‘Badass Lady-Folk TV’: Jada Bennett of the Brooklyn Cyclones

The following is an excerpt from an episode of the TV talk show “Badass Lady-Folk,” featuring guest Jada Bennett, a dancer, singer, actress, and Brooklyn Cyclones entertainment coordinator based in Bay Ridge. Hosted by Christine Stoddard and filmed at Manhattan Neighborhood Network, “Badass Lady-Folk” is a feminist talk show that originated on Radio Free Brooklyn, where it airs on Fridays at 9am.

This transcript has been edited and condensed for print purposes:

Christine: You’re  watching  “Badass  Lady  Folk.”  I’m  your  host,  Christine  Stoddard  and  this  episode,  my  guest  is  Jada  Bennett.  Hi,  Jada!

Jada: Hi,  Christine!

Christine: It’s  so  wonderful  to  have  you, Jada.  Actress,  singer,  Brooklyn  Cyclones–what  is  your  title  there?

Jada: [I’d put it as Entertainment Coordinator and Captain of the Surf Squad.]

Christine: Yeah,  so  we  met  at  “The White  Blacks” [at Theater for a New City]  which  is  a  production  that  has  come  up  on  this  show  a  couple  different  times  because  I  had  Melanie  Goodreaux, the  writer-director  on.  When  I  met  you  at  that  production,  I  was  immediately  struck  by  your  range  because  you  played  a  couple  different  characters and you  also  sang  beautifully in  it.

Jada: Thank you.

Christine: No  one else  really  sang in that show,  so  it’s  nice  to  have  some  singing.

Jada: Yeah,  I  had  to  sing  in  the  audition  for  that  show.

Christine: Were  you  told  you’d  be  singing?

Jada: No,  not  initially. I  auditioned  for  that  show  [in 2022],  and  I  came  in–I  knew  that  the  show  had  already  been  done  before  and  that  I  was  coming  in  and  I  wasn’t  sure  how  many  people  had  done  the  show  before  that  were  coming back.  I  wasn’t  sure how  everything  was  gonna  work  but  I  went  in  and  I  knew  that  I  would  be  playing  a  couple  of  characters,  but  I  also  didn’t  know  the  extent  of  all  of  that. So  I  read  for  both  Raunika–no,  Raunika  doesn’t  have  lines–I  read  for  Gladys  and  Patricia,  only  one  scene  for  each  one, and  they  were  very  different  from  each  other,  and  I  was  like,  “Okay,  all  right,  let’s  roll  with  this.”  That show definitely  tested  how  much  I  could  do  at  once.

Christine: Yeah.  (laughs)

Jada: Because  even  though  I  had  smaller, shorter  time  on  stage,  I  knew  that  I  had  a  lot  to  convey  in  that  short  amount  of  time.  So  I  was  just  making  sure  that  when  I  was  in  that  character, I  was  in  that  character  just  living  in  that  person’s  world  and  making  that  world  as  big  as  I  possibly  could,  so  that  the  words  that  I  was  saying  still  had  the  story  behind  them.  Yeah,  that  was  a  lot  of  fun. I  would  do  that  show  again  in  the  heartbeat.

Christine: Yeah,  that  was  a  beautiful  show.  So  then  during  the  audition,  they  were  just  like,  “Hey,  can  you  sing?”

Jada: Yeah,  so  I  was  reading  for  Patricia  and  there’s  a  story– you  and  I  are  in  the  scene  together,

Christine: I’m the mean  white  girl.

Jada: You  were  a  passé  blanc  in  the  street  and  I  knew  you  and  knew  who  you  were. So I  had  to  read  that  in  the  audition.  And  it  said,  “The  hills  are  alive”  because  I  was  singing  “The Sound of Music.” And  so  I  just  went  for  it  and  sang  it, and  they’re  like,  “Fantastic,  great.  So  you’re  gonna  really  sing  this then.” She  was  like,  “Can  you  sing  it?  Can  you  do  it?” So  I  just,  I  sang  it, and  I  went  for  it,  and  she’s  like,  “That  really  did  it  for  us.  So  now  you’re  doing  this  on  the  show.”  I  was  like,  “Sounds  great.”

Christine: So  how  did  you  get  into  acting?

Jada: Oh,  I  mean,  I  have always  been  doing  it  since  I  was  little.  I  was  always  that  kid  that  was,  like,  doing  performances  for  my  stuffed  animals  and  for  my  family. Like,  I  did  it  all  the  time.  I  made  my  little  brother  do  it.  So  I’ve  always  been  around  art.  I  started  as  a  dancer  first.  And  then,  when  I  really  got  into  acting  and  shows  would  have  been  my  fifth  grade  year. I  had  just  moved  to  a  new  town  and  I  met  some  people  and  they  were  doing  the  school  musical  and  so  I  decided  to  do  it  as  well.

Christine: Aw,  so  you  would  have  friends?

Jada: Yeah,  correct. It  was  “Cinderella”  and  I  got  the  fairy  godmother. Ever  since  then,  I  did  every  school  musical,  like,  from  then  on  till  I  graduated. In sophomore  year  of high  school,  I  was  doing  “Hairspray” and  decided  that  I  just  wanted  to  do  it  forever.  So  here  we  are.

Christine: Aw.  So  what  kind  of  dancing  did  you  start  doing?

Jada: I  did  what  every  little  girl  who  did  dance  as  a  little  kid did.  I  started  at  like  two,  three  years  old,  and did  the  same  tap /ballet  combo  class: half  of  the  class  is  tap  and  half  of  the  class  is  ballet.

That’s the end of the excerpt! Watch the full episode at Youtube.com/@badassladyfolk or below. Find out more about Badass Lady-Folk at BadassLadyFolk.com.

The Whimsicals: Mosaic Artwork That Delights and Amuses

An Interview with Stained Glass Artist Sandra Forrest

By Meagan J. Meehan | news@queensledger.com

Sandra (“Sandy”) Forrest is the creator of vividly-colored mosaic artwork which immediately grabs attention due to its vibrancy and equilibrium between abstract and figurative work. In her translucent glass pieces—which expertly use color, texture, shape, and light to create a cohesive composition—human figures lounge in pools, fly through the sky, or fan themselves femininely, typically surrounded by backgrounds of shapes and patterns and colors that hark back to abstract expressionist approaches to art. She is arguably best known for her “Whimsicals” series of multidimensional opaque glass mosaics that feature humorous scenes. This collection, more than any other, is a direct reflection and extension of Sandy’s book illustrations, which is another medium that she is passionate about.

“Lady With a Fan” by Sandra Forrest

Sandy is currently associated with the Brooklyn Artists Waterfront Coalition (BWAC) in Red Hook but she started her career in California where she earned a B.A. in Graphic Communications at San Diego State University. Upon relocating to New York, she earned an M.A. in Art Education from Brooklyn College.

Sandy recently granted an exclusive interview where she discussed her experiences working as an artist and creatively thriving in Brooklyn.

Meagan Meehan (MM): How did you initially get interested in art and how did you get into book illustration and stained glass?

Sandra Forrest (SF): I was a graphic design major in college and an illustration minor. I was an art director in children’s magazine and book publishing, including Golden BooksWeekly Reader, and others. I have illustrated over 60 books and co-wrote three, two of which are graphic novels. The mosaics, especially the Whimsicals, are a direct extension of my book illustrations, just using a new medium. Glass is a fascinating medium since light is one of the materials I use.

MM: You are known for your “Whimsicals” which are art pieces with a humorous edge. What are some of the most memorable pieces in this series?

SF: I made (and sold) several versions of “Coney Island Midway,” which are fun because of the characters, some quite real. One hot July day ten years ago I drove to Coney to take pictures of real people and turned them into ceramic. Also, I sent you a favorite called “Lady With a Fan After Klimt” which is a mix of ceramic and metallic mosaic pieces. I love the mix of colors and textures, flat and bas relief.

MM: How do you think visual art and humor can inform one another?

SF: I don’t see much humorous art in shows and galleries. Maybe if it’s humorous it’s not taken seriously, which is a shame. We all need more laughs.

MM: You are part of the Brooklyn Waterfront Artists Coalition (BWAC) in Red Hook. So, how did you get involved with that organization and how have they helped you further your work?

SF: BWAC has provided a strong and supportive venue to show and sell my work in member and juried shows. It’s exciting and rewarding to be a part of that art scene and being around other artists. We all work in such different ways that it’s thrilling to see new work from friends, especially when we reopen the gallery in April and we have had a chance to work over the winter. I am the Vice President, so the winter is also really full getting organized for the 2024 shows, there were six Zoom meetings last week alone. So much goes into the background: member committees work on publicity, grant-writing, exhibitions and events, membership, governance issues, and strategic planning. Once the show season starts there isn’t as much time to do all that. We also do a lot of community outreach, such as with the Red Hook Business Alliance, Brooklyn Public Library events, Park Slope Windsor Terrace Artists, and more.

MM: Do you feel that the vibrancy of Brooklyn—especially Red Hook—inspires you and what’s your favorite thing about being a Brooklyn-based artist?

SF: Brooklyn overall has become an exciting and, as you say, vibrant art scene. It seems that wherever you go—Provence, Rome—everyone knows Brooklyn is a cool, creative place. You don’t even have to say Brooklyn, New York. Just Brooklyn is enough. Red Hook has an outlaw vibe which I really like. It’s in New York but in some ways, not really. I look at the Civil War-era warehouses where the gallery is and wonder what crazy/wonderful and large work is being done there. Artists come by and tell us they are making big wood sculptures just down the street, or baby clothes! It’s all about having the space. And the visual drama of the area is just inspiring. The sunsets! OMG!! That statue! As far as visual inspiration, I have made many mosaics of the bridges but finally moved on to other subjects.

MM: How do you go about finding opportunities to exhibit your work?

SF: Ten years ago, I applied to every craft fair within an hour of Brooklyn: New Jersey, Connecticut, Brooklyn, Westchester. Sometimes eight or ten a year. I sold well in those shows and it was fun talking to customers, but many were held outdoors, and expensive so when it rained it was a disaster. Putting and taking down the tent was difficult. I stopped doing that this year. The Brooklyn Chamber of Commerce has a new shop with a gallery show in Industry City. Fifteen BWAC artists were featured, which is very nice. Also, I am in a Salon Show at the Williamsburg Art & Historical Center which opens today.

MM: Be honest, out of all of your creations, do you have any particular favorite piece?

SF: “Lady With a Fan After Klimt.” I sold it, but regret selling it. “The Path,” a translucent mosaic of a path through birches with strong shadows. “Aerial View of Manhattan” as seen from a plane at sunset, at sunset.

MM: What would you say has been the highlight of your artistic career so far?

SF: I always think the highlight is whatever I just finished. The graphic novels were really fun because I worked with my two best friends (both writers). “Franceso’s Fountain” and “The Mysteries at the Vanished Villa” required several trips to Rome, Venice, and Naples, not as a tourist this time, but with a purpose.

MM: What are your ultimate goals for the future and is there anything else that you would like to mention?

SF: The challenge is always asking myself: what’s the next idea? Right now, I’m trying to come up with another ceramic/mosaic concept. I can’t copy myself as that’s boring.

Throw an axe with your beau or belle for Valentine’s Day!

By Aaron Gold | news@queensledger.com

Aaron Gold posing after hitting a bullseye. Photo by Christine Stoddard.

When people make fun of Brooklyn hipsters, one of the go-to things to cite (after craft beers, underground music, and ironic tattoos) would be axe-throwing bars. But there’s a very good, very deep reason why axe-throwing has become such a staple of the scene: It’s really, really fun.

Even the less violent of us can feel a rush of pride and adrenaline as a steel hatchet leaves your hands, rotates end over end, and finds purchase in a wooden target. It’s marksmanship to the level of lumberjack. It’s darts with bladed weapons. It’s a unique experience for anyone who doesn’t have a penchant for chopping firewood or acres of wooded land, but does have a bit of free time.

When approaching Kick Axe Throwing in Gowanus, you’re immediately greeted by a large statue of a bull. Because, why not? Once you get through the people who are taking their pictures beside it (don’t judge, you know you’ll be doing the same when you leave), you’re treated to a vibe that is clubhouse meets escape room. There is a nice lounge area with couches that are actually comfortable, alongside plenty of games like Jenga and beer pong. If you have to wait for your appointment, you will not be left bored, as there is plenty to fuel either your Instagram feeds or your desire for social connection.

The bar is not quite as well stocked as one might hope, but that’s understandable, considering the majority of the establishment’s patrons will be spending their evening chucking hatchets. Still, the beer selection has enough to appeal to both those looking for the classic cheap drinks, as well as those with a thirst for microbrews. A few canned cocktails and wines are also available for those with more discerning palettes, but the options there are limited.

The staff seems to genuinely enjoy working there, as everyone we interacted with was effortlessly charming and sociable. They welcome both newbies and seasoned axe throwers alike, embodying the aura of “Everyone’s here to have fun.” Once you’ve signed your safety waivers, you’re free to hang out at the bar or the aforementioned lounge while awaiting your turn at the lanes, each of which are notated by a different Harry Potter Hogwarts house.

Before you begin throwing, your attendant will walk you through the safety measures, complete with a few rounds of practice throws. Our attendant was very giving with the feedback, providing tons of positive encouragement and helpful tips without hovering. He had to attend to another lane at the same time, but was there with us for seemingly little over half of our stay. After he introduced us to the two people sharing our lane (who were a couple of friendly firefighters, so we knew we probably didn’t stand a chance) he introduced us to the first of our three games. 

The entire experience truly felt like high stakes darts, and was a lot more accessible than one might think. For a feel of the way Brooklyn exists now, this was a terrific experience, and serves as a wonderful way to show out-of-towners a treat they are not likely to find outside of the city.

Back in the Day…Feb. 1, 2024 Reader Submission

“I was maybe 10 or 11 when I took these photos. I’ve lived all my life in Brooklyn. My parents gave me my (first) camera for my 9th birthday, a 126 Kodak. I would take it all over the place and snap photos, color or BW. I just liked to take photos all over the place. (I still do, and many of my photos have been used in my books and articles). [I am the author of the 3 books on The Lost Synagogues of NYC, and the book Walking Manhattan, a tour guide.] I do recall that I took lots of photos after snowstorms. I’d take photos of snowmen we built, digging out the cars from snow, etc. I hope that modern viewers, such as my own daughters (aged 23 and 21), will see the similarities and differences of the Brooklyn we all know. The car styles are always a hoot. And the reason that I found these was that I was looking for old photos of my parents in that photo box. I found Mom’s driver’s license and a snap of Dad, posing in East Flatbush with his Army uniform all pressed nicely.” -Ellen Levitt

Do you have vintage photos you would like us to share with readers? Send them to news@queensledger.com.

Brooklyn Poetry Feature: Charles Elliott, Ann Bar-Dov & Jacob R. Moses

The following appeared in the Feb. 1, 2024 print issue:

In December 2023, the New York Times Magazine announced that it was ending its poetry feature after nine years. We asked Brooklynites to submit their poems to be published here. Due to the popularity of this feature, the series has been extended from its original January 2024 dates. Want to see your words on these pages? Make haste and send your submissions to cstoddard@queensledger.com. This series will run as long as interest in it remains. Submission of poetry  does not guarantee publication. All accepted poems will be formatted in a way that best aligns with our newspaper layout.

This week’s featured poets are Charles Elliott, Ann Bar-Dov, and Jacob R. Moses.

“Born at Bushwick Hospital”

By Charles Elliott

January 12, 1946 was the day I was born

at Bushwick Hospital in Brooklyn – a charity

hospital not taking cleanliness seriously.

The place where my mother contracted

an infection then called “lying-in sickness.”

That day, the Brooklyn Eagle reported (on page 4)

that J. Edgar Hoover, even then the long-serving

director of the Federal Bureau of Investigation (FBI),

had endorsed 1946 Youth Week, sponsored

by the United Christian Youth Movement to promote

religious education. Hoover warned that churches

were reaching too few young people with their

indoctrinations and “this failure to make contact

with the citizens of tomorrow is producing

a fertile field for future crime. Youths too young

to vote accounted for 21.4 percent of the arrests

last year. Unless a concerted effort is made now

through the media of the church and the home,

these same juvenile delinquents may be

the hardened criminals of tomorrow.”

We lived in a third-floor walkup apartment at 472

Bainbridge Street until I was six years old.

Attended Bedford Central Presbyterian Church,

enjoyed the music of its beautiful big organ

(now wonderfully restored) until we joined

the White Flight to Levittown. My parents,

evangelical Christians, took me to church

in Brooklyn and elsewhere four times

each week for many years. But I was never

more embarrassed before my friends than

when my mother forced me to ride on a float

in the annual Sunday School parade

through our Brooklyn neighborhood. My parents

did everything they could to set me on the right path,

including shoving me into the aisle during

an altar call at a Baptist church, to make sure

I got “properly baptized.”

And yet, in 1971, I was the young journalist

(but no delinquent) who investigated J. Edgar

Hoover for columnist Jack Anderson. Rummaged

in Hoover’s trash at his home in Georgetown

(then no crime), staked out his house, interviewed

his neighbors and drew a scowl of disapproving

recognition from Hoover as he and Clyde Tolson

lunched at the Rib Room of the Mayflower Hotel

up on Connecticut in D.C.

The historic Bushwick Hospital building of my advent

still stands. At 41 Howard Avenue, the structure,

in an Italian Renaissance revival style, now

re-tasked to a purpose that some might suggest

is appropriate to my birthplace, re Hoover’s

remarks. By the time New York State acquired

it in 1968, the failed hospital was gone.

The building born again as the Bushwick

Nursing Home. But after that, according to

an October 29, 2014 news report: “It’s now

a placement center for juvenile delinquents.”

That mission renewed, continues. Now

a Youth Bureaus facility – the Ella McQueen

Reception Center for Boys and Girls.

My proud birthplace.

Charles Elliott’s poetry has appeared most recently in Synkroniciti Magazine and the American Poetry Journal. his work also has been featured in the Paris-based journal Levure littéraire, Chiron Review, Potomac Review, Aethlon, the New York Times, and two anthologies. Elliott reads his poems at https://www.youtube.com/user/beautyseer and administers https://www.facebook.com/The.Poetry.Cabin and a related Twitter account, @ThePoetryCabin. Elliott also has published three history books on Southern California topics and won awards for poetry, journalism, and fine art photography.

 

“Sheepshead Bay, 1976”

By Ann Bar-Dov

Sheepshead Bay, eight p.m.

Evening fog comes drifting in.

Familiar streets and houses, lost in a cloud…

Hoot of a foghorn, screaming gulls,

dirty green waves slapping at fishing boat hulls,

shouts of the fishermen echo across the water.

Old frame houses facing the bay

slide a little more sideways every day.

Screen doors and shutters creaking in the wind…

Sidewalk’s broken and buckled. Weeds grow in the cracks.

There’s sand in the gutters, and empty six-packs.

Someone’s old Chevy’s rusting by the side of the road.

I’d spend my days knocking ‘round Manhattan,

pushing and being pushed around.

Then I’d take that long train ride back to Sheepshead Bay,

walk around the streets and feel myself calm down.

Sheepshead Bay, eight p.m.

Evening fog comes drifting in.

Familiar streets and houses, lost in a cloud….

Sheepshead Bay, lost in a cloud.

Originally from Brooklyn, Ann Bar-Dov has lived in Israel since 1976 and in the Galilee since 1983. After 38 years spent teaching everything from kindergarten to yoga to Public Health, she has finally retired and can devote real time to writing.

 

“Sheepshead Bay, 2020”

By Jacob R. Moses

Took the Q train to

Roll-N-Roaster just so I

could get lemonade

Jacob R. Moses is a poet and spoken word artist from Staten Island, NY. Publications featuring his work span 18 countries. He is the author of the full-length poetry book, Grimoire (iiPublishing, 2021). Jacob is a recent graduate from Southern New Hampshire University with an MA in English and Creative Writing.

Black Land Ownership Seeks Support

By Melissa Hunter Gurney | news@queensledger.com

Editor’s Note: The following is a write-up that was solicited from a co-founder of the organization, Black Land Ownership, after receiving a press release about a current fundraising initiative:

In a little storefront, on an non-commercial block in Greenpoint, there is a community art space that’s been providing a stage for independent artists and marginalized communities to share their music, their poetry, their thoughts, and their movement since 2015. Most people have no idea that the storefront with the slogans “End Racism” and “Love Thy Neighbor” hanging boldly in the window is also a one-room schoolhouse and the Brooklyn office of Black Land Ownership.

Black Land Ownership owns 37 acres of land in Otsego County, N.Y., fifteen of which is in conservation, where they are building an Educational Eco Hub and Artists’ Residency. They are a grassroots organization put in place to combat the historical, systematic, and institutionalized marginalization experienced by people of African descent. The initiative is a call for change. An investment in the future of Black-owned land and, in turn, Black-owned community and Black-owned capital.

Christopher Banks Carr, one of the founders of Black Land Ownership, grew up in Takoma Park, Washington D.C., a predominantly Black-owned neighborhood that, 35 years later, is being met with change. Similar to many neighborhoods in New York City, the people moving in and buying up homes and businesses are no longer Black. His mom, a long-time lawyer at Howard University, bought her house in 1977 when the neighborhood was inhabited by Black professionals like her. Now, 40 years later, their house is in a different neighborhood than she moved into and she continually thinks about consolidation and change. The sale of a house being a family matter, she started talking to her only son Chris about what this process might look like. Chris’s immediate reaction was, “No, we can’t sell.” He said he needed his mom to understand that owning their home was larger than the two of them them and, although there were personal reasons that made him want to keep it, there were also societal ones.

Around the same time, Chris was traveling across the United States to share his art and learn about other places and other communities. In Nevada, New Mexico, and Arizona, he continually asked himself, “Where are we?”–the “we” being other Black folks. As a musician, he understood that space mattered and that having a safe space to gather with like-minded individuals was important. In Colorado, pulling up tubers on a friend’s farm, he was struck again by the vastness of the land and asked himself, “Who owns all of this?” To his surprise, it was not Black people. He wanted to find solutions—to work together, raise funds, and figure out how to generate revenue sustainably. In 2019, after both he and his partner were diagnosed with rare cancers back-to-back and he was undergoing treatment, everything he wanted to do came into sharp focus. He and Melissa Hunter Gurney, his co-founder, got to work.

It was then that they started researching, fundraising, and learning what it meant to purchase land. Their research, although specific to the Black community, very obviously revealed the need to raise awareness for other marginalized groups—women, trans people, indigenous people, immigrants—with limited resources or capital. Black Land Ownership, as an entity, is inclusive of these groups while simultaneously holding the belief that it is imperative to recognize the outrageous mistreatment and disparity aimed at Black people, not only in the U.S. but worldwide. It is BLO’s belief that people of African descent being landless or displaced is a phenomenon that has occurred anywhere colonialism has happened and is a clear and present human rights issue. Their goal is to make data more attainable and support land projects, educational initiatives and lobbying practices that work to call out the perpetuating narrative that land is a form of wealth relegated to certain groups in this country and beyond.

Their first purchase was a 15-acre conservation plot in Fly Creek, N.Y., completely funded by small grassroots fundraisers. Shortly after that, they purchased 22 acres, clearing out their personal savings. In the past few years, they have purchased 10 acres of wetlands in Mississippi, as well as two micro plots in Arkansas for a community garden and Black Memorial project.

What’s unique about Black Land Ownership is that they are truly community-oriented. They haven’t turned to corporate investors or partners. They have been working on the ground with folks who authentically want to support their specific mission and, although that is a much harder route, it has kept them grounded thus far. That said, they do have continuous fundraising initiatives that they hope will gain visibility and support across the  board:

The Black Land Ownership Conservation Fund (BLOCF), which aims to raise funds in order to buy land while simultaneously ensuring that it cannot be developed and that the wildlife (flora and fauna) can exist unencumbered in perpetuity. Essentially, BLOCF works to promote the condition of the land’s natural state rather than the exploitation that very often comes with land use. All funds received to this end go towards the purchase of various properties that are protected wetlands, wildlife refuges, or conservation easements and cannot be turned into residential, industrial, or major commercial endeavors. The BLOCF purposefully shifts focus from having to extract resources out of the land purchased or running a business off the land purchased to ensuring that the land purchased will remain natural and pristine for generations to come.

There are several other initiatives—the Community Garden & Black Memorial Fund that aims to purchase micro plots across all 50 states, the Black Land Ownership Hiking and Camping Club, which aims to bridge rural and urban communities and create a network of safe, wild lands for marginalized groups to explore. There is also the Innovation, Research & Development Hub, which is their largest fundraising project, and aims to purchase 8-12,000 acres of land, which promotes a collaborative model to explore irrigation systems, natural building methods, forest gardening models, and essentially provides space and resources for Black innovators and creators.

Right now, in order to uplift all of these projects, they have started a GoFundMe to purchase a portable saw mill and turn a sector of their Eco Hub into a Woman & Black-Owned Community Mill for their eco hub. A portable saw mill will allow them to mill their own wood utilizing fallen trees from their properties as well as trees that need to come down in order to nourish forest growth. It allows them to build without toxins, to create unique green spaces for visitors and to offer community use for projects that highlight sustainable action and equitable land practices. The cost of wood has skyrocketed, forcing those who don’t fall within certain wealth brackets to build with unnatural, often toxic materials. They hope to uplift education on what it takes to mill wood, share invaluable tools throughout a community and unite in order to create earthen spaces that support the integration of humanity and nature and uplift their artistic and educational pursuits.

You can follow their work at the following:

Website: blacklandownership.com

Instagram: @Blacklandownership

Youtube: www.youtube.com/@blacklandownership

Stop & Shop Dietician Wants You On Track for Flailing Resolutions

By Justin Joseph | news@queensledger.com

Courtesy photo of Christina McGeough.

Around this time of year is when many people tend to struggle maintaining their New Year’s resolutions. At the top of many people’s resolutions list is changing how their body looks and getting their diet in check. A lot people are not sure about what it takes and how difficult of a process this can be to change what you eat and to build great workout habits.

Christina McGeough, a registered dietician with Stop & Shop, has broken down the essential steps needed to help those wanting to pursue a healthier lifestyle.

“The most essential step is coming up with a realistic plan that works for you,” McGeough said. “What ends up happening for a lot of people is that they want the quick fix. They want the thing that’s going to show them the biggest results in the shortest amount of time. Studies show when you look three, four, five years out, people don’t sustain the weight loss.”

Stop & Shop has over 100 shops located throughout New York, and are doing all they can in order to help those in need lose weight. In terms of marketing and wayfinding, the Stop & Shop team has come up with easier solutions to dieting, such as using fewer ingredients to not feel as overwhelmed and finding ways to save time in the kitchen, so cooking feels like less of a chore. They highly recommend looking for recipes that you can cook in 30 minutes or less to save time and using one-pan/pot meals in order to make less of a mess and ensure cleaning up after won’t be such a hassle.

Many people, however, simply cannot afford to eat healthily all the time, as many of the healthier options cost more than their unhealthier counterparts. McGeough states that there has been an increase in prices for items after the pandemic, but many Stop & Shops have an answer for customer’s price concerns. They have created many tools to help customers sort through items that are most essential to them and their diet and find what they refer to as “better for you items.”

McGeough states that the store has one tool called “Guiding Stars,” which uses a star system to let customers know which items are the best for them. One star means it’s a good option, two stars indicate a better option, and three is the best option in that category. This is helpful because customers are able to easily pinpoint many items that may be best for them by identifying their rating on the star system and then price match to weigh what is most affordable and healthy for them. She also recommends buying things that are in season because in season items always are cheaper due to them having a larger supply and being easier to find. Out of season items price skyrockets due to them being more rarely found in stores.

In today’s day and age it is hard to decipher what’s good to put in your body in order to help you reach your fitness goals. But, McGeough and many of the dieticians at Stop & Shop have you covered with quick and easy steps that will change your life and have you looking and feeling your best heading into the new year.

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