich music history, from being an "incubator city" for budding musicians to hosting iconic performances by Nirvana and Loretta Lynn. Curious about Tom's writing process? He spills the beans about typing amidst bustling commutes and coffee shop buzz. Join us as Tom shares insights about his writing routine, the empowering experience of embracing the editing process, and the delicate art of balancing creativity with strategic book promotion. He also sheds light on the thriving literary community and mentions top-notch independent bookstores like King's Books Tacoma and the new High Voltage Records and Books on Sixth Avenue. Are you ready to take a refreshing plunge into the chilly waters of Puget Sound? Tom Llewellyn shares his exhilarating cold plunging experiences at a stretch of water near Jack Hyde Park. With a dash of humor, Tom reveals his secret to enduring 10-15 minutes in the cold water and the simple joy he finds in this invigorating ritual. If you are a fan of Tacoma, music, books, and good conversation you need to listen to this episode. Connect With Tom Tom's Blog Tom on Instagram Tom on X (Twitter for those of you who refuse to call it X)
It's time for the (whopping) second half of our 2023 gift guide! We tackle dads, sisters, in-laws, friends, coworkers, and some ideas for presents to ask for yourself when that feels like a necessary thing. For the full link-rich rundown, you're best off heading over to our site: athingortwohq.com/gift-guide-episodesIf there's someone on your list that we didn't get to this year, let us know who you're shopping for in our Geneva! And share more gift ideas with us at 833-632-5463, podcast@athingortwohq.com, and @athingortwohq.Tackle all that holiday shopping at MoMA Design Store and take 10% off your purchase when you use or mention promo code ATHINGORTWO online and in US MoMA Design Stores through November 23, 2023. Give your hair the gift of Nutrafol. Take $10 off your first month's subscription with the code ATHINGORTWO.YAY.Gifts for YOU!My in laws are great people who will buy exactly what ask for as long as it's 1) not personal care or appearance-related AT ALL, 2) not a ""luxury item"" or a splurge version of something (ie no fancy candles), and 3) under $100. I'm a dedicated audiobook listener and | don't need any more cookbooks or board games. They won't do a donation in lieu of gift. Gift giving is their love language but only if the gift is very practical or they got it on a significant discount. We're fortunate to be in a financial position where I'm generally able to buy practical as they're needed, but my in laws hear ""I don't need anything!"" as a snub. Help!"Uniqlo HeattechSomething YamazakiCookbooks (like The Lula Cafe one!)A traditional restock (plants, PJs, etc.)Directing them to a go-tostore like MoMA Design Store and Zingerman'sDinnerware/cookware to build on every yea—Le Creuset, vintage Fiestaware, Dansk, Heath, etc., etc.Charms for a charm bracelet/necklace like Jet Set Candy passport stamp charms (+ their NYPL card one is also very good)Dads & Fathers-in-LawMy Dad sounds more like a brand persona than a real person. He's very cosmopolitan/urbane, lives in the city center even though he's 60, takes public transit, legitimately does his weekly grocery shopping at boutique cheese/bread/specialty food stores, always dressed impeccably. OWNS a beautiful specialty meat slicer that he has in his kitchen and uses for fresh/thinly sliced prosciutto (before you go there I've done ham hocks more than once). Interests: art, food and entertaining, culture. Loves to read, usually big sweeping historical books. Always the hardest person to shop for on my list because his taste level is very out of my price range and I'm tapped out on the specialty food theme. Dad recently become a grandfather (2 grandsons and one more coming in Jan) and it was a little weird for him - he loves my sons but the image of an old guy in a rocking chair teaching kids how to whittle didn't jive with his understanding of himself. He's starting to settle in. Has a very unique grandpa name with many indecipherable layers of historical context and family history that the grandkids will probably never understand. Buys them beautifully made clothes that they would immediately ruin. Talks to them about their shared interests: boats, planes, and other well-designed machines.Hoste Bottled Cocktails Regalis Black Truffle Microwaveable PopcornNordic Ware Indoor/Outdoor Kettle Smoker Custom OpinelBerea College Intersections Charcuterie BoardBig Nights PlannerSuzanne Sullivan Porcelain Playing Cards or Bone Inlay Domino SetBlackwater & Sons Return Address StampBillion Oyster Project donationRex Design Oyster PlateMy dad. 82 years old. Loves to read serious nonfiction but bus all the books he wants. Loves French and Italian wine but his taste is too expensive for me and he has all the gadgets. Generally expensive taste that's above my pay grade. He dresses pretty dapper and lives in NYC. Gets lots of compliments on his glasses and clothes. Grills meat for dinner nearly every night but stuck in his ways when it comes to cooking. Very much a creature of habit. Likes jazz and classic rock. Best gifts I've gotten for him are interesting casual clothes he wouldn't find himself, a dapper custom English umbrella, taking him to see live jazz…Campo GrandeThe Durand - bottle opener for old bottles/corksRalph Lauren custom stuff! Hello, cashmere sweater.Vintage tie clip or cuff links from TRRVinyl Me, Please subscriptionThe Jazz Loft Project: Photographs and Tapes of W. Eugene Smith from 821 Sixth Avenue, 1957–1965Preservation Hall Drum Ornament or TambourineBlue Note merchOkay, now that I've seen this I feel okay sending a description of my dad. He's a 67-year-old workaholic lawyer many have described as "quite the character, huh?" He takes himself very seriously, though he also can be quite mischievous and loves to stir the pot. His interests include fishing, geopolitics, and monologuing. I truly feel like I've explored all gifting avenues already with him: consumables for his major sweet tooth, outdoorsy gear that he already buys himself, political or economic books that won't lead to arguments (he's conservative, I'm liberal), and seemingly every dog toy or black Labrador art print under the sun. He doesn't drink and mostly sticks to heart-healthy food. While he has many entertaining childhood stories, it seems unlikely he will set aside time for something activity-based like StoryWorth, as he spends most of his at-home free time watching YouTube videos about things like beekeeping (yes, I've gotten him multiple artisanal honeys that had little impact). I'm at my wits' end with this conundrum of a father, please help!Unexpected: 30 Years of Patagonia Outdoor PhotographyCustom Smathers & Branson BeltsPort Bait Co. Bait/LuresreMarkableNorth Spore Mushroom-Growing KitsPack of AvecMerippa House ShoesFather-in-law is the definition of introverted, deeply obsessed with cars (has several classic ones), and model trains (legit has an entire room for trains that has like, an actual functional drawbridge for the trains). Also loves good food and good tequila!“Rod Stewart's ideal Christmas present? Brushes for his model railway”Dining by Rail: The History and Recipes of America's Golden Age of Railroad Cuisine by James D. PorterfieldCharles Ro Supply Co. gift certificateToyo Toolbox Chevrolet Corvette 1961 Lego SetMajor Minis Alessi The Tending BoxSisters & Sisters-in-LawPresent for woo-woo disorganized sister who holds a grudge & has two adorable kidsHouse of Intuition CandlesA Daily Cloud CalendarHightide DTLA Moon CalendarHa Ko Incense LeavesGolde Superfoods Mask KitEsker Bodycare Discovery SetJulia Elsas Wiggle Wall HooksOk this one is may be a doozy. New SIL: she describes herself as an author but will never discuss her writing, we've never seen anything, nothing published (she is 40, we had a running theory maybe her "writing" was OnlyFans? It's unclear.) She loves Disney (I have secured Hanna Anderson Disney Christmas PJs), Rudy Giuliani (!!!), and believes enough conspiracy theories that we had to change our will about w hich uncle would get our kids if we died. Zola was "too downmarket" for their wedding registry but she doesn't know which fork to use (to be clear, both of these things are fine, just incongruent, right?). So I need something that feels sophisticated but maybe...isn't.Ami Ami Mulled Wine KitGentlewoman Modern Manners Postcard SetAnya Hindmarch Bespoke Passport WalletMadewell Disney Mickey Mouse-Embroidered Cardigan Sweater in (Re)sponsible CashmereKitsch & Disney Satin Pillowcase - Desert CrownBird by Bird by Anne LamottBlack Women Writers at Work How to Write an Autobiographical Novel: Essays by Alexander CheeCultish by Amanda MontellFour Seasons Total Landscaping HatBoyfriend's sister: 29, children's librarian and loves children's books/ movies. Pretty much hates everything I've ever given her and doesn't really have any taste that isn't just stuff her 63 y/o mother likes... when I try to get her clothes that are more age-appropriate (read: no for a woman in her 60s), she never wears them. She's not materialistic BUT loves going to Home Goods just to get stuff? Also has a New Year's Day bday so I need two things. And this is a big bday (30!)! My boyfriend got her a big set of glass Tupperware which was a huge hit, but then got her a nutri bullet (the mom loves hers) and she hated that. HELP!!!Book of the Month subscriptionPersephone GiftsTortuga or Schoolhouse or Justina Blakeney bookendsBrooklyn Public Library Books Unbanned donationVintage READ Posters from American Library AssociationRalph & James - framed children's picture book art printsFilm Art Gallery - classic children's movie posters Yellow Paper House Junque JournalOur Place Wonder OvenSIL Trying to be an influencer and posts sporadic videos on THIS APP about a home design of a suburban cookie-cutter house. Always mansplains the littlest things. Snobby but for no reason. But also probably a nice person to people she likes? Probably!Fiona's Pasta Gift BoxMaria Ida DesignsMadre Linen NapkinsBig Night or The Six Bells depending on her vibe—anything from either feels safe!Canva subscriptionAllison Bornstein or Lakyn Carlton styling sessionLivable Luxe by Brigette RomanekArranging Things by Colin King Beata Heuman: Every Room Should SingSister-in-law: she is a corporate lawyer and very much a Dallas girly (lives in Dallas but also embodies the Dallas vibes with beach blonde hair, very fancy car to drive 5 minutes to work, has a texting relationship with sales associates at various designer stores). If you read the NYTimes article from a few months ago explaining the Dallas food scene, she embodies the Dallas consumer exactly. She is a bit of a Broadway nerd. She is basically the opposite of me in almost every possible way, and I'm always afraid to shop for her. Last year I got her a gift set from The Crown Affair and I don't think she knew a thing about it. Would like to stay
Research from the New York Fed shows the amount of credit card debt has been rising every quarter for the past two year with more people missing payments. The $154 billion increase in credit card debt is the biggest since the organisation started tracking data in 1999. Sam Fenwick discusses this and more global business news stories with Satoshi Shimoda, senior reporter at Nikkei newspaper in Tokyo, and Kristina Hooper, Chief Global Market Strategist at Invesco in New York. (Picture: Shoppers cross Sixth Avenue in the Manhattan borough of New York City, U.S., September 21, 2023. Credit: REUTERS/Bing Guan)
What you'll learn in this episode: How Kentshire's partnership with Ulla Johnson came about and what they hope will come of it Why Matthew doesn't want his clients to keep their fine jewelry in a safe deposit box Why “Do I love it?” is the first question Matthew asks when looking at jewelry, and why things like designer or carats may not be as important as you think How Covid changed the vintage jewelry market How dealers work together to source the best jewelry for their clients About Matthew Imberman Matthew Imberman, along with his sister Carrie, are the co-presidents of Kentshire Galleries. Established in 1940 and spanning three generations of family ownership, Kentshire Galleries is one of the foremost dealers of fine period and estate jewelry. In 1988, Kentshire established a free-standing boutique in New York's premier luxury store, Bergdorf Goodman. Their antique and estate jewelry department continues to occupy a select location on the store's seventh floor. As the third generation of the family to lead Kentshire, Matthew and Carrie continue to refine the gallery's founding vision: buying and selling outstanding jewelry and objects of enduring design and elegance. Additional resources: Website Facebook Twitter Instagram Pinterest Photos Available on TheJewelryJourney.com Transcript: Through a partnership with fashion designer Ulla Johnson, Kentshire Fine Jewelry will have a permanent presence on the West Coast for the first time. While other dealers might change their approach to appeal to a new market, co-president Matthew Imberman continues to buy jewelry based on one criterium: whether he loves the piece or not. He joined the Jewelry Journey Podcast to talk about the history behind the collaboration with Ulla Johnson; why following trends isn't the best way to buy jewelry; and how Covid changed his business in surprising ways. Read the episode transcript here. Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the second part of a two-part episode. If you haven't heard part one, please head to TheJewelryJourney.com. Today, my guest is Matthew Imberman, who, along with his sister, Carrie, is Co-President of Kentshire Fine Jewelry. Welcome back. And that's what you look for in the jewelry you're purchasing, whether it's Bergdorf— Matthew: Absolutely. Look, it's not to say there aren't some things that excite that are unusual or might be something we've had before, but we still love them. There are certain archetypes of jewelry, like a great French tank bracelet. Those are out there, but there are great ones and then there are O.K. ones. I think we're always looking to find one of the best or better versions of what we can find in the category. Are we going to say that every single item we get is unique? No, that's not the case. These things were made in stereo even in their lifetimes, so we're looking for the best examples, in the best condition and the best materials for those kinds of items. Sharon: Do people bring you jewelry and say, “My mother died, and I want to sell this”? Matthew: Yes, we certainly get that, or “This was in my safe deposit box.” Certainly, it's part of it, which is a good part of it. There are times when we are able to source good pieces from our clients. I think it depends, because we deal in nostalgia and people who come to us with pieces that were left to them by family members. There's a nostalgia link, and there can sometimes be a bit of telephone between what they were told. Let's use, for example, if they say, “My grandmother left this to me, and my grandmother told me that this is where she got it. This is what it was.” The stories sometimes change over time, not from any evil intentions, but just because people didn't save receipts or they don't know exactly what it is. So, somebody will come up and say, “Oh, I have this piece. It's just like what I saw in your store, and my grandmother left it to me. I want to bring it in.” They'll bring it in, and when you hold what they brought and what we're selling next to it, they're very, very, very distant cousins. It's not that theirs is inherently bad, but it's not exactly the same thing. But people tend to look at items through a nostalgic viewpoint. So, they say, “Oh, I was left this,” “My grandmother told me this diamond ring is worth X amount.” It puts us in the awkward position of saying, “Well, it's a lovely thing, but it's not exactly what you were told it was.” Those are some of the stories, but by and large, we're given the opportunity to see wonderful collections from our clients. We're fortunate enough to have them be loyal, if they have more pieces, and to come back to us. We don't frequently buy from the public, but it's not something we never do. Sharon: Where do you source a lot of your things from? Do you ask? Do you source it from abroad or whoever walks in the door? Matthew: We mostly work with a small group of dealers like ourselves. They're people who have been in the trade a long time. Trust is still a big part of our business. We have to know each other. We're dealing in valuable items, things where trust is important and you want to know who you're buying from. I think that's the case in any business for the most part. But we mostly buy from dealers like ourselves who are in this world. Whether or not they're retailing, they're dealing with other jewelers to sell pieces they understand so they can place them. For instance, I might have a client for a piece and one of my colleagues in England I know might have a version of what I need and I can call them up. In that way, it allows me to have a greater reach than just my inventory. The colleagues are not competition in the sense that we need each other to stay in business. It's a small group of goods that we all admire and we all like to buy and sell, but we also have to do that with each other so we can have the inventory we need to service our clients. One of my colleagues in France can have something if they need it. So, it's really an old-world business that way. Then auctions are really hyper-retail, at the end of the day, for a lot of pieces. I think they've done a great job of convincing people that there's a steal to be had, but when you look at the prices and how they land, if you're buying a bracelet, it's going to end up for around the same price, if not more, than what you'll pay in my store or one of my colleague's stores. But it comes with a three-inch-thick binder about why, if something's wrong with it, it's not their fault and how they don't offer any post-sale service and yada, yada, yada. We all deal with the auction houses to a certain extent out of necessity, but we're not very bullish on them, and I think for pretty understandable reasons. Every once in a while, we look at estate sales. People who buy estates are buying the entire thing, and we're cherry pickers. We're looking for the three or four really interesting items, and to do that, you usually have to buy the entire estate. So, we rarely do that, given that we're working with a specific and small group of goods. Sharon: Have you always been involved? You had a career before this, right? Matthew: At this point, I've been in the business for about 22 years, I think, if I'm doing the math right. Not always on the jewelry side, although always around it. Like I said, we also had a large business in antique furniture, English and continental furniture and decorative arts at the same time we had jewelry. I was originally on that side of the business. Before that, I did a master's in art history, so I was gone for a while. That was part of what made sense in terms of coming in the business, but also in terms of lending itself to jewelry. The specific studies we did, it was in decorative arts. You're covering a lot of the different motifs and the techniques that were also happening in jewelry at the time. So, that planted the seed. I spent some time in contemporary art before that, working at the Met on their website, but that's ages ago now. Sharon: In the past few years, you mentioned people being less formal. Out here we're so casual. Here you can wear nice jewelry, but a pair of shorts and a T-shirt. Have you seen a change in the kinds of things people buy? What are the trends you see? Matthew: I think it's challenging sometimes for people like us, who aren't dealing in manufactured goods, to look at the trends and to understand if these are actually sales-driven trends or things that are catching an eye on social media. Instagram will load your feed with them, but does that translate to what is actually being bought and sold meaningfully? It's interesting when I see little trends pop up on Instagram and people start running with them. Whether it's a designer or a type of good or it's the newest thing, they're talking about vintage jewelry. They're talking about something that people have been buying and selling for decades, if not centuries at this point. It's always the phase of, who is deciding which trend is in? For us, we're trend agnostic. I don't buy something with the idea of “This is going to be the next big thing,” or “Everyone right now is focused on this.” There's been a moment of people buying Georges L'Enfant jewelry, but people have been buying Georges L'Enfant jewelry for a long time in America without knowing necessarily who the maker was. They're just now catching up on, “Oh, that was a maker who was making for Hermès, VanCleef, Cartier, and who in their own right was an incredible designer who was making pieces for bigger houses.” They may know the bigger houses without knowing the maker. That can raise the price of L'Enfant overall, but for us, it's not going to change specifically how we buy because we have to find a piece. If I walk out tomorrow and see three L'Enfant pieces, and those three L'Enfant pieces don't belong in a collection, it doesn't matter that they're buying L'Enfant. It doesn't matter that that may be trendy. If I don't think they belong in a collection, then they don't belong in the collection. My sister has extremely rigorous standards, and I do too, so we buy the best examples of what we like. People say that all the time. They say, “What do you buy?” and we think “We buy what we like.” We wish we could explain it better, but it's just how we are. Every couple of years, people will launch an article and say, “Oh, the brooch is back,” and I think, “That's a bit lazy. The brooches never got away.” Some people will feel less comfortable wearing them, some people will feel more comfortable, or people might say, “Oh, it's old-fashioned,” and this or that. But for dealers, we all buy and sell brooches. It doesn't change my feeling. If I see a beautiful one, a beautiful pin, we want to buy it. If my sister sees a beautiful 18th-century brooch and she thinks it's great, she's not going to say, “Huh, well, brooches don't sell.” Is it the right brooch? Does it represent something we think our clients should own? One of my friends who's out on the West Coast said, “Oh, so you're going to bring a lot of astrology signs,” and I said, “If we have nice ones, absolutely.” I understood what they were saying. There certainly is a great market on the West Coast if you have a wonderful Cartier zodiac collection, for sure. We're not going to buy that because they could do well out there. That's not who we are. If we see one that's particularly interesting and has a great weight and represents an acceptable value given how those have crept up in price over the years, yes. But just because we're there, we're not going to be doing that, if that makes sense. Sharon: If somebody brings you a pair of earrings that don't fit with what people are going to wear today, but in your opinion they're well-made and well-priced, would you be interested? Matthew: Absolutely, because we don't approach it through other people telling us what people won't wear today. We have clients in a lot of different areas of the world, different ages, different price points for what they're buying. We can just look at it and say, “You know what? We think this is a good looker.” If there are 10 articles tomorrow by somebody in the know saying, “No one is wearing this kind of earring anymore,” that's not going to affect our thinking because we're not buying pieces retroactive to what trends are happening. We're buying what we like, and we like to think that anyone, whether they're trend-driven or not, can come and see our collection and find something that might speak to them. Sharon: Have you seen a decrease in the age of people who come in and can't find anything because maybe they're looking for something that isn't jewelry? Matthew: I think for us, the understandable barrier to entry is always going to be price, withholding our costume collection, in which you can find pieces that are in the hundreds of dollars range. Fine jewelry in our collection by and large starts at $3,000-ish and creeps upwards to millions of dollars. We understand that not everyone puts the same value on jewelry as we do. So, for some people coming in, if they're looking to buy a piece of jewelry, they might have a totally different price point in mind than what our collection is, and that we certainly understand. We've always tried to have a range of prices. Part of the challenge, though, is because we deal in pieces that are made up of commodities, gold, diamond, things like that, and those commodities have prices that fluctuate. As gold has gotten very strong, the price for us to buy good gold jewelry has gone up because the gold is more valuable, so the price for our clients is more expensive. That's also a good insurer for them, in that if you own gold jewelry, the value has continued to grow as the price of gold goes up. We don't really buy that way. There are some dealers who will buy very specifically based on what the piece weighs if they have to scrap it and what the value of gold is today. We're not buying pieces that we hope anyone would melt down at any point, especially when you're looking at antique pieces. The amount of gold in an antique piece, because of the way they were constructed for the most part, they're not going to be particularly heavy in terms of how much gold is going to come out of them. So, the value isn't in the actual materials there. I think it just represents something a little bit different. Certainly, on Instagram we get more information about what our younger clients are looking for. Everyone sees value in different places. How they want to spend it changes, and how we're able to conduct the business in terms of skewing towards younger clients changes, but we've been encouraged to see our client base on Instagram start to fall in line toward what we see in the store. It really represents the spread of ages. Sharon: There's all this talk about younger people. I'm not talking about 18-year-olds or younger. Everybody in the world is younger than I am, but you hear about younger people not wanting to buy jewelry. They don't buy as much jewelry even though they could afford it. They just don't buy as much. Matthew: I will say that our main client was never a “young” client simply because of the prices we're talking about for most people. Even if they didn't want these things or maybe were saving for a house, I think what's different is if you look at the advent of how handbags have become such a status symbol, the prices of handbags are commensurate, if not much greater than a lot of fine jewelry. That creates a really interesting secondary market for handbag resale. I think the story people got in the pandemic was everyone saying, “Oh, they just want experiences,” but we're talking about a time period when everyone was fetishizing experiences because we were all locked inside and couldn't do anything. We had robust sales, surprisingly, during Covid, and when we were coming out of Covid, too. We had a steady increase in new clients because I think people were excited to be out again, excited to be wearing something, excited to not just be dressed for a Zoom meeting. I think jewelry plays a part in that story most remarkably. It's wearing your sculpture around and drawing attention to yourself in what we'd like to think is a unique way, hopefully wearing something that not everyone else has. Sharon: You answered the next question before I asked it, which is did you see a change? I heard from jewelers that they were seeing an increase during Covid because people weren't going to fundraisers or whatever, but they were spending their money. Matthew: It's interesting I answered something where there is sort of a long family story. I have a meandering way to answer any question, I know, but I'm glad I had one at least. Did we speak during Covid or right before when we had our first interview? I can't remember, but I do remember thinking when Covid hit, “We had a really good Christmas. If we don't sell another piece of jewelry for a year or so, we'll be fine. We'll just batten down the hatches,” but like anything else, people still wanted to collect. People wanted to look at something new, boost their spirits, what have you. People weren't going to fundraising dinners or vacations, so this was something where they said, “Normally I would spend X amount eating out, but now it turns out I've saved all this money not eating out. I can afford a beautiful bracelet.” We were surprised that happened. During Covid, the real challenge became finding goods. We could sell things and send them, but it became very challenging to see our colleagues, to find pieces, to do all that. That's where we had to get a lot more clever and targeted for how we acquired things. Coming out of Covid, I think we're all playing catchup, and not just from our business' standpoint. Everyone is. Everyone's calendar has changed a little bit. A lot of our clients who would go out to the Hamptons for the summer but would be here during the year realized that their job is more portable than they thought, or they've changed how they work altogether so they're out of their house a lot more. So, they're shopping on our website now instead of coming into the store. Or, they're out at their houses, which they're fortunate enough to have wherever they are, at other parts of the year, so when summer comes, they're in New York at times and we don't expect them. Weirdly, our summers used to be rather quiet but tolerable at Bergdorf, and we would expect to get some of our bigger administrative projects done. Now we find that people are coming in and tourists are coming in in the summer, when it used to be very slow. We have to change when we take our vacations, when we need to do our projects, how we plan for the fall season, which has come and gone in terms of when the planning has to happen. It keeps us on our toes, but part of what's good about being a small ship is that we're nimble, so we're able to course correct pretty quickly if we have to. We've been in Bergdorf long enough to know the rhythms of the store. What I don't think any of us anticipated was what tourism would be like in New York, especially with the story being what it was elsewhere. We found ourselves really blown away with the reaction of people coming back to the city and how many people were coming through. In my short walk between Rock Center, where we have our offices, and Bergdorf, which our staff will do multiple times a day bringing goods back and forth, it got to a point where you couldn't walk down Fifth Avenue. I'd go to Sixth Avenue and walk down there because it was so busy. It's been interesting to see the resurgence of people visiting the city. We have more people coming to Bergdorf, which leads to more sales. We keep ourselves busy trying to find new pieces. Sharon: That's very interesting. I hadn't thought about that, especially when you say the jobs are more portable. I think I'm the only one who's at home on their couch looking at Instagram. Matthew: I can tell you from behind-the-scenes looks at our Instagram numbers, you're not. Even for us, we have to be in our offices because we work with a physical, tangible good. I couldn't be a person who works from home all the time. I also don't think I would be well-suited to the routine of being in an office. But we need to be in and around the jewelry district to see new pieces as they come in, to run a repair. We physically have to be there, but even in the realm of what we do, we're more flexible. If I need to work on the road or work from home or do something here or there, the technology has made it so we can do that, too. For all our clients, it's the same thing. The social calendar in New York has changed dramatically as some events have changed over and come and gone. What people feel they need to go to, how people are dressing for them, that's changed a bit, too, so it's changed how people buy. Obviously, the holiday season is always a very strong season for people in our world and when we do a lot of business, but we find it's spread out around the year a lot more now as people are not buying for occasion-specific pieces. They're not just saying, “I've got this birthday, this anniversary.” The pace of their lives has changed it. Sharon: That's interesting. You preempted my question. I was going to ask you about changes. Does that impact how you think about Los Angeles or the West Coast, where there are no seasonal changes really? Matthew: In terms of seasonal changes, I have friends who work in different areas, whether they're in a hifalutin financial position or they're consultants at luxury groups, and they come and say, “We want to help with this.” They'll look through and figure out how to optimize or create a strategy. When they spent time with us, they realized, “We do not know how you do what you do.” It doesn't really subscribe to the more traditional models of how somebody might run this kind of business. I understand that if you are Tiffany and you're doing things on the West Coast, you might change how you skew your line sheet for what kinds of pieces people might wear, because that kind of style isn't going to work when somebody is wearing a shift versus a sweater. We are not clever buyers like that. Again, we look at things and think, “This is a great thing. We can see one of our L.A. clients wearing this. Let's send it out there.” So much of what we do is by feel and a kind of very educated guess. It's easier in some ways, the variety of pieces we can send out West because we're not worried about people taking gloves on and off when it's a ring. When you're in the city and you're taking a ring on and off, maybe it could get caught. I don't know how much they're concerned about that in New York now. We tend to think the same way. If you're a collector of vintage cars and you understand you're buying a vintage car, you know it's going to require special handling at times. You can't drive it down every road. You might need to bring it to a different mechanic than where you bring your daily driver. We expect, to a certain extent, that people buying fine vintage jewelry understand the spirit of that too. They're not bringing it to the person at their mall to have it fixed. They're not wearing it in the pool. There are parts of these changes we're happy to walk people through, but whether you're East or West Coast, there's a certain sensibility we think goes with wearing the pieces. Sharon: Do you think people gear up for the holidays? You said you also do during the year, but do you gear up? Matthew: We acquire year round, and we put out a catalogue usually in the fall. That's always a challenge for us in that we love doing it and we spend a lot of time putting it together, but as we finally get to finish the product and it goes in the mail, the pieces have already been available. So, you get this heartbreaking moment when a client calls and says, “I got this catalogue. I'm out in California. What's on page three?” and we say, “I'm so sorry. It's sold.” But it allows you to start the conversation and say, “We can try to find you something you like. Maybe we have something that wasn't in the catalogue that's new, and we can talk you through it.” We have a sense for how people respond, but in terms of the West Coast specifically, I don't know. We're curious to see what that's like. I assume that titans of retail who also make their money on the West Coast around the holidays are doing things somewhat in lockstep with what we're doing on the West Coast. People still celebrate holidays and buy gifts out there. We think it's probably going to be the same way, but again, we don't live or die based on holidays. People come every day and say, “Oh wow! That must be crazy,” and I say, “You know, we're not the right lid for that pot.” Not to say we don't sell things based around that, but we're not specifically holiday-driven dealers. We're not looking to get in a million hard pieces for Valentine's Day and have everyone get something for their sweetie. Our core client is women who are buying jewelry for themselves. It creates a different experience than when you're making a gift purchase. Sharon: That's interesting. Matthew, thank you very much. I hope we all get to come out to Bergdorf and see your stuff. I hope you're not deluged with people coming to your administrative offices. You can direct them to Bergdorf. Thank you very much. I learned a lot today. Thank you. I really appreciate it. Matthew: Thank you for having me. We look forward to seeing you out West soon.
HOUR 1"Pharmacy staff at some Walgreens stores locked their gates and walked out Monday, citing harsh working conditions that make it difficult to safely fill prescriptions." / (CNN) https://www.cnn.com/2023/10/09/business/walgreens-walkouts-cvs-pharmacy/index.html?"Union workers at Mack Trucks went on strike Monday after voting down a five-year contract agreement that negotiators had reached with the company." / (AP) https://apnews.com/article/auto-workers-mack-trucks-strike-reject-agreement-vote-31028457605436f0c142617b1b5cf838?Top U.S. officials on Israel / (ABC News) https://abcnews.go.com/Israeli military strikes have killed two senior Hamas officials / (FOX News) https://www.foxnews.com/video/6338782354112Tom S. talks about his trips to Israel / Map of Israel and history: https://www.nationsonline.org/oneworld/map/israel_map2.htm2024"Republican presidential candidate, Gov. Ron DeSantis, weighs in on Iran, a $6B in Iran prisoner swap that Republicans are linking to Hamas' attack on Israel and why he says Donald Trump is a dealbreaker for Americans who want to vote for a Republican in 2024." / (MSNBC) https://www.msnbc.com/morning-joe/watch/ron-desantis-donald-trump-is-a-dealbreaker-for-americans-who-want-to-vote-for-a-republican-194803781632HOUR 2Amazon is offering $20 an hour for new jobs in AK and "eligible workers will get health care, vision, and dental insurance, a 401(k) retirement-savings opportunity with a match from the company, and up to 20 weeks paid parental leave with six weeks for supporting parents. Career-advancement opportunities are also available, the company said." / (ADN) https://www.adn.com/business-economy/2023/10/09/amazon-is-launching-a-hiring-spree-for-its-new-anchorage-sorting-center-will-there-be-enough-workers/The Municipality of Anchorage's Public Transportation Department is looking into the possibility of moving the longtime People Mover Transit Center on Sixth Avenue to a new location." / (ANS) https://www.alaskasnewssource.com/2023/10/10/city-considers-moving-anchorages-downtown-transit-center/MayorDave Bronson on Israel and how Americans will think of radical Islam State Representative Kevin McCabe re daAmazon and jobs Joe from South Anchorage
Photo: 1942 Sixth Avenue. No known restrictions on publication. @Batchelorshow #Afghanistan: Two years after quitting in disarray: What was the mission? Colonel Jeff McCausland , USA (retired) @mccauslj @CBSNews @dickinsoncol https://www.msn.com/en-us/news/world/2-years-since-taliban-retook-afghanistan-its-leader-rules-from-the-shadows/ar-AA1fi38Y
Learn more at TheCityLife.org --- Send in a voice message: https://podcasters.spotify.com/pod/show/citylifeorg/message Support this podcast: https://podcasters.spotify.com/pod/show/citylifeorg/support
One of the hottest new spots in Downtown Kenosha is Tavern on Sixth – located at 5712 Sixth Avenue. They offer a full food menu and the best cocktails around which you can enjoy inside their classic establishment, or outside on the curbside or alley terrace. For all you golf fans, check out their golf simulators on the second floor – a great place for private parties and events! Listen in today as we welcome owner Kyle Kavalauskas and general manager Andy Bilski to the show! For more about Tavern on Sixth, visit their website here and be sure to follow them on Facebook for all the latest updates! This episode was recorded on June 6th at Luigi's Pizza Kitchen, 7531 39th Avenue Ktown Connects is brought to you by: Shannyn Franklin – ReMax Newport Elite Franks Diner, 508 58th St Aason Hunzinger of AHDidIt Union Park Tavern, 4520 Eighth Ave. ROAR – Be heard Lucci's Grandview 6929 39th Ave Wink Beauty Boutique, 10909 Sheridan Rd Hydn Cheese Public Craft Brewing Company 628 58th St Get your Ktown Connects merchandise at The Lettering Machine, 725 50th St. Drop us an email at ktownconnects@yahoo.com Find us on Facebook, Instagram and Twitter – and at ktownconnects.com Theme song performed by Dropping Daisies, written by James “Red” McLeod. Your hosts are Donny Stancato and Jason Hedman Get additional episodes early and ad-free, along with bonus material with this week's guest and more great exclusive material by becoming a patreon supporter! Click here for more!
Multi-Instrumentalist Carries On Legacy#multiinstrumentalist #musiclegacy #moondog #trimba #newmusic Julian Calv was a music major recently graduated from Moravian University in Bethlehem, PA. He now resides in the art community of Woodstock, VT. Calv can occasionally be seen on Church Street in Burlington, VT, busking much in the way Moondog, aka the Viking of Sixth Avenue, had done in NYC during the 50's and 60's.Calv has studied every aspect of the avant-garde musician's creative life. In addition to composing and performing, Moondog's life included the invention of several musical instruments, most famously the trimba (a sort of triangular drum). Calv has even built his own one-of-a-kind trimba, going to great lengths to travel to Sweden and Germany to meet with fellow Moondog aficionados, and study the design of the instrument. Moondog archivist Wolfgang Gnida states, “Julian Calv - The future of the trimba, that's what I called Julian some time ago. That may seem a bit of an exaggeration, but since the time I've been working at the Moondog Archive, I've yet to meet a musician who has been as intensely involved with the trimba as Julian. His first trimba was still made from drums put together, but his first homemade trimba based on Moondog's model soon followed.”Linktree: https://linktr.ee/julian.trimbaOrder a copy of Route 4/Thorn and Roots Vinyl: https://www.dekoentertainment.com/julian-calvYoutube: https://www.youtube.com/channel/UCLhlri4zvh06I2l8ggi5_dgInstagram: https://www.instagram.com/julian.trimba/Facebook: https://www.facebook.com/julian.trimbaTikTok: https://www.tiktok.com/@julian.trimbaTwitter: https://twitter.com/julian_trimbaThanks for tuning in, please be sure to click that subscribe button and give this a thumbs up!!Email: thevibesbroadcast@gmail.comInstagram: https://www.instagram.com/listen_to_the_vibes_/Facebook: https://www.facebook.com/thevibesbroadcastnetworkLinktree: https://linktr.ee/the_vibes_broadcastTikTok: https://vm.tiktok.com/ZMeuTVRv2/Twitter: https://twitter.com/TheVibesBrdcstTruth: https://truthsocial.com/@KoyoteFor all our social media and other links, go to: Linktree: https://linktr.ee/the_vibes_broadcastPlease subscribe, like, and share!
Dr. Erin Merritt is a lifelong Kenoshan who saw that her city was in need of an independent pharmacy. In 2014, she opened her own business, Modern Apothecary, on the corner of 50th Street and Seventh Avenue in Downtown Kenosha. Over the winter, she moved to a bigger and 57better location in the heart of Downtown at 5700 Sixth Avenue. Modern Apothecary has all the items that those big box stores have and can get you all of your pharmaceutical needs, but they offer that hometown touch that you won't get elsewhere. Stop on down and check out Dr. Merritt's beautiful shop and visit their website for more information! Click here to read about the history of the original location in this story written by Ktown Connect's own Jason Hedman! This episode was recorded on April 10th at Luigi's Pizza Kitchen, 7531 39th Avenue Ktown Connects is brought to you by: Lucci's Grandview 6929 39th Ave Shannyn Franklin – ReMax Newport Elite Franks Diner, 508 58th St Aason Hunzinger of AHDidIt Union Park Tavern, 4520 Eighth Ave. ROAR – Be heard Wink Beauty Boutique, 10909 Sheridan Rd Hydn Cheese Public Craft Brewing Company 628 58th St Get your Ktown Connects merchandise at The Lettering Machine, 725 50th St. Drop us an email at ktownconnects@yahoo.com Find us on Facebook, Instagram and Twitter – and at ktownconnects.com Theme song performed by Dropping Daisies, written by James “Red” McLeod. Your hosts are Donny Stancato and Jason Hedman Get additional episodes early and ad-free, along with bonus material with this week's guest and more great exclusive material by becoming a patreon supporter! Click here for more!
She's played keepy uppy on the stage of Madison Square Garden, floated down Sixth Avenue, and beamed into millions of homes around the globe on the daily - but strap yourselves in kids, Bluey's only getting bigger! And trying to wrangle the worldwide juggernaut and unstoppable tsunami of Bluey partnership requests is BBC Head of Brands and Licensing (ANZ), Kate O'Connor. BBC Kate jumps in the Gotta Be Done wagon with Kate and Mary, and shares the couldn't-stop-watching awe of her first Bluey binge, the behind-the-scenes of taking Bluey to New York, and why travelling with the Ludo family is a bit like being in a Bluey episode! Plus the process behind Bluey being on anything from lunchboxes, to muesli bars to cricket bats... but maybe not EVERYTHING. (Bluey tarot cards, anyone??) And what a new mum buried in Bluey can absorb into parenting, too. With new Bluey dropping in Australia on ABC TV from THIS SUNDAY, get the goss on what's next for our incredible blue girl/ dog. ++ Gotta Be Done is ex-journos and Adelaide/ Melbourne mums Kate McMahon and Mary Bolling, as we deep-dive every Bluey episode, with plenty of detours into mama life, childhood memories, and everything else we're bingeing, too! Follow us on Insta at @blueypod @marytbolling @katejmcmahon or on Twitter at @blueypodcast - and use #blueypod to join in.
Motorola executive Martin Cooper was standing on Sixth Avenue just blocks from Radio City Music Hall in Manhattan on April 3, 1973 — 50 years ago today — when he dialed his Chicago-built cellphone prototype. Kori Rumore brings her encyclopedic knowledge of all things Chicago to share the Windy City connections to this historic event and some of the inspirations behind Motorola's iconic "brick phone". Subscribe to the Vintage Tribune and get Chicago history to your inbox every Thursday.See omnystudio.com/listener for privacy information.
50 years ago today, Motorola engineer Martin Cooper stood on a corner of Sixth Avenue, took a phone book from his pocket and made the first mobile phone call in history. So how much has the mobile phone improved our lives? And is being constantly contactable always a good thing? Bobby Kerr was joined by Pat Phelan, co-founder and CEO of Sisu Clinic and Ali Ryan, CEO of Goss.ie…
The cell phone revolutionized how we communicate with each other, but its origins are extremely different from the device you use to talk, text and even surf the internet with on a daily basis. Its roots could be traced back to the early 1970s when the head of Motorola's communications systems division, Martin Cooper was tasked with developing a device that would make the up and coming car phone obsolete technology. On April 3, 1973, Cooper made the very first handheld cell phone call while standing on Sixth Avenue outside the New York City Hilton in midtown Manhattan to engineer Joel Engel, head of AT&T's rival project. In a conversation with Al Pisano, Dean of UC San Diego's Jacobs School of Engineering, Cooper reflects on the past fifty years including what it took to develop the world's first cellular telephone, the impact it's had on the world and the future of smartphone technology. Series: "Computer Science Channel" [Science] [Show ID: 38819]
The cell phone revolutionized how we communicate with each other, but its origins are extremely different from the device you use to talk, text and even surf the internet with on a daily basis. Its roots could be traced back to the early 1970s when the head of Motorola's communications systems division, Martin Cooper was tasked with developing a device that would make the up and coming car phone obsolete technology. On April 3, 1973, Cooper made the very first handheld cell phone call while standing on Sixth Avenue outside the New York City Hilton in midtown Manhattan to engineer Joel Engel, head of AT&T's rival project. In a conversation with Al Pisano, Dean of UC San Diego's Jacobs School of Engineering, Cooper reflects on the past fifty years including what it took to develop the world's first cellular telephone, the impact it's had on the world and the future of smartphone technology. Series: "Computer Science Channel" [Science] [Show ID: 38819]
The cell phone revolutionized how we communicate with each other, but its origins are extremely different from the device you use to talk, text and even surf the internet with on a daily basis. Its roots could be traced back to the early 1970s when the head of Motorola's communications systems division, Martin Cooper was tasked with developing a device that would make the up and coming car phone obsolete technology. On April 3, 1973, Cooper made the very first handheld cell phone call while standing on Sixth Avenue outside the New York City Hilton in midtown Manhattan to engineer Joel Engel, head of AT&T's rival project. In a conversation with Al Pisano, Dean of UC San Diego's Jacobs School of Engineering, Cooper reflects on the past fifty years including what it took to develop the world's first cellular telephone, the impact it's had on the world and the future of smartphone technology. Series: "Computer Science Channel" [Science] [Show ID: 38819]
SJ Crystals, located at 5701 Sixth Avenue in Downtown Kenosha has been providing fine clothing for over 100 years! It's one of Kenosha's longest operating retailers and we sit down with current owner Lew Aceto to talk about the rich history of this business and how Lew and his great staff can make you look your absolute best! For the finest in men's fashion, check out their website here and stop in to see Lew and tell him you heard him on Ktown Connects! This episode was recorded on October 10th at Luigi's Pizza Kitchen, 7531 39th Avenue Ktown Connects is brought to you by: ROAR – Be heard Franks Diner, 508 58th St Shannyn Franklin – ReMax Newport Elite Union Park Tavern, 4520 Eighth Ave. Aason Hunzinger of AHDidIt Lucci's Grandview 6929 39th Ave Wink Beauty Boutique, 10909 Sheridan Rd Hydn Cheese Public Craft Brewing Company 628 58th St Get your Ktown Connects merchandise at The Lettering Machine, 725 50th St. Drop us an email at ktownconnects@yahoo.com Find us on Facebook, Instagram and Twitter – and at ktownconnects.com Theme song performed by Dropping Daisies, written by James “Red” McLeod. Your hosts are Donny Stancato and Jason Hedman Get additional episodes early and ad-free, along with bonus material with this week's guest and more great exclusive material by becoming a patreon supporter! Click here for more!
New York has long been a city where people go to reinvent themselves. And since the dawn of the twentieth century, New York City's Greenwich Village has been at the center of that alchemy of reinvention. Its side streets, squares and coffeehouses have nurtured generations of artists, writers, and musicians, among them Bob Dylan. Dylan first set foot in the Village in 1961, and even as he continues to make music, you can argue that his Greenwich Village years in the 1960s were a formative period in his life and work. Dick Weissman's new book, Bob Dylan's New York: A Historic Guide (SUNY Press, 2022) helps fans and students of Dylan walk the streets where his career took off. Weissman-- musician, author, veteran of the folk scene, and associate professor emeritus at the University of Colorado Denver—emphasizes the Village but also takes in the midtown Manhattan offices that ran the music industry in Dylan's early days and the backroads of Woodstock, NY where Dylan found refuge from the big city. The result is a book that situates Dylan's New York years in a rich context. Bob Dylan's New York is organized as a series of mapped walking tours--covering Bleecker Street, MacDougal Street, Washington Square and more—that convey the people and institutions that nurtured Dylan's early career. Individual stops on the tour—such as Dylan's apartment building at 161 West Fourth Street and the sites of Izzy Young's Folklore Center on MacDougal Street and Sixth Avenue—are covered in well-researched entries. The book also lists the homes and addresses of other famous Village inhabitants such as the journalist John Reed, the artist Jackson Pollock, the singer Barbra Streisand, and the political activist Eleanor Roosevelt, suggesting the cultural and political ferment of the Village in the twentieth century. Bob Dylan's New York is generously illustrated with photographs, many of them from folklore collections at the Smithsonian, the Library of Congress and the University of North Carolina at Chapel Hill, that capture famous and not-so-famous inhabitants of the Village folk scene in the 1960s. The gentrification that has transformed the Village in recent decades has shoved aside much of the grass-roots folk music scene that made the neighborhood so interesting. Nevertheless, many of the cafes and clubs where Dylan and his contemporaries honed their craft are still there, hidden in plain sight. This folkie, former Village resident and long-time Dylan fan went out for a two-hour walk with Bob Dylan's New York in hand. I made many discoveries on streets that I thought I knew, and I barely scratched the surface of what the book has to offer. Robert W. Snyder, Manhattan Borough Historian and professor emeritus of American Studies and Journalism at Rutgers University. Email: rwsnyder@rutgers.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network
New York has long been a city where people go to reinvent themselves. And since the dawn of the twentieth century, New York City's Greenwich Village has been at the center of that alchemy of reinvention. Its side streets, squares and coffeehouses have nurtured generations of artists, writers, and musicians, among them Bob Dylan. Dylan first set foot in the Village in 1961, and even as he continues to make music, you can argue that his Greenwich Village years in the 1960s were a formative period in his life and work. Dick Weissman's new book, Bob Dylan's New York: A Historic Guide (SUNY Press, 2022) helps fans and students of Dylan walk the streets where his career took off. Weissman-- musician, author, veteran of the folk scene, and associate professor emeritus at the University of Colorado Denver—emphasizes the Village but also takes in the midtown Manhattan offices that ran the music industry in Dylan's early days and the backroads of Woodstock, NY where Dylan found refuge from the big city. The result is a book that situates Dylan's New York years in a rich context. Bob Dylan's New York is organized as a series of mapped walking tours--covering Bleecker Street, MacDougal Street, Washington Square and more—that convey the people and institutions that nurtured Dylan's early career. Individual stops on the tour—such as Dylan's apartment building at 161 West Fourth Street and the sites of Izzy Young's Folklore Center on MacDougal Street and Sixth Avenue—are covered in well-researched entries. The book also lists the homes and addresses of other famous Village inhabitants such as the journalist John Reed, the artist Jackson Pollock, the singer Barbra Streisand, and the political activist Eleanor Roosevelt, suggesting the cultural and political ferment of the Village in the twentieth century. Bob Dylan's New York is generously illustrated with photographs, many of them from folklore collections at the Smithsonian, the Library of Congress and the University of North Carolina at Chapel Hill, that capture famous and not-so-famous inhabitants of the Village folk scene in the 1960s. The gentrification that has transformed the Village in recent decades has shoved aside much of the grass-roots folk music scene that made the neighborhood so interesting. Nevertheless, many of the cafes and clubs where Dylan and his contemporaries honed their craft are still there, hidden in plain sight. This folkie, former Village resident and long-time Dylan fan went out for a two-hour walk with Bob Dylan's New York in hand. I made many discoveries on streets that I thought I knew, and I barely scratched the surface of what the book has to offer. Robert W. Snyder, Manhattan Borough Historian and professor emeritus of American Studies and Journalism at Rutgers University. Email: rwsnyder@rutgers.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history
New York has long been a city where people go to reinvent themselves. And since the dawn of the twentieth century, New York City's Greenwich Village has been at the center of that alchemy of reinvention. Its side streets, squares and coffeehouses have nurtured generations of artists, writers, and musicians, among them Bob Dylan. Dylan first set foot in the Village in 1961, and even as he continues to make music, you can argue that his Greenwich Village years in the 1960s were a formative period in his life and work. Dick Weissman's new book, Bob Dylan's New York: A Historic Guide (SUNY Press, 2022) helps fans and students of Dylan walk the streets where his career took off. Weissman-- musician, author, veteran of the folk scene, and associate professor emeritus at the University of Colorado Denver—emphasizes the Village but also takes in the midtown Manhattan offices that ran the music industry in Dylan's early days and the backroads of Woodstock, NY where Dylan found refuge from the big city. The result is a book that situates Dylan's New York years in a rich context. Bob Dylan's New York is organized as a series of mapped walking tours--covering Bleecker Street, MacDougal Street, Washington Square and more—that convey the people and institutions that nurtured Dylan's early career. Individual stops on the tour—such as Dylan's apartment building at 161 West Fourth Street and the sites of Izzy Young's Folklore Center on MacDougal Street and Sixth Avenue—are covered in well-researched entries. The book also lists the homes and addresses of other famous Village inhabitants such as the journalist John Reed, the artist Jackson Pollock, the singer Barbra Streisand, and the political activist Eleanor Roosevelt, suggesting the cultural and political ferment of the Village in the twentieth century. Bob Dylan's New York is generously illustrated with photographs, many of them from folklore collections at the Smithsonian, the Library of Congress and the University of North Carolina at Chapel Hill, that capture famous and not-so-famous inhabitants of the Village folk scene in the 1960s. The gentrification that has transformed the Village in recent decades has shoved aside much of the grass-roots folk music scene that made the neighborhood so interesting. Nevertheless, many of the cafes and clubs where Dylan and his contemporaries honed their craft are still there, hidden in plain sight. This folkie, former Village resident and long-time Dylan fan went out for a two-hour walk with Bob Dylan's New York in hand. I made many discoveries on streets that I thought I knew, and I barely scratched the surface of what the book has to offer. Robert W. Snyder, Manhattan Borough Historian and professor emeritus of American Studies and Journalism at Rutgers University. Email: rwsnyder@rutgers.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts
New York has long been a city where people go to reinvent themselves. And since the dawn of the twentieth century, New York City's Greenwich Village has been at the center of that alchemy of reinvention. Its side streets, squares and coffeehouses have nurtured generations of artists, writers, and musicians, among them Bob Dylan. Dylan first set foot in the Village in 1961, and even as he continues to make music, you can argue that his Greenwich Village years in the 1960s were a formative period in his life and work. Dick Weissman's new book, Bob Dylan's New York: A Historic Guide (SUNY Press, 2022) helps fans and students of Dylan walk the streets where his career took off. Weissman-- musician, author, veteran of the folk scene, and associate professor emeritus at the University of Colorado Denver—emphasizes the Village but also takes in the midtown Manhattan offices that ran the music industry in Dylan's early days and the backroads of Woodstock, NY where Dylan found refuge from the big city. The result is a book that situates Dylan's New York years in a rich context. Bob Dylan's New York is organized as a series of mapped walking tours--covering Bleecker Street, MacDougal Street, Washington Square and more—that convey the people and institutions that nurtured Dylan's early career. Individual stops on the tour—such as Dylan's apartment building at 161 West Fourth Street and the sites of Izzy Young's Folklore Center on MacDougal Street and Sixth Avenue—are covered in well-researched entries. The book also lists the homes and addresses of other famous Village inhabitants such as the journalist John Reed, the artist Jackson Pollock, the singer Barbra Streisand, and the political activist Eleanor Roosevelt, suggesting the cultural and political ferment of the Village in the twentieth century. Bob Dylan's New York is generously illustrated with photographs, many of them from folklore collections at the Smithsonian, the Library of Congress and the University of North Carolina at Chapel Hill, that capture famous and not-so-famous inhabitants of the Village folk scene in the 1960s. The gentrification that has transformed the Village in recent decades has shoved aside much of the grass-roots folk music scene that made the neighborhood so interesting. Nevertheless, many of the cafes and clubs where Dylan and his contemporaries honed their craft are still there, hidden in plain sight. This folkie, former Village resident and long-time Dylan fan went out for a two-hour walk with Bob Dylan's New York in hand. I made many discoveries on streets that I thought I knew, and I barely scratched the surface of what the book has to offer. Robert W. Snyder, Manhattan Borough Historian and professor emeritus of American Studies and Journalism at Rutgers University. Email: rwsnyder@rutgers.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/biography
New York has long been a city where people go to reinvent themselves. And since the dawn of the twentieth century, New York City's Greenwich Village has been at the center of that alchemy of reinvention. Its side streets, squares and coffeehouses have nurtured generations of artists, writers, and musicians, among them Bob Dylan. Dylan first set foot in the Village in 1961, and even as he continues to make music, you can argue that his Greenwich Village years in the 1960s were a formative period in his life and work. Dick Weissman's new book, Bob Dylan's New York: A Historic Guide (SUNY Press, 2022) helps fans and students of Dylan walk the streets where his career took off. Weissman-- musician, author, veteran of the folk scene, and associate professor emeritus at the University of Colorado Denver—emphasizes the Village but also takes in the midtown Manhattan offices that ran the music industry in Dylan's early days and the backroads of Woodstock, NY where Dylan found refuge from the big city. The result is a book that situates Dylan's New York years in a rich context. Bob Dylan's New York is organized as a series of mapped walking tours--covering Bleecker Street, MacDougal Street, Washington Square and more—that convey the people and institutions that nurtured Dylan's early career. Individual stops on the tour—such as Dylan's apartment building at 161 West Fourth Street and the sites of Izzy Young's Folklore Center on MacDougal Street and Sixth Avenue—are covered in well-researched entries. The book also lists the homes and addresses of other famous Village inhabitants such as the journalist John Reed, the artist Jackson Pollock, the singer Barbra Streisand, and the political activist Eleanor Roosevelt, suggesting the cultural and political ferment of the Village in the twentieth century. Bob Dylan's New York is generously illustrated with photographs, many of them from folklore collections at the Smithsonian, the Library of Congress and the University of North Carolina at Chapel Hill, that capture famous and not-so-famous inhabitants of the Village folk scene in the 1960s. The gentrification that has transformed the Village in recent decades has shoved aside much of the grass-roots folk music scene that made the neighborhood so interesting. Nevertheless, many of the cafes and clubs where Dylan and his contemporaries honed their craft are still there, hidden in plain sight. This folkie, former Village resident and long-time Dylan fan went out for a two-hour walk with Bob Dylan's New York in hand. I made many discoveries on streets that I thought I knew, and I barely scratched the surface of what the book has to offer. Robert W. Snyder, Manhattan Borough Historian and professor emeritus of American Studies and Journalism at Rutgers University. Email: rwsnyder@rutgers.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies
New York has long been a city where people go to reinvent themselves. And since the dawn of the twentieth century, New York City's Greenwich Village has been at the center of that alchemy of reinvention. Its side streets, squares and coffeehouses have nurtured generations of artists, writers, and musicians, among them Bob Dylan. Dylan first set foot in the Village in 1961, and even as he continues to make music, you can argue that his Greenwich Village years in the 1960s were a formative period in his life and work. Dick Weissman's new book, Bob Dylan's New York: A Historic Guide (SUNY Press, 2022) helps fans and students of Dylan walk the streets where his career took off. Weissman-- musician, author, veteran of the folk scene, and associate professor emeritus at the University of Colorado Denver—emphasizes the Village but also takes in the midtown Manhattan offices that ran the music industry in Dylan's early days and the backroads of Woodstock, NY where Dylan found refuge from the big city. The result is a book that situates Dylan's New York years in a rich context. Bob Dylan's New York is organized as a series of mapped walking tours--covering Bleecker Street, MacDougal Street, Washington Square and more—that convey the people and institutions that nurtured Dylan's early career. Individual stops on the tour—such as Dylan's apartment building at 161 West Fourth Street and the sites of Izzy Young's Folklore Center on MacDougal Street and Sixth Avenue—are covered in well-researched entries. The book also lists the homes and addresses of other famous Village inhabitants such as the journalist John Reed, the artist Jackson Pollock, the singer Barbra Streisand, and the political activist Eleanor Roosevelt, suggesting the cultural and political ferment of the Village in the twentieth century. Bob Dylan's New York is generously illustrated with photographs, many of them from folklore collections at the Smithsonian, the Library of Congress and the University of North Carolina at Chapel Hill, that capture famous and not-so-famous inhabitants of the Village folk scene in the 1960s. The gentrification that has transformed the Village in recent decades has shoved aside much of the grass-roots folk music scene that made the neighborhood so interesting. Nevertheless, many of the cafes and clubs where Dylan and his contemporaries honed their craft are still there, hidden in plain sight. This folkie, former Village resident and long-time Dylan fan went out for a two-hour walk with Bob Dylan's New York in hand. I made many discoveries on streets that I thought I knew, and I barely scratched the surface of what the book has to offer. Robert W. Snyder, Manhattan Borough Historian and professor emeritus of American Studies and Journalism at Rutgers University. Email: rwsnyder@rutgers.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music
"In 1960s New York City lived a blind, often homeless man with a long, flowing beard, who dressed as a Viking and stood sentinel at the corner of West 54th Street and Sixth Avenue in midtown Manhattan. He sold his poetry and performed on custom-built percussion. His recordings are considered legendary pieces of original sound emanating from a unique artist who continues to be misunderstood and under appreciated.""Nico was used to being treated as a physical spectacle. At the Dom, Leonard Cohen was a regular guest, and he began writing songs in hopes of seducing her. Her improbable bone structure, and her role in “La Dolce Vita,” intrigued prominent rock managers like Albert Grossman, who worked with Bob Dylan. But her songs were less appealing, and the Dom's clientele often laughed through her set. She was eventually accompanied on guitar by Tim Buckley, and then by Jackson Browne, who had just arrived in New York. Browne became enamored with Nico, and before they fell out—she accused him of harassing her with obscene phone calls—he gave her two songs: “The Fairest of the Seasons” and “These Days,” both of which appeared on her 1967 début, “Chelsea Girl.”-
King County officials have announced the launch of a new plan to create a safer environment around King County facilities in downtown Seattle.King County's central campus is bordered by Third Avenue, Yesler Terrace, James Street, and Sixth Avenue.Under the Civic Campus Safety Plan, there will be additional security and cleanup services including:-More deputies regularly patrolling on foot and on bicycles weekdays between 7 a.m. and 5 p.m.-Security officers conducting perimeter patrols of the downtown campus.-A general cleanup of trash each morning and pressure washing three times a week. Custodians will also be on-call during normal business hours for cleaning incidents as needed.LIKE & SUBSCRIBE for new videos everyday. https://bit.ly/3KBUDSK
One of the most unique insights into the state of the music business today doesn't come from a record label exec. Not from an agent. Not from an artist. No, it comes from Scottish economist Will Page, who served that role for Spotify from 2012 to 2019 — a period of explosive growth for the streaming giant. But if you ask Page about streaming's future, he's not nearly as optimistic as the rest of the industry. “The party has to come to an end,” as he told me on this episode of Trapital.Page believes the music industry is transitioning from a “herbivore market” to a “carnivore” one. In other words, future growth will not come from brand-new customers — it'll come from the streaming services eating into each other's market share. Not only has subscriber counts possibly tapped out in Page's opinion, but streaming services have also put a ceiling on revenues by charging only $9.99, a price that hasn't budged in 20 years despite giant leaps in technology and music catalog size. That against-the-grain prediction was one of many Will shared with me during our in-depth interview. But he has plenty more research- and experience-backed thoughts on touring, vinyl records, Web 3.0, and everything in between. Believe me, this is an interview you don't want to miss. Here's everything we covered: [0:00] The 3 R's in the business of music[3:15] Will's experience being a DJ[7:10] Lopsided Growth Of Music Streaming In Global Markets[8:59] Vinyl Records $1.5 Billion Recovery [13:18] Will's Bearish View About The Future Of Streaming[15:22] Ongoing Price War Between Streaming Services[22:59] The Changing Economics Of Music Touring [26:16] Performing At Festivals Vs. Tours [30:50] The Evolution Of Music Publishing[34:32] How Music Revenue Gets Distributed To Publishers[37:35] What Does A “Post-Spotify Economy” Look Like? [40:00] Will's Biggest Issues With Web3 [47:01] The Current Business Landscape Of Hip-Hop Listen to Will's mix right here: https://www.mixcloud.com/willpagesnc/we-aint-done-with-2021/Check out Will's Podcast, Bubble Trouble, where he breaks down how financial markets really work.Read Will's book, Tarzan Economics: Eight Principles for Pivoting Through Disruption.Listen: Apple Podcasts | Spotify | SoundCloud | Stitcher | Overcast | Amazon | Google Podcasts | Pocket Casts | RSSHost: Dan Runcie, @RuncieDan, trapital.coGuests: Will Page, @willpageauthor Trapital is home for the business of hip-hop. Gain the latest insights from hip-hop's biggest players by reading Trapital's free weekly memo. _____TRANSCRIPT Will Page 00:00The best way I could do this is, I just talk about ratios. There are three R's in this business, there's share of revenue, there's ratio, and as rates pool, they mean different things. Most experts get confused with the three R's.I'm gonna stick to ratios that is, if I give the label $1, how much do I give the publisher, the software, there's collective management organization? So we stick to the conventional streaming model today, I would say that you get the record label $1, you're giving the publishing side of the fence 24 cents, you know, a decent chunk of change, but still the poorer cousin of the record label. On YouTube, I think it could be as high as 35 cents, 40 cents even because there's a sink right involved in those deals.Dan Runcie 00:46Hey, welcome to the Trapital Podcast. I'm your host and the founder of Trapital, Dan Runcie. This podcast is your place to gain insights from executives in music, media, entertainment, and more, who are taking hip hop culture to the next level. Today's guest is Will Page. He is the author of a book I cannot recommend enough. It's called Tarzan Economics. It's a guide to pivoting through disruption. This is a must-read if you're working in music, media, or entertainment. He is also a Visiting Fellow at the London School of Economics. He is the former Chief Economist at Spotify. So if you are interested in where the music industry is heading, where trends are going, this is the person to talk to. I was first put onto Will's work, he had released this white paper called Rockonomics. And it was a breakdown on how artists were using Twitch. I wrote about the report in Trapital because I was fascinated by it. And then he and I started talking from there. So it was only a matter of time before he came on the podcast. Will and I covered a bunch in this episode, we talked about the growth of streaming, we also talked about the growth of vinyl, and how that impacts the economics for a lot of artists and songwriters and publishers. We also talked about the price of streaming services. Most services are still $9.99 per month in the US. So we talked about why that is for music compared to video streaming, where Netflix Hulu, and Amazon have been increasing their prices for their respective services. We also talked about music publishing and why Will thinks that that catalog will continue to grow. We talked about live music and some of the potential constraints where now the next 24 months everyone wants to go on tour. But there's only so many venues and so much money that consumers have unwillingness to see live shows. So we've talked about that we talked about trends in hip hop, we'll have a bunch of exclusive numbers to share in this. And it was great to talk to him. It's been great to also Jessica T to learn from him. I honestly do believe that he's one of the sharpest minds in the music industry. And it was a pleasure to have him on this podcast. And I hope you enjoy this conversation as much as I did. Here's my chat with Will Page. Alright, today we got the one and only Will Page with us. He is well known in the music and media space as an economist, but he also spent a lot of time as a DJ. And I feel like that could be a good place for us to start the conversation. Will, talk to me about your DJ experience and what you've been doing there recently.Will Page 03:22Well, I've been DJing since the age of puberty. And it was all inspired by one lyric by a rapper called Mike G from The Jungle Brothers from an album called done by the forces of nature, where he dropped his library. He said it's about getting the music across the message across getting it across without crossing over. And unlike a 14-year-old kid when I hear this, and I just thought about those words, getting the music across without crossing over, how do you get out to an audience without diluting its integrity. I'm only 14 at the time. But that just resonated with me so strongly, and I just kind of dedicated a huge chunk of my life to trying to get the music across to an audience that would otherwise not have heard it. And I'm not diluting how it's been presented. That's what a DJ can do. You can thread songs together in a way that gets music across without its dilution without crossing it over.Dan Runcie 04:11And I feel like, for you, you've been able to carry that through, you had we're not done we are done with 2021 I was able to do a quick drop for that as well. So I think what's likely inspiring for a lot of folks is that there's so many people that have music backgrounds and passions early on, but there's a pause if they're not able to continue that but you've been able to keep this as part of your charity, which I think makes so much of what you do with this space authentic because you yourself are someone who releases music.Will Page 04:40Yeah, I mean, the mix cloud allowed me to scale what I was doing anyway, if I go back to university in the late 90s early noughties you'd make mixtapes mix cassettes. There's a great way to date girls, but you could only do maybe like 50 100 at tops. Mix cloud allows you to take what you do and scale it scale what you love to do and the mixer UK only gave us a drop for weighing in dama 2021. That makes us no-hit 27,000 on Mixcloud meaning have overtaken Erykah Badu one of your former guests, I believe. So, you know, to get to 20,000 unique people with a mix that you care a year crafting together, that means the world to me.Dan Runcie 05:15It's a lot. And that's powerful, too. I imagined that you're always not just finding the sounds that make the most vibe for the year. But you're also thinking about, okay, what is the way that things are moving, especially at the pandemic? I feel like it's such an interesting year to have something like that. Because I think for some people, it's a year that they want to remember a year, they don't want to remember as well. But I feel like you probably already have a few things lined up for the mix you'll do at the end of 2022.Will Page 05:45Yeah, I mean, you're always looking for the bands that are not on Spotify, not an Apple Music, I think about half of my mix this year, you will not find in a streaming service. And I'm proud of that you're going to Discogs to find those rare white label bootleg vinyls, you're going to the source to the artists who are in the studio recording. And to you know, profile bands like Sault, or London-based bands, S-A-U-L-T, on that mix. That meant the world because I've been watching them rise over the past few years now. And, you know, to this day, nobody has any idea what the band look like, who the band are made up of, you know, this, like punk music, they're rejecting the system, they're doing it completely separately. And they're, you know, not hitting millions of people on Spotify with their music, they've let the music do the talking. So I often think about mixed culture as a break it down this way, the internet can scale just about anything, but it can't scale intimacy, and a playlist or as an intimate, that's just a bunch of songs straddle together and work them through the shuffle play feature, but a mix, a DJ mix of 60 minutes seamless mix, where you have vocal drops, you have beat mixing, you have layering, all those techniques that you've honed over the years, that's intimate. So what I'm able to do with mixtape culture is to scale intimacy, and that goes out for every other DJ you've had on your show. That's what we're trying to do right.Dan Runcie 07:05For sure. And I feel like that's a good segue to chat a little bit more about some of the work you've done for a company that is very heavily focused on playlists, which is Spotify. And I think more broadly, looking at the streaming ever we're in right now, this is a great time to chat because we just saw the IFP results. And streaming is continuing to grow, as we've seen, but I feel like you've probably spotted a few interesting trends about where things are heading. And I think that's a question of art for a lot of people streaming continues to grow, but how far can it grow? What are we seeing in terms of differences within genres or regions? What are some of the things that stuck out to you?Will Page 07:43I'll give you a couple. The first one is the global business. Well, last time I looked at the United Nations, I think there's 208 countries in the world, the global yearbook that we're discussing here, has I think, 58. So we have to be careful what we define as global. I think Africa's clubbed together as one continent with a need to work on that. But I think the global business is growing, but it's also becoming more American. So if you go back to when Spotify launched, Americans made up 20 to 23% of the business round, about just over a fifth today, it's 37%. So we have seen the business grow and become more American. And that raises questions, economic questions, like globalization questions, should poor countries catch up with rich ones, a theory says yes, the reality often says no, so we're seeing this kind of lopsided growth where the business is growing, but it's growing in favor of an American market, the biggest country is growing at the fastest rates. That's a positive problem, but I just want to flag it, which is that's not how it was supposed to play out. And then the second thing I'd want to point to as well as just vinyl, this vinyl recovery is just Well, I don't know how much my bank balance is responsible for this vinyl recovery. But I'm telling you, is defying the laws of gravity. Now we're now looking at Vinyl being worth one and a half-billion dollars, which is more than it's been worth in the past 30 years. It's worth more than CDs, cassettes, and downloads the three formats that were supposed to declare that vinyl is dead, but there's two things you can kind of cut out the vinyl recovery, which I think will be of real interest to your audience. Firstly, on the consumer side, I saw a survey which suggested that the majority just over half of all vinyl buyers today don't own a record player. I mean, something's cooking here. So why are we buying it for now I'll extend that as well. The cost of wall frames to frame vinyl on your wall often costs more than the record itself. So I'm willing to pay more for vinyl to be called New framed on my wall than I am for the record. And by the way, I don't have a record player that a lot of people will take those bizarre boxes, but on the creator side, something else is interesting. It'll take a little bit of working through but if we think about the streaming model is monetizing consumption, that's what it does. So there's an album A 10 songs, three killer and seven filler songs and an album Let's say Dan runs, he wrote the three killer tracks, and we'll page the seven Duff filler tracks. On streaming, Dan might walk away with all the money, and I'll walk away with none. Because we're only streaming the killer tracks and nobody's touching the filler. As the album model kicks out from vinyl, I would get 70% of the cache. That's crazy because nobody knows what's being consumed. And it's a lot of cash by just kind of do some rough math, you have a million fans streaming your hip hop record on Spotify. And let's say they're streaming it 200 times in the month when the album drops, you only need 20,000 of them of that million to make the same amount of money from vinyl than you would do from streams, which is entirely plausible. But then how do you pay the copyright owners from those songs on an album is very different from how you pay them on a stream. If you go back to the late 70s. The one most successful records of all time was Saturday Night Fever, the BGS, and a bunch of other people. It's crazy to think that Ralph McDonald's Calypso struck his record there, which nobody has listened to, but the same royalty as staying alive by the BGS. Because it was a vinyl record. So to reiterate, on the consumer side, I don't know how many of these vinyl records are being played. And on the creative side, it raises questions about how these creators are going to get paid.Dan Runcie 11:16That's a good point. But that I don't think is being talked about as much about the vinyl search, because there's so much like wow, about just how much has been purchased. I think I haven't saw the stat that Adele's 30 albums sold 8000 cassettes or there's a self-titled stat about that. And I think the similar thing that you said lines up, I think those people actually still own a Walkman or whatever type of cassette player that they have. So I do think that that is something that probably there could be a deeper analysis on. Because a lot of the people that write the filler songs, how do they feel whether you're a songwriter, whether you know what's behind it, especially when you know that there's so much clearer path to be able to determine, Okay, this is going to be the lead single that this is what we're going to push most from this album, it really shifts the exhibit more to where things are going in terms of a single market and like the way that people have talked about pop music for a while now. Right. And I guess that brings me back to the streaming trends that you mentioned, overall, we're in this area, as you mentioned, streaming itself that US penetration has grown from 22%, I believe you said is now 30 to 3537, somewhere around there. But where do we go from here because as you've written before, the price of music streaming, at least the monthly subscription hasn't necessarily been increasing. The average revenue per user overall, because of the international growth is decreased. And you have plenty of people that are still trying to get their fair share of what they can. It's streaming. So it's in like 510 years from now, if you could see into the future. Where do you think streaming distribution is I think the good thing is that people have smartphones, and there's more and more growth from that perspective. So streaming is going to grow. But on the other hand, the economics of these things do have some theoretical point where we've maximized the global penetration of this. What do you think about where that is going?Will Page 13:17Let me unpack it in two different lanes. Firstly, I'll deal with the saturation point question which is, you know, how long can this party keep going for it's three o'clock in the morning, who's going to call time on it? And then secondly, I want to deal with the pricing point on its own lien as well. But on saturation point, you're now in a situation where I'd put it as in America, we've had herbivores we've had Spotify growing Apple growing, Amazon growing, YouTube growing, everybody's reporting growth, Pandora even is growing. What we're gonna see at some point soon is carnivores, which is Apple will grow by eating into Spotify as growth or YouTube will grow by eating into Amazon's growth. So the key question we got to ask is, when do we go from the herbivore market we're in today to a carnivore market of tomorrow, and output Spotify as your subscriber number right about 45 million, Apple at 49 million, you dump on top YouTube, Amazon Pandora, you're well past 110, 120 million. Now that's important because I reckon there's around about 110 million qualifying households in America that has at least one person who could pay for a streaming service. This is crucial, because if you look at what Apple one's bundle is doing $30 a month for news, music, television, gaming, fitness, and two terabytes of storage per six accountholder is a household proposition. They're saying to the home, I got you convenience. Everyone under this roof is covered with Apple products. So when you have 110 million households, and you have more than 110 million subscribers in the United States, then we're in a race to the finishing line before herbivores turn into carnivores. In oil. We have this expression called Peak Oil, which is we know that we've extracted more oil in the world and has left to extract an oil All that's left is going to be even more costly to get out of the ground. I think we're in peak subscriber territory where at some point soon we're going to start seeing growth happen through stealing other customers as opposed to finding your own. So I just want to put that warning flag out there just now we're partying like it's 1989 Fine, but at some point, the party has to come to an end and growth is going to come at the expense of other players that then flips Neil from the east side to the B side of this record, we flip it over to price. And then pricing debate is interesting. I published this work called MelB economics, which we can cite on your wonderful website there, which was to look at the 20-year history of the 19 price point. And it's crazy story back in the third of December 2001. Over 20 years ago today, Rhapsody got its license for 999 offerings which had 15,000 songs first point, the origins of 999. Bizarrely deep back to the blockbuster rental card, some cooked-up label executive would have said that it cost 999 to rent videos from blockbuster. That's what it should cost to rent music. Secondly, there was only 15,000 songs with limited use case there was no smartphone back then no apps, no algorithms, that was all a weird world into the future. So you just had 999 for 15,000 songs we're now checking in early April 2022. And it's still 999 in dollar and euro and Sterling. But we're offering 100 million songs. That's the crazy thing. So in the article MelB economics what I do is I, strip inflation out in the case of the UK 999 has fallen down to six pounds 30 pence. Remember, you know family plan makes music cheaper to have 2.3 people are paying 4099, that's six pounds, 50. There's way too many numbers in this conversation for capital. But still, we'll stick with it. Student plan makes it cheaper to sew music in real terms has fallen to six pounds 30 which is less than a medium glass of Malbec wine. So 175 milliliters of Malbec wine costs more than 100 million songs, which is available offline on-demand without adverts that for me is certified bonkers. I don't understand what we've done. We're offering more and more, and we're charging less and less. And you only have to leave the ears to the eyes on the video streaming to see what they're doing on the other side of the fence. Netflix has got me from 799 to 899 to 1299, to now 1499 In the space of 15 months, and I haven't blinked Disney plus, the reason I'm paying for 99 and Disney plus is because I paid 1999 to get Cruella live on-demand. So they're charging more and more, but only offering part of the world's repertoire set for eyeball content. We're charging less and less and offering more and more of the wells, your whole content says like two ships passing each other in the night. It's a very interesting dilemma.Dan Runcie 17:49It's intriguing because when you look at the way that video is structured, as you mentioned, you have all these price increases. And I think Netflix for some plans is you know, at 99 It's approaching that level. But in music, it's this thing where yeah, there's some price differences where I think I saw today that Amazon music is increasing $1 But that's from 799 for Prime subscribers to that being 899. So, Ross thatWill Page 18:17I wonder if like what caused that?Dan Runcie 18:21I mean, honestly, I feel like there's something here because when I think about this, I think about a few things, right? Obviously, you do have this fight where the artists want to get more and the labels want to get more, you know, not just for the artist, but for themselves. And obviously, Spotify wants to earn more logically you would think, Okay, if you increase the price, and people just understated the economics of what's likely, if Spotify increased up to 1299 a month for the standard base rate, how many folks would blink. But to your point earlier, I have to imagine that the fear is looking at the trends and where that penetration is, if they jump up to 39 or 1299, then they're going to lose those customers to the other streaming services that have been shoved there yet, because of that thought of, you know, shifting to that carnivore mentality of competing with each other. So because for roughly 80% of the content that they do offer, it is roughly the same between each of the services, it's in when's it to be more of a price war, then in video streaming, where most of them do have some differentiated contentWill Page 19:26100% And two things to hold on to a very eloquent point there. And firstly, let's just remind ourselves that Apple launched superior sound quality, you may remember the commercial of lossless audio, you buy your air pods, which cost two years of Apple Music or Spotify to put in your years and you get superior sound quality, the subtext underneath it said at no extra cost. That was the actual marketing message. So there again, we're improving the offer. We're supplying more, but we're charging less in real terms. And that's a really interesting kind of point can occur. into it. The second thing and we should get balanced into this discussion, because it's delicate is we have to remind ourselves that, you know, there's 120 million subscribers in America, there's still another 100 and 20 million to go. But we know they're not they're interested in paying for music because they haven't paid yet, the best way to attract them is not necessarily to raise price. So we got to remember that there's still no oil to extract, it's not going to be easy oil to extract, the best way to get to it might not be to raise the price. But there's a catch to this. I can remember, in the early noughties, right up to 2010 piracy, ripping the asset out of this business. And concert promoters were saying, We love piracy because the kids are getting music for free so they can pay more on concert tickets. I wonder if now they're saying we love Spotify because they don't raise prices, which means we can raise hours, this is not a discussion of how to rip off the customer. This is a discussion about value exchange. And I just wonder whether recorded music is leaving value on the table. That's the key point to hammer home.Dan Runcie 20:57That's a good point. And I think that also made me think too, could there be some notion of maintaining the perception of Spotify as something that still has high pricing power is still as high consumer surplus because then that helps the stock price. And then seeing that the major labels are all invested in Spotify itself. It's about like having that perception of you know, the future growth and whatever it is. So what you've just said made me think about that being a factor, potentially to the 100%.Will Page 21:27And of course, you got to distinguish the Spotify, Apple Music cost structure from that of the video streaming companies, in that they have a kind of variable costs, you double your business, you double your cost base, whereas Netflix, you jump up costs, and you have you jumped up your revenue, you raised me from 799 to 1499, the cost of that content was fixed. And I'm still consuming the Fresh Prince of Bel-Air on Netflix to this day. That is a fixed-cost deal that he did to get that content. And that's margin to Netflix. So you know, the cost structure matters in this one as well.Dan Runcie 21:59Definitely. And you mentioned like music there. And I think there's a lot to think about from that perspective. I feel like we're in this post-pandemic. I mean, we're still not out of it. But we're in this post-quarantine era, art more artists than ever are trying to tour and get out there try to capture what's there. But also from an economic perspective, from that most people are only going to go to a certain number of live events per year. And we have this 18 to 24-month run coming up where everyone wants to make up for what they couldn't do in the past two years. How will that shift not just who that goes on tour together? And then how they may split those profits, what the availability looks like. And if they're not able to do what they may have done on tour in the late 2010s. How does that affect future touring? I think that's a piece of it that, you know, we still haven't necessarily seen the impact of but it just feels inevitable based on where things are heading.Will Page 22:58You did absolutely know on touring. I was lucky and I got to do some great work on the UK live industry. And I can only speak for the UK here. I know a lot of your audience knew us, but I think these points will carry across. The first one was to work out how much is spent on concert tickets in Britain during the normal year of 2019. And the answer was 1.7 billion pounds. That's more than was spent on recorded music a lot more than was spent recorded music which makes sense, you know, you pay 120 pounds on your Spotify account, you're paying 240 pounds to go to Reading Festival for two days in a muddy field and reading costs more than 365 days of all the world's music. But what I noticed there was the industry is changing in its growth. I showed that between 2012 The year of the London Olympics, and 2019 the live music industry in this country had exploded and grow but it was lopsided. All the growth came from stadiums, festivals, and to a lesser extent arenas, the theaters, the 2000 3000 capacity theaters like the Fillmore West over where you are, they were getting crushed. They were actually shrinking in size. So we have this lopsided live music industry which is going right in the direction of the head as opposed to the long tail. The stadiums or festivals The arena is as opposed to the theater as the club's the university venues. And that's interesting because that's going to change the dynamics of how you make money from live. Do you go from doing your tour of an album to doing a tour of your festivals for that record? And what does that mean for the cost structure for the insurance and all those things that bands have to consider when you're hitting the road? I mean, credit to trap tool. You've had some great podcasts recently on this topic. But as there's a big rethink coming along in this live music market is not the same as we had back in 2019. It's changed fundamentally and it is the breadwinner for most artists' income I think it makes up about 70% of what an artist has to live for comes from the road that vanished. How do we get it back?Dan Runcie 24:49I feel like Cardi B has been a good case study on this specific point here, right. It's been four years now since she released an album and she's yet to go on a true proper tour in that time, that said she's done plenty of festivals where she served more on those festival guarantees that she liked what on tour. She's also done many private events where she's likely earned that same amount, if not more. So, there's a whole economic argument to be made. And I think there's also some risk involved, too, right? I think that festivals do give you the opportunity to get that nature back, you get the high number, the revenue that comes through, but maybe your fans will be a little bit more forgiving if you're set-piece at your festival isn't the most extravagant thing, especially if you're not the headliner at it. But on a tour, I think it changes it's a little bit more pressure. Everyone wants to see that Instagrammable or tick talkable moment to then sell future tickets, and just the production costs and everything with traveling. It still is something that is very worthwhile, but I think we've just started to see some of that segmentation there, especially for someone like her I would have to go residencies to I know she's done a few different things in Vegas here and there. But yes, I still yet to do that. 30-city worldwide tour?Will Page 26:12Yeah, I think you got to think of your head and your heart. Your head says like you point out the economics fevers, festivals, your back lines are your insurances cover travels already covered. I have numerous Hip Hop bands perform at festivals in Europe. And that's one of the big advantages. The costs are all taken care of by the festival. But your heart says what does that do to intimate relationships with your fans, right? You're staring at 50,000 Strangers in the muddy field. That's different from staring at 2000 friends in the Fillmore West. So the heading the horror is going to come into play here. What I would add, though, is that there are rumors I would say here in the UK, at least that the promoters are saying I'll pay you a ton of money to film at the festival to make sure that you don't go on tour. And that's an interesting situation. If you build one too many houses, you collapse the property market. If you have one too many tours or one too many festivals, you collapse like the music industry. So there's ways in which people are trying to restrain the market to festivals at the expense of the theaters that certainly is coming through in the data. We're seeing the theater business, take a kick in well, festivals go on a roll.Dan Runcie 27:12Yeah. Because I think about you look at the artists that are touring stadiums now whether it's your Taylor Swift or Beyonce is they wouldn't be able to do that if they didn't have the individual tours, that smaller venues when they were starting out being able to build that intimate fan base, like you said, like you get to that point, right. And I do think that as good as festivals can be it is much more of a lucrative cash grab that is I don't want to say necessarily short-term thinking. But I think you ideally want to have some type of balance there, right? Get the big bag that you can get from something else. It's almost no different than I think running a business right? Okay, sure. You may be able to do a speaking fee or do some type of you know, the thing here or there. But you can't do that all the time, especially if it's not an audience are tapped into. You still need to do some of the things that could set you up for the long game.Will Page 28:05Yeah, and there's an infographic that I'll share with you to pass on to your audience here. I wrote an article in The Economist called smells like Middle East spirit, as opposed to teen spirit and ice play on words had to Dave Grohl and Kurt Cobain, but what I was looking at was the average age of festival headliners over time. This is a doer pessimistic Scottish economist, this is what you do is your spare time. Okay. So in 92, and Radiohead did Glastonbury, the average age of a festival headliner was 2526 years old. And all these hot bands were coming through the Britpop era. You know, there was so much development of new talent by 2012. I think it got up to 58. And I got a lot of criticism for that article, but then Glastonbury that year had the who and Lionel Richie headlining, which I think was 70 and 73 years old, apart, and then you can see the conveyor belt problem, which is okay, it's a quick cash grab, it makes sense. But that's not the conveyor belt of how we develop talent for tomorrow. That's just how we cash in our chips at the casino today. So it does raise questions. And I'm not saying it's like the doomsday scenario here. But we just need a healthy balance of, you know, a seedbed for future growth. And then the big stage of exploiting that moment today, which could be the permanent stage at Glastonbury, the headlights siege up on a roof and mistakes. So I just think we're getting a little bit lopsided here. We're a bit short term system, how this business needs to developDan Runcie 29:25Agreed on that. Switching gears a bit. One thing that you wrote recently that stuck out to me you did this deep dive on music publishing, and I think this is another area that kind of has some of that short term, long term perspective on it, because you look at the people who get the share of the copyright pie, at least today. And from a music streaming perspective, a lot of that has been much more in the favor of the recorded side and then the people getting compensated on the recording side. But with that the songwriters and the PA brochures. A lot of them necessarily in that timeframe didn't get a lot of that. But I think in this wave now where we're seeing more catalog deals, and we're seeing people understand the value of that things may be starting to shift and there's likely other things as well. But what do you think about the way that the publishing side has been seen and what the future opportunities are for that side of the business?Will Page 30:23Well, the way that labels and publishing were taught to me in terms of what makes them distinct from one another goes back to my Aunt Doreen Lauder, who worked in the music business from 1959 at Decca Records right the way through to 2012. She went enzyme records with Nigel Grange loosens half brother, they were responsible for Sinead O'Connor who sold 11 million albums based on the prints cover. And she once said to me, Will, this is how the music industry works, the record label piece of your drugs and the publishing pays for your pension, just kind of as a nice succinct way of summarizing how the business works. That was then this is now clearly times have changed, I think. But it reminds us about you know what makes the business different. And that piece of work that you cite is something called global value of copyright, where I'm really keen to educate this industry, regardless of whether you're coming from a label perspective, a manager or an artist or songwriter, there's a C with a circle on it called copyright. We get that and it involves record labels. It involves SoundExchange involves artists involves ASCAP, BMI, GMR says EQ involves publishers, David Israeli, and the great folks at the NMPA, and Wall Street, but the whole thing together for me all this spaghetti and straightened out. And what I was able to show was that in 2020, copyright was worth 32 and a half-billion dollars, way bigger than what you've just heard I FPI, way bigger than what CS EC would say, this is the entire thing. And the split was about 65% labels 35% to the publishers. Now if you go way back to 2001 when we used to sell CDs by way of pallet and cocaine capitalism, these have no record labels. Back then, the split was much more in favor of labels no more than three quarters labels less than a quarter to the publishers. And what we've seen happen in the years in between is quite an interesting story. Labels went from boom time with CDs to bust with piracy, and now they're booming again with streaming. And the inverse the opposite happened publishers as labels went bust, ASCAP, BMI, kept on recording record-breaking collections. So you ever hear the toys analogy here of labels going really fast and falling off a cliff publishes as trundled along with record-breaking, not massive record-breaking collections, but he kept on growing their base. So the question he threw up is, what type of industry are we moving towards? Are we going back to our business model which paid labels over three quarters of the pie and publishers less than a quarter? And is that a good or a bad thing? Or in this post-Spotify economy where we're seeing companies like peloton Twitch, TikTok comes to the business is that gonna have a completely different balance. Now, why this matters to your audiences, not just on the creator side. But also on the investment side, you pointed out catalog valuations we can dig into that if you want. But just a high-level point is let's say that in a few year's time, I go into my Batcave again, calculate the global value of copyright, and instead of 32 and a half billion is 40 billion, I'll come on traps or make an exclusive announcement cooperate today is worth 40,000,000,007 and a half billion new dollars have come into this business, I want the audience to start thinking about who gets what share of that marginal new dollar, is that going to split publishing side? Or is that going to split the label side. And if you're investing in catalogs, be the master rights be the author rights that really matters. There's a huge educational drive here to understand the balance of this business of copyright.Dan Runcie 33:45So there's a few things you said there that I wanted to dig into, of course, for streaming Spotify and its competitors around 75% is going to the recorded side a quarter to publishing but from a breakdown what does that look like for the Tiktoks? The Roblox and the peloton what is that share of revenue from those plays look like?Will Page 34:08So the best way I could do this is if I just talk about ratios, there's three R's in this business, there's share of revenue, there's ratio, and as rights pool, they mean different things. Most experts get confused with three R's. I'm gonna stick to ratios that is if I give the label $1, how much do I give the publisher, the software, there's collective management organization. So we stick to the conventional streaming model today, I would say that you get the record label $1. You're giving the publishing side of the fence 24 cents, you know, a decent chunk of change, but still the poorer cousin of the record label on YouTube, I think it could be as high as 35 cents 40 cents even because there's a sync right involved in those deals. And then when you take that observation of imposing the sink right into a deal and you expand it to peloton or tic tock potentially even more, and then you can flip it and say well what happens in the future of TiC tock Because karaoke not saying it's gonna happen, but it's not implausible if that was the case that favors publishers even more. There's all these weird ways the business could develop, which could favor one side of the fence, the labels, and the artists continue getting three-quarters of the cash. On the other side of the fence publishers and songwriters start enforcing their rights and getting a more balanced share. And that's what we need to look out for when we're investing in corporates. That's what we need to look out for. If you're a singer and a songwriter. And you're trying to understand your royalty statements.Dan Runcie 35:27Like how much higher Do you think I mean, if you had to put a percentage on it for the Tiktoks or the pelletize? And I guess as well, you made me think up sync deals, right? Like for the folks that are selling, or their saw gets placed on one of these Hulu series or one of these HBO Max series? Like what is that ratio look like, you know, from a ballpark for those?Will Page 35:50So I think a 50-50 split would be the upper end of the goal. If a song is placed in a Hulu TV show or you know, an artist I've worked with for many years Eumir Deodato, Brazilian composer, his songs now in this famous EasyJet commercial over here in Europe, the artists and the publisher would see around a 5050 split of those revenues. Now would that happen in a world of streaming? Unlikely, but I think if you can get to a stage where you're giving the record label $1 and the publisher 50 cents as a ratio, and I got to repeat the word ratio here, you know, that's potentially achievable, that listen, post-Spotify economy, I don't think it's going to happen with the business we're looking at today. But I think that's a potential scenario for the business developing tomorrow. That's the thing is, if I can quote Ralph Simon are a longtime mentor to me, he always says, this industry is always about what's happening next. And then he goes on to say, it always has been as a great reminder of just your will restless souls in this business, we've achieved this amazing thing in the past 10 years, we're streaming got that bank there. What's coming next, who would have thought peloton would have had a music licensing department 18 months ago now they're like a top 10 account for major labels.Dan Runcie 36:59It's impressive. It really is. And I think it's a good reminder. Because anytime that you get a little bit too bullish and excited about what the current thing is, we always got to be thinking about what's next. And you mentioned a few times about a post-Spotify economy. And what does that look like? From your perspective, I think there's likely a number of things that we've already talked about with more of these other b2b platforms or with these other platforms, in general, having licensing deals, but what do you say? Or what do you think about post-Spotify economy? What comes to mind for you?Will Page 37:32Let me throw my fist your words, your joy, and try and knock you out for a second. We talked about price for a minute. And we talked about streaming. We haven't talked about gaming, but you noticed that Epic Games just acquired Bandcamp, I learned a fascinating stat about Bandcamp, which relates to my book tours and economics. There's a chapter in the book called Mako by, where I sat down with the management of the band Radiohead, we went through the entire in rainbow story for the first time ever a real global exclusive to explain how that deal worked out what they were really achieving when they did their voluntary Tip Jar model. And by the way, can I just put a shout out to one of your listeners, and fly from the Ben-Zion I bet remix of Radiohead have ever heard in my life is live. We're fishies Hip Hop version of the entire album. But Radiohead tested voluntary Tip Jar pricing. Now check this out. If you put your album out on Bandcamp could be a vinyl record. Remember, it's the people who are paying to stream who are also buying vinyl. So if you put a band and album out on Bandcamp, and you say a name, your own price, no minimum, and there's a guidance of 10 bucks, the average paid is 14 People go about 40% asking, and that could be for a super-rich blockbuster artists who try something out on Bandcamp there could be for some band who's broken Brooklyn Robin and cons together trying to make them breed people go 40% above asking when you say name your own price. And that's interesting for me, and there's a great academic paper by Francesca Cornelli from Duke University, she asked how should you price a museum and intuition says top-down mindset, the museum should set the price adults 10 bucks kids, five bucks pensioners, some type of discount arrangement, but she said no, let the visitors set the price because that way rich people will give you even more and poorer people can attend. And you'll see more cash overall. And I would like to see a little bit more of that experimentation around pricing compared to the past 20 years where we've had a ceiling on price where if you really love a band, all you can give a platform is 999 and not a penny more. I think that's we're suffocating love. We're putting a ceiling on love. We need to take that ceiling smash through it and let people express love through different means. But I love that Bandcamp story whatever you suggest I'll give you 40% above because it's our we're not dealing with commodity we're dealing with culture and that's what we got to remind ourselves.Dan Runcie 39:43It's like the Met model right where at least the last time I went it was like $20 was the recommendation but to your point it at least at some variable threshold, but the people a lot of the people that go there that have a lot of money end up giving much more so I hear you on that I, I noticed though, when you're talking and thinking about the future of this, I didn't hear many of the typical buzzwords and things that you hear about the music industry. Now whether it is NFTs or Web 3.0 or Metaverse, well, maybe to some extent with the Epic Games comparison, but what is your take on that piece of the puzzle, Spotify era.Will Page 40:20I need $1 and a glass every time I hear these words. So I'm just back from Austin, Texas, South by Southwest, a vague recollection of what happened over there. But I'm telling you, those words were bouncing around more than anything else. Here's a way of capturing of your listeners. This is the first time I've been to South by Southwest where nobody asked me what band did I see last night? Everybody asked me what VR headset that, I try this morning. And that's a sign of the times there and that is a sign of the times. Hey, did you try the Amaze VR headset? You know the make the stallion booty tour? Yeah, I tried that this morning, what Band-Aid nobody wanted to know about bands with pulses. Everybody wants to know about VR headsets. So we live in interesting times. And I think we're in a bit of bubble trouble here. I really do. I don't think this whole thing has been thought out correctly. Firstly, I'll give you an example of where I think the problems gone wrong. And secondly, I want to give you an example from history to show that we've been here before. So with NF T's, it is not. It's not an example of a woman who is happy to spend 1000s 10s of 1000s of dollars on a handbag because they can walk up and down Sixth Avenue and people will see that woman carrying that handbag, the signaling value isn't there. You know, I can buy a token that says I've seen the Mona Lisa on this day and put it in my locker. And if I show you my locker, you can see that I've seen the Mona Lisa that day, and you could buy a token and put it in your locker and you could show your friends that you've seen the Mona Lisa that day, but nobody can buy the Mona Lisa, we can just buy this NFT adaption of the Mona Lisa, but we can't share it across platforms. And that's where I'm struggling. That's where I'm struggling as irrational as that might be to spend 20 $30,000 on a handbag that makes you feel good having the world see you were fine. Do what you got to do. But with NF T's is not a cross-platform token. I'm worried that that's a problem with the model with the price of NF t's just very quickly, there is a term I want to introduce to your show called wash trades, which will meet a legal of 1936 which is basically if you're selling your house, you might employ an estate agent on the buyer side as well as the sell-side to cook up the price. And you can see if you try to do this in the stock market, you spend a lot of time and the chokey six years in jail for manipulating prices. Wash trades have been illegal since 1936. I think there's a problem with wash trades, manipulating the price of NF T's because they're unregulated. So I don't want to be the doer pessimistic, Scottish economist, in the room here pour cold water on this hype machine. But I have some issues with the product. And I have some issues with the price the product is docked to your locker and your locker only the price can be manipulated by ways which be declared illegal in financial markets. Conventional financial markets by wrapping that up. Here's my lesson from history. No Dan, in your record collection. Do you remember a rock band called kiss? Oh yeah. Were you a member of Kiss Army by any chance?Dan Runcie 43:08I was on the show.Will Page 43:11Right so if we go back to before I was born 1975, Kiss one of the biggest rock bands in America had something called Kiss Army for their super fans. So you could have kiss wallpaper because models. You could even have Kiss toilet paper. That was one of their top sellers. You could wipe your butt who key with Gene Simmons. That was one of their biggest sellers. And in 1975 They ran a competition on the competition was to say Hey fans, if you want to see a picture of the band with the makeup off there does famous black and white makeup. And we're going to have this competition you pay to enter and five lucky winners will be sent a photograph of the band for the makeup off. Now you're thinking NF TS kiss 1975 Where's he going? Follow me. Hysteria breaks out all these kiss fans in the kiss army want to see Gene Simmons and Paul Stanley with a makeup off. So crazy hyperemic competition the winners are announced the envelopes are sent out. There was five lucky winners get the envelope. They need scissors to open the envelope a pill it is black and white photograph of Kiss with makeup off. And after five seconds of exposure to natural light. The picture feeds genius, genius marketing incredible. But I'm struggling to see the difference between that and 1975 Kiss. You're competing for photographs, which feed in natural light and NFTs today so something I stress my big tours and economics is when you stare into disruption. It's really important to remind yourself that you've been here before and I think Gene Simmons and Paul Stanley have been here before.Dan Runcie 44:37It's an interesting take. And I do think about the first piece of what you're saying just in terms of something that stays in your wallet. And how do you share that elsewhere? I have seen some of the social platforms making it easier to be like oh hey, you could connect your Coinbase wallet to this whether it's Instagram or I think they're working on it now or to Twitter and you could make that your profile Make sure or you know the people that of course, you know will right click copy paste and save it put that as their profile pictures in different places. So I guess in their minds that's their version of being able to walk down fit that with the duty at Birkbeck, right. Will Page 45:15That's interesting. That to your point, that takes you back into handbag territory that corrects for the problem. Let's see if it goes but equally does the NFT lose its exclusivity when we do that as well. So it might work in the short term and might lead to the demise of NF T's over the long term because they're not that special. After all, they're just an icon for your profile picture. So is great to hear that there's that type of thinking going on that justifies my, justifies my view.Dan Runcie 45:41Who knows? I mean, we're still early right but I do think that if I see your profile on social media, you turned into a board ape, we may have to have another podcast conversation I did.Will Page 45:55But I tell you asked him was obsessed with these topics. Even Austin, Texas Music conferences, get obsessed with the next big thing but this year, it was just bizarre how many references I heard to web three NF Ts, but if they can just give a quick shout out to the company amaze VR who are doing the mega stallion tour I watched make the stallion four times in Austin, Texas, I saw more VR of Nicholas Deleon and I saw of any live bear. But you know, they had the longest queues of the entire conference. If you judge success by queues demand exceeding supply, they won South by Southwest for the longest queues.Dan Runcie 46:27That's impressive. And of course, it makes a big star she's been doing a lot. I've heard a lot of good things from base VR too. I think that though, it'd be a great point to pivot and talk a little bit more about hip hop, the as we know, hip hop has been able to see a lot of its potential even more so. In the streaming era with us, given the popularity that's there. We've seen the numbers, we've seen the growth as well. And I know that you've studied this a lot, especially on the international perspective, just seeing how hip hop is growing in other countries. But I think some of that growth is looking different than what we may be used to seeing in the US. So what is your perspective right now on the state of hip hop with regards to streaming,Will Page 47:09you speaking about something that's close to my heart, but if I can start by saying, one thing that your podcast has done for me over the years, that reminds us of that famous quote, which has been reiterated by many rappers, which is rap is something you do hip hop is something you live, and we can forget that from time to time can drink a bit too much Kool-Aid and forget those golden words. Rap is something that you do. Hip hop is something that you live, you don't have a choice with hip hop, you live it, rap, I mean, you could play a jazz track, then you could do a rap track, you have a choice there, but hip hop is an eighth. And I want to pull those words up. Because when we talk about the genre of hip hop, I wonder whether it's really a bit of a square peg in a round hole here to take words, which means describe a lifestyle and their attitude or mentality, and then say that it's now a genre. Maybe rap should be the genre and hip hop should be the culture. So I just want to throw that out there for your listeners. And I'd love future guests to come on and pose them that question. If we're discussing the genre of hip hop, are we missing a trick that aside, some stuff which has been popping with hip hop mean, firstly, just the size of the audience in America, just north of 90 million people, there's 90 million regular listeners of hip hop that is phenomenal. If you think about how far the genre has come, the culture has come in 30-plus years. And secondly, who's out there in front. I mean, I would put YouTube as the number one venue for hip hop in the United States, Spotify, Apple, Amazon, they're all doing their things. But I think it's worth just reminding ourselves how important YouTube is to our culture. As opposed to Amazon Spotify. Apple is depressing your thumb on a piece of glass during a track. Repeat. Rap is something you do hip hop is something you live and you've had to Mercer, one of my longtime mentors on your show, just we'll back to that past podcast to get to where I'm coming from on that point. I think the interesting thing for me speaking as a non-American on a podcast with a large American audience to watch how it's growing out of the countries and one of the most interesting things for me was non-English speaking hip hop. Now, my sister who's a French translator, Annie, she introduced me to a rapper called MC solo way, way back in the day, back in the 90s. Even and I don't speak French, but the rap was just incredible, like the way that the French language flowed over a beat. He certainly won't recall any tempo. That was incredible. So, you know, I've always had an appreciation for how hip hop travels beyond its borders, playlists. Without Borders. Hip hop is without borders. So I just wanted to introduce your audience to a very interesting backstory in Holland and the Netherlands, where Spotify the first country, we scaled him outside of Norway and Sweden was the Netherlands. We got big there really quickly 2011, 2012 era and because we got big we could put some local foot soldiers on the ground to help with curation. And for the first time ever in the company's history. We started taking Hip Hop curation seriously outside of our core markets and because we're supplying curation that was met with demand and all of a sudden, we started seeing these Dutch language hip hop artists explode in Holland, Ronnie flex being a great example. I think around 2018, we ran the data. And we learned that Drake was the number one artist in the world on Spotify. Yet in Holland, he was an eighth biggest hip-hop artist. And the seven above him were Dutch rapping in a local language of Dutch. And that was just jaw-dropping to think about globalization, culture, back to the Jungle Brothers the lesson they taught me in 1989, getting the message across without crossing over how you can have local language, hip hop travel, like no other genre there is across the world. And you're seeing that happen in Germany, France, you're seeing it happen in Asia. And so it's important to apply a global lens to hip hop and ask what is it about this culture, which is leading it to travel in a way that other cultures are not traveling is that the expression is that the belief is that the conviction that comes through hip hop, and that's that there's a book on that topic, and then you'd be a perfect person to try and write it, I can get you an agent. And I'd be out of my depth, but just so really important see to so which is why is this culture traveling, like no other culture, I can see on a music platform.Dan Runcie 51:12It's fascinating. It's something I've thought about a lot. I'm glad you mentioned that, because I think about a rapper, like Devine from India, or I think about some of the artists from the Middle East as well. And I think there's similar trends there where hip hop is still the most dominant thing, but they're artists that are from their regions are the ones that are the most popular. And I think it stems back to thinking about the origins of hip hop and looking at where a lot of those other countries may be. Now you look at what the public enemy had done, or even look a bit earlier, like Grandmaster Flash and have done their share of realities of the environments that they're in their storytelling in a way that isn't being done by the mass media. And we're in an era now, you know, more than ever, we see everything happening in the world where, what a lot of the heads of states, or what a lot of the governments or main distribution, communication platforms in these countries are sharing isn't necessarily reflecting what's happening in those places. So because of that, you have people wanting to speak out on that. And I think that because people realizing what the public enemy was able to do in some of those other groups here by them saying, you know, we are the black CNN, we are the voice communicating that I think you saw a lot of that in these other countries. So even if it's different artists, you're seeing them share their version of what's happening on the ground. And I think, like anything else, the evolution of that continues to grow over time. It's been, it's been really fascinating to see that. And I think that is what, at least for me always makes it feel like this is the global language that keeps everyone connected in this space. Even if people are speaking clearly different languages from artists you don't know there's that common theme that you can tell even if you're watching a music video or getting a vibe of what they're doing. There's so many through lights there.Will Page 53:02Those comments are deeper than Loch Ness, so they can quickly top it up with two thoughts, just thinking aloud here. This is why I love about your podcast is with the way you take the conversation with just firstly, just a historical point. And as I mentioned with my book tours and economics, when you're staring at the disruption to remind yourself that you've been here before, when I hear stories about suppression by governments leading to a rise of hip hop as a culture rap as an art form. You just got to go back to 1877 New Orleans and remind yourselves how jazz came into being your Creole people. You know, when Jim Crow laws were reintroduced through the backdoor before since the African American community overnight, so you took classically trained middle-class Creole people brought into a culture which had the blues and African drumming, and out of that suppression came the creation that was jazz. And it's just I love when you alluded to government suppression resulting in creativity. It's just interesting to think how we keep on you know, history doesn't repeat itself, it rhymes. And it's rhyming here when you start to think about the origins of jazz to what we're seeing happen with hip hop. And then the second thing I mentioned earlier that, you know, the internet can scale just about anything you want, but it can't scale intimacy. I wonder whether that's what hip hop is doing because it's, it's a postcard its storytelling is beginning with the word imagine and asking you to imagine the picture these words are creating, you know, that's doing something which I don't think your conventional verse-chorus, verse, chorus, rock or pop song is going to deliver. So the message getting the message across without coordinate crossing over. The message that we're getting across with hip hop is different from other forms of music. And that might explain a little bit about success at home and overseas that we've seen on streaming.Dan Runcie 54:43Definitely. Well, well, this is great. Thanks again for coming on. If you're listening, definitely make sure that you check out Tarzan economics. I can't recommend this book enough. I think that will is extremely sharp. And he's a thought leader in this space and it's been great to learn from him. So well. Thanks for coming on. And before we let you go, is there anything else that you want to plug in or let the travel audience know about?Will Page 55:07I have gotten no more travel plans to the States this year. But if they can just ask the audience to check out the mix on Mixcloud we ain't done with 2021 with a shout-out from Dan Runcie, himself, and many others, Mike G is on that mix Lord is on that mix. But I just hope that your audience because the show trapped will mean so much to me. I just hope the audience sees me as a DJ first and an economist a distant second that I can just land that point at the end of this podcast, I'd be happy.Dan Runcie 55:33That's a great note to end on. Well, thanks again.Will Page 55:36Thank you
A new book tells the history of New York City through the story of one city block, from Twenty-third Street to the south, Twenty-fourth Street to the north, Fifth Avenue and Broadway to the east, and Sixth Avenue to the west. Christiane Bird's book A Block in Time: A New York City History at the Corner of Fifth Avenue and Twenty-Third Street, tells the story of this neighborhood from the original Lenape inhabitants through the life of a formerly enslaved person turned-property owner, through the Gilded Age construction, and all the way to present day. Bird joins us to discuss.
© 2020-2025 Ivy Podcast Discovery LLC
