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Hello Interactors,My daughter in Manhattan's East Village sent me an article about the curated lives of the “West Village girls.” A few days later, I came across a provocative student op-ed from the University of Washington: "Why the hell do we still go to Starbucks?" The parallels stood out.In Manhattan's West Village, a spring weekend unfolds with young women jogging past a pastry shop in matching leggings, iced matcha lattes in hand. Some film it just long enough for TikTok. Across the country, students cycle through Starbucks in Seattle's U-District like clockwork. The drinks are overpriced and underwhelming, but that's not the point. It's familiar. It's part of a habitual loop.Different cities, similar rhythms. One loop is visual, the other habitual. But both show how space and emotion sync. Like an ambient synth track, they layer, drift, and return. If you live in or near a city, you exist in your own looping layers of emotional geography.FLASH FEEDSMy daughter has been deep into modular synthesis lately — both making and listening. It's not just the music that intrigues her, but the way it builds: loops that don't simply repeat, but evolve, bend, and respond. She'll spend hours patching sounds together, adjusting timing and tone until something new emerges. She likens it to painting with sound. Watching her work, it struck me how much her synth music mirrors city life — not in harmony, but in layers. She's helped me hear urban rhythms differently.Like a pop synth hook, the Flash loop is built for attention. It's bright, polished, and impossible to ignore. Synth pop thrives on these quick pulses — hooks that grab you within seconds, loops that deliver dopamine with precision. Urban spaces under this loop do the same. They set a beat others fall in line with, often flattening nuance in exchange for momentum.This isn't just about moving to a beat. It's about becoming part of the beat. When these fast loops dominate, people start adapting to the spaces that reflect them. And those spaces, in turn, evolve based on those very behaviors. It's a feedback loop: movement shaping meaning, and meaning shaping movement. The people become both the input and the output.In this context, the West Village girl isn't just a person — she's a spatial feedback loop. A mashup of Carrie Bradshaw nostalgia, Instagram polish, and soft-lit storefronts optimized for selfies. But she didn't arrive from nowhere. She emerged through a kind of spatial modeling: small choices, like where to brunch, where to pose, where to post are repeated so often they remade a neighborhood.Social psychologist Erving Goffman, writing in the 1950s, called this kind of self-presentation "impression management." He argued that much of everyday life is performance. Not in the theatrical sense, but in how we act in response to what we expect others see. Urban spaces, especially commercial ones, are often the stage. But today, that performance isn't just for others in the room. It's for followers, algorithms, and endless feeds. The “audience” is ambient, but its expectations are precise.As places like the West Village get filtered through lifestyle accounts and recommendation algorithms, their role changes. They no longer just host people, but mirror back a version of identity their occupants expect to see. Sidewalks become catwalks. Coffee shops become backdrops. Apartment windows become curated messes of string lights and tasteful clutter. And increasingly, the distinction between what's lived and what's posted collapses.This fast loop — what we might call spatial virality — doesn't just show us how to act in a place. It scripts the place itself. Stores open where the foot traffic is photogenic. Benches are placed for backdrops, not rest. Even the offerings shift: Aperol spritzes, charm bars, negroni specials sold not for taste but for tagability.These are the high-tempo loops. They grab attention and crowd the mix. But every modular synth set, like a painting, needs contrast.So some people opt out, or imagine doing so. Not necessarily with loud protest, but quiet rejection. They look for something slower. Something that isn't already trending...unless the trend of routine sucks you in.PULSING PATTERNSIf Flash is the pop hook, Pulse is the counter-melody. It could be a bassline or harmony that brings emotional weight and keeps things grounded. In music, you may not always notice it, but you'd miss it if it were gone. In cities, this loop shows up in slow friendships, mutual aid, and cafés that begin to feel like second homes. These are places where regulars greet one another by name. Where where hours melt through conversations. It satisfies a need to be seen, but without needing to perform. It's what holds meaning when spectacle fades.If the fast loop turns space into spectacle, the counter loop tries to slow it down. It lures the space to feel lived in, not just liked. It's not always radical. Sometimes it's just choosing a different coffee shop.Back in Seattle's University District, students do have options. Bulldog News. Café Allegro. George Coffee. These places don't serve drinks meant to be posted. They serve drinks meant to be tasted. They're not aesthetic first. They're relational. These are small gestures that build culture.Social psychologists Susan Andersen and Serena Chen describe this through what they call relational self theory. We don't become ourselves in isolation. We become ourselves with and through others — especially those we repeatedly encounter. Think about the difference between ordering coffee from a stranger versus someone who knows you like sparkling water with your Cortado. It's a different kind of transaction. It eases things. It reinforces your own loop.So why do people routinely return to Starbucks? It isn't just about caffeine addiction. It's about being part of a socially reinforced rhythm — anchored in convenience, recognition, and the illusion of choice.Stores like Starbucks are often strategically located for maximum accessibility and convenience. They're nestled near transit hubs, along commuter corridors, or within high-traffic pedestrian zones. These placements aren't arbitrary. They're optimized to integrate into daily routines. It's less like a countermelody and more like a harmonic parallel melody. As a result, practical considerations like proximity, availability, and reliability often override ideological concerns.People return not because the product is exceptional, but because the store is exactly where and when they need it. The Starbucks habit isn't only about routine, but rhythmic predictability that appears personal. In this sense, it functions as a highly accessible pulse: a loop that's easy to join and hard to break. It's made of proximity, subtle trust, and convenience, but is dressed as choice.My daughter's chosen counter loop lives in the East Village — not far, geographically, from the Instagram inspired brunch queues of Bleecker Street. Her loops are different. She carries conversations across record stores, basement venues, bookstores with hand-scrawled signs, and a few stubborn restaurants.These are Places where the playlists aren't streaming through Spotify. Her city isn't organized around visibility. It's organized around presence. Around being seen to be honored and remembered. Like the bookstore dude who knows the lore on everyone, or the cashier who waves her through without paying, or her Brooklyn bandmate friends who fold her in like family.Sure, this scene intersects with the popular loops — modular synths are having a moment — but it sidesteps the sameness. It stays unpredictable, grounded in curiosity and care rather than clicks. The gear is still patched by hand. The performances are messy and often temporary. And yet, the loops — literal and figurative — keep returning. Not because they're engineered for attention, but because they allow people to build something slowly...together...from the inside. Especially when done in partnership with another synthesist.You might see this in your own city. The quiet transformation of spaces: a café hosting a poetry night; a yoga studio turned warming shelter during the storm; a laundromat that leaves a stack of free books near the dryers. These are not accidents. They are interventions. Sometimes small, sometimes subtle...but always deliberate.They stand in contrast to the churn of the viral. They also offer an alternative to despair. Because the counter loop isn't just critique. It's care enacted. And care takes time.Still, even pulsing care needs structure. It needs floor drains, power outlets, and open hours. It needs a stable substructure.UNDERCURRENT UNDERTONESUndertone is the foundational structure on which other elements are built. It's the core of modular synth music. This isn't just rhythm. It's the subtle, slow, and reactive scaffolding. These core loops evolve and shift setting the timing and emotional tonality for everything else.They don't dominate, but they shape the flow. They respond to what surrounds them to ground the composition. Cities, too, have these base layers. Often imperceptible, they are visceral, ambient, and persistent. They come into focus with the smell of rain on warm pavement. The clink of a key in a front door. These are not songs you hum, they're the ones your heart and lungs make.Long before the influencer run clubs, celebrity shoe stores, and curated stoops, there was the mundane sidewalk. Not the kind tagged on a friend's story or filtered through the latest app. Just concrete. Scuffed by strollers, scooter wheels, boots, and time. The sidewalk doesn't follow trends, but it does remember them.Cities are built on these undertones: habitual routes, early deliveries, overheard exchanges, open signs flipped at the same hour each morning. They aren't glamorous. They don't go viral. But they are what hold everything together.Urban scholar Ash Amin calls this the “infrastructure of belonging.” In his work on ordinary urban life, he writes that much of what connects us isn't spectacular. It's what happens when people brush past one another without ceremony: the steady hum of life happening without the need for headlines. Cities function not just because of design, but because of everyday cooperation — shared rhythms, implicit trust, systems that keep working because people show up.It can seem mundane: a delivery driver making the same drop, a retiree watering the sidewalk garden they planted without permission, the clatter of trash bins returning to their spots. These moments don't make the city famous, but they do make it work.Even the flashiest loops rely on them. The West Village girl's curated brunch only happens because someone sliced lemons before sunrise and wiped the table clean before she sat down. The Starbucks habit loop in the U-District clicks into place because the supply truck showed up at 5 a.m. and the barista clocked in on time. They're the dominant undertone of cities: loops so steady we stop noticing them...until they stop. Like during the pandemic.A synthesist might point to an LFO: Low Frequency Oscillator. These make slow drones that hum under a syncopated rhythm; a pulsing sub-bass holding space while textures come and go. The mundane in a city does the same: it holds the mix together. Without it, the composition falls apart.If you've ever heard a modular synth set, you know it doesn't move like pop music. The loops aren't clean. They evolve, layer, drift in and out of sync. They build tension, release it, then find a new rhythm. Cities work the same way.Their beauty isn't always in sync — it's in polyrhythm. Like when two synth voices loop at slightly different speeds: a saw wave pinging every three beats, a filtered drone stretching over seven. They collide, resolve, then drift again. Like when a car blinker syncs to the beat of a song and then falls out again. In modular music, this dissonance isn't a flaw. It creates a sonic texture.City rhythms don't always align either. A delivery truck pulls up as a barista closes shop; protest chants counter a stump speech; showtimes shift with transit delays. These clashes don't cancel each other out — they deepen the city's texture, giving it groove.Sociologists Scannell and Gifford call this place attachment: the slow accrual of meaning in a space through repetition, emotional memory, and lived interaction. It's not always nostalgic. Sometimes it's forward-looking. The act of building the kind of city you want to live in, one relationship at a time.And beneath all of this, the city continues its own loop: subways running through worn tunnels, trash collected on quiet mornings, someone sweeping a shop floor before the door opens.Both protest and performance rely on this scaffold. The Starbucks picket line doesn't just appear. It's supported by planning, scheduling, and shared labor. The music scene doesn't just materialize. It's shaped by decades of flyers, friendships, and repeat customers.The viral and the intentional both need the mundane.Cities, when they work, are made of all three: the flash of now, the pulse of choice, and the undertone of the necessary. Like springtime flowers, the city creates blooms that emerge at the surface. They draw attention, cameras, and admiration. These blossoms don't just attract the eye, they draw in pollinators who carry influence and energy far beyond the original scene. But none of this happens without the rest of the plant. It's the leaves that capture sunlight day after day, the roots that pulse the unseen through tunnels, the microbes that toil in the grime and dirt to nourish those all around them. Urban life mirrors this looping ecology. Moments that flash brightly, pulses that quietly sustain, and undertones that hold it all together. The bloom is what gets noticed, but it's the layered and syncopated life below — repeating, decomposing, reemerging — that make the next blossom possible. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit interplace.io

We discuss the Jets last second Victory over Washington Why was it so close even with a big Time of possession advantage by NY We preview Jets vs. Browns on TNF We look back at the best games of Week 16 We look ahead to the best games of Week 17 Thank You as always for Listening,Liking and sharing our podcast every week . We appreciate it always . Please follow us Twitter @LiftOffJets Follow Charman @Grownfolk1980 Follow Chris @cp7ny --- Send in a voice message: https://podcasters.spotify.com/pod/show/cp7ny/message

Co-chairman of Stronghold Digital Mining Bill Spence and CEO Gregory Beard join the show. Stronghold is a vertically integrated Bitcoin miner that uses waste coal to power their operations – while also remediating this environmentally damaging product. We dive into this fascinating, and counter-intuitive story. In this episode:  Backgrounds of the co-chairmen and how they found the intersection of Bitcoin mining and coal waste mitigation Bill's personal commitment to the mitigation of coal waste Why coal waste has been accumulating in PA since the late 1700s The immense scale of the coal waste and how it continue to affect PA, even though mining no longer occurs How unremediated coal waste can be understood as a form of class warfare Why coal waste exists in the first place Why developments in power plant technology meant that coal waste could be safely combusted Why aboveground coal waste oxidizes and releases CO2 anyway - as well as other harmful particulates Why growing grass over the coal waste doesn't solve the problem Why 2 billion tons of coal waste can't just be moved into landfills How there are 800 sites in PA and 70 of them are currently on fire Why Stronghold is vertically integrated, and the advantage this grants them in mining Bitcoin How Stronghold sends power to the grid in the case of a shortage Has Stronghold evaluated other high energy intensity loads aside from just Bitcoin Why Bitcoin is a more suitable load for their energy resources than others How Bitcoin allows Stronghold to keep their power available at short notice Stronghold's reaction to criticism in the press and from Washington Why nothing had been done about the coal waste for 100 years before Stronghold came along Is the future of Bitcoin mining vertical integration? Sponsor notes:  Compass Mining is the world's first and largest online marketplace for bitcoin mining hardware, hosting, and ASIC reselling. Start mining your own bitcoin by visiting compassmining.io

Democratic Senator Tim Kaine talks about the nation's moment of reckoning, voting rights, and his 27-hour drive to Washington … Why the new Omicron wave is hitting children so hard, and emotional toll it's taking … How the U.S. can preserve its democracy. To learn more about how CNN protects listener privacy, visit cnn.com/privacy

Thursday 1-7-21 Andrew Z In The Morning with Demetrius NicodemusWhat We Talking About Today:>>>The Return Of COREY W KING!>>>The Chaos in Washington>>>Why woman watch LMN Mystery movies and ID Channel!>>>How Spiderman saved Demetrius's sonAnd>>>Why Corey Lives in Wauseon Plus >>>Ashley P thinks Tanya Roberts' boyfriend had something to do with the actresses deathAnd more!!!On the show Today:East Side/South Side Gina, Chris Tiefel and Ashley P!You can watch the VLOGCAST here https://www.facebook.com/andrewzonline419/videos/247041783502036/ or find the podcast on @ApplePodcasts https://apple.co/2HbuxH7 or wherever you get your podcasts. ***GOOGLE/GOOGLE PODCASTS: http://bit.ly/2H9nvm6 ***SPOTIFY: https://spoti.fi/2SB01LY ***I HEART RADIO: https://ihr.fm/3bp6Mcw Help us out by: SubscribeDownload (not just listen!) Rate (5 stars if you like it!) Review - Spread the word!

Conferences and summer programs offer institutions an opportunity to generate revenue that can reduce the financial burden placed on students during the academic year. And it’s not just housing – a strong, efficient summer program brings revenue to other campus entities as well, including dining services, athletics, facilities, and even academic departments. Developing these programs to really work for your campus takes creativity, research, and planning. Erik Elordi is the Director of National Conference Services for COCM. He specializes in reviewing campuses’ summer programs and providing support, direction and management of the implementation of a tailored plan via a management partnership. His passion for approaching campus revenue with an entrepreneurial mindset drives him to help campuses solve the problem of generating revenue over the summer months. While the summer of 2020 brought a set of unique challenges, Erik is looking to summer of 2021 opportunities and currently building a small library of resources for student housing professionals to learn how to leverage the campus amenities during summer months. For universities and colleges that do not have a management agreement with COCM, our corporate team can help by taking our Fresh Eyes Consulting approach and focusing specifically on conference and summer programming. Our team provides for those interested in knowing how much more they could be making off of the summer months outcomes, reports and implementation plans to help put conference services together or help grow and build on the ones that the campus may already have in place. Why do so many campuses miss out on the opportunities that the summer months provide for revenue? For a lot of institutions, conferences are a secondary thought – which makes sense. It often falls to the student housing department, and that task often falls behind because during the academic year the student housing department is so focused on making the student experience great for the students. Then, summer becomes a scramble. By having Erik as a dedicated person, he is able to help campuses think about these opportunities all year round and leverage those summer months as much as possible. COCM encourages campuses to put in the time to prepare for the summer months so they don’t leave money on the table by not using all of their campus assets during all twelve months.     Topics Covered Erik’s background experience in housing in Oregon and Washington Why he takes an entrepreneurial approach to summer months and why that excites him Seeing summer housing as opportunity to keep rates lower for students during the regular year How his team at Cornish College of the Arts built and developed a conference program from the ground up How summer programming also helps with recruitment and a pipeline into the college into the future The story behind Erik’s entrepreneurial approach to building summer revenue Why building resources for others looking to develop similar programs is so important to Erik How COCM can take a look at your own campus housing through the Fresh Eyes Process providing recommendations on how to grow that Why a lot of campuses are missing out on these opportunities and the questions they have about the potential Why COCM takes the approach of thinking about potential summer revenue opportunities year round How any campus can connect with COCM to get their questions answered and talk about the opportunities for conferences and summer programs Connect with Erik COCM’s Conference Services Erik on Linkedin Erik on Twitter   Connect with Leigh Anne & COCM Student Housing Matters Student Housing Matters on Facebook Student Housing Matters on Twitter Capstone On-Campus Management Leigh Anne on LinkedIn Email media@cocm.com

RSP contributor Dwain McFarland joins the RSP Cast to kick off our team-by-team NFL projection series for the 2020 season with an in-depth examination of Philadelphia and Washington's offenses. Dwain McFarland (@dwainmcfarland) and I continue our excellent conversations about how to project offenses with a look at the Philadelphia and Washington offenses: Why do Matt and Dwain believe there's a ceiling for Miles Sanders that's lower than the current buzz and the manufacturer of that barrier is Boston Scott? Could Jalen Reagor be the leading wide receiver on the depth chart as a rookie? Why is Desean Jackson an excellent choice as a fourth or fifth option for fantasy wide receiver depth charts? How do the stats regarding Carson Wentz's accuracy match up perfectly with Matt's long-time film assessments? Which receivers beyond Terry McLaurin have a chance to shine in Washington? Why are Dwain and Matt split on Antonio Gibson's prospects as a rookie? What was Matt's personal wish for Adrian Peterson in 2020? As mentioned in previous podcasts, I highly recommend reading McFarland’s new piece at the RSP site on How to Project NFL Offenses. If you’re a fantasy player, NFL beat writer, or football analyst, you should consider learning to do your own projections and Dwain has over 20 years of experience as well as success in high stakes fantasy leagues. Even if you don’t have time to do projections and want pointers on how to select others, this article is a great resource. For the most in-depth analysis of offensive skill players available (QB, RB, WR, and TE), download the 2020  Rookie Scouting Portfolio for $21.95.   If you’re a fantasy owner and interested in purchasing past publications for $9.95 each, the 2012-2019 RSPs also have a Post-Draft Add-on that’s included at no additional charge.   Best yet, a percentage of each sale is set aside for a year-end donation to Darkness to Light to combat sexual abuse.

Is the U.S. military built and positioned to stop or — if necessary — win the next big war? What should the Navy and Marine Corps of the future look like? What's standing in the way? How can the United States step back from the Middle East and focus on the Pacific? What does The Wire have to teach us about Washington? Why does a member of Congress have a sword, a pull-up bar, and a bottle of Lagavulin 16 in his office? Rep. Mike Gallagher of Wisconsin and Chris Brose of Anduril Industries join Ryan for a wide-ranging conversation that tackles these questions and more.    Further Reading, Listening, and Watching: Mike Gallagher, "To Deter China, the Naval Services Must Integrate," War on the Rocks Frank Hoffman, "No Strategic Success Without 21st Century Seapower: Forward Partnering," War on the Rocks Alice Hunt Friend, Melanie Marlowe, and Christopher Preble, "Net Assessment: Debating the AUMFs" "Everybody Stays Friends," The Wire Chris Brose and Ryan Evans, "Your Ideas Matter," War on the Rocks

Seattle artist Alfredo Arreguin has exhibited his work internationally, most recently at the Museo de Cadiz in Spain (2015). He has exhibited solo shows at Linda Hodges Gallery since 2001. Arreguin has a long and distinguished list of accomplishments. In 1979 he was selected to represent the U.S. at the 11th International Festival of Painting at Cagnes-sur-Mer, France, where he won the Palm of People Award. In 1980 he received a fellowship from the National Endowment for the arts. In 1988, in a competition that involved over 200 portfolios, Arreguin won the commission to design the poster for the Centennial Celebration of the State of Washington (the image was his painting Washingtonia); that same year he was invited to design the White House Easter Egg. Perhaps the climactic moment of his success came in 1994, when the Smithsonian Institution acquired his triptych, Sueno (Dream: Eve Before Adam), for inclusion in the collection of the National Museum of American Art. A year later, in 1995, Arreguin received an OHTLI Award, the highest recognition given by the Mexican government to the commitment of distinguished individuals who perform activities that contribute to promoting Mexican culture abroad. More recently, success has been cemented by an invitation to show his work in the Framing Memory: Portraiture Now exhibition, at the Smithsonian National Portrait Gallery. One of his paintings included in this show, The Return to Aztlan, will remain in the permanent collection of the gallery. Thus, Arreguin’s work is now in the permanent collections of two Smithsonian Museums: The National Museum of American Art and the National Portrait Gallery. In 2017, he was awarded to the keys to the city of Morelia, an honor only shared with Pope Francis. In 2018, he collaborated with Doug Johnson for “In the Shadow of the Master” in Tacoma and had a solo retrospective at the Bainbridge Island Museum of art. It was so popular, the show was extended.   What you’ll learn about in this episode: How Alfredo’s incredibly successful show at the small Marmot gallery in Spokane, Washington came to be How Alfredo’s artwork came to be shown at the Smithsonian, and how his art has been displayed in more locations in Washington state than any other artist Why Alfredo had some of his paintings turned into line art to be given to kids to color, and how his paintings have drawn in viewers from all over How Alfredo’s process of painting works, and how his style for his current triptych project uses a method akin to pointillism How Alfredo uses a “meditative state” to paint without thinking about it, and how he did a portrait of the first black Justice for the state of Washington Why doing portraits of people is an intimate process for Alfredo, and why he believes it would be difficult to paint a portrait of someone he does not know Bryan describes the in-progress piece that Alfredo has been working on for around six weeks, featuring orcas Alfredo shares the story of doing a painting for writer and poet Ray Carver after his lung cancer diagnosis Alfredo shares how he first met Ray Carver and Tess Gallagher, and he shares how his friendship with them influenced him How Alfredo decides when a piece of artwork is “done”, and why he has always struggled with that Alfredo shares stories of his childhood struggles and the challenges he faced as a young boy in Morelia, Mexico Why Alfredo moved to Mexico City to escape his mother’s husband, and how Alfredo first met his biological father Alfredo discusses his alcoholism, and he shares why he chose sobriety in an effort to help himself quit smoking How Alfredo made ends meet while he was pursuing his artwork, and at what point he realized he was successful enough to support his family with his work How Facebook has provided Alfredo with a great opportunity to connect with educators and schools across the country Why Alfredo is branching out into other mediums, and how Alfredo feels a connection to Frida Kahlo through his mother’s interest in art Why Alfredo believes that pain and suffering can create beautiful artwork as an outlet to process it What advice Alfredo would offer to young people looking to express themselves through art and other creative work Additional resources: Website: www.alfredoarreguin.com

Hey guys and welcome back to Pencil's Ballercast where Pencil talks Balls with the Boys. Today we discuss:- Tyronn Lue sacked after a 6-0 start to the season- The Milwaukee Bucks storm out to a 6-0 start- What the hell is happening in Minnesota?- LeBron James overtakes Dirk Nowitzki to become the 6th highest all time scorer- Are the Utah Jazz for real?- Is it time to blow it up in Washington?- Why on earth is Batum leading the league in minutes in Charlotte?Thanks guys and hope you enjoy