#brooklyn flooring distributors

[bororugcarpetwarehouse]

How to Choose the Best Tile Sealing, Residential Flooring, and Tile Stores in Brooklyn

Guide to Brooklyn Tile Sealing

What is Brooklyn Tile Sealing?

Tile sealing in Brooklyn involves applying a protective layer over the surface of tiles to safeguard against stains, water damage, and other forms of wear and tear. This process is essential for maintaining the longevity and appearance of tile surfaces in both residential and commercial spaces. Tiles, especially those made from porous materials like natural stone, marble, or unglazed ceramic, are prone to absorbing liquids and stains, which can lead to discoloration and damage over time. Sealing creates an invisible barrier that prevents these issues, making maintenance easier and extending the life of your tiles.

How is Brooklyn Tile Sealing Done?

The process of Brooklyn tile sealing typically involves several key steps to ensure effective and lasting protection:

Cleaning the Tiles: Before sealing, the tiles must be thoroughly cleaned to remove any dirt, grease, or residues. This ensures that the sealant adheres properly to the tile surface.

Choosing the Right Sealant: There are various types of sealants available, including penetrating sealers and topical sealers. Penetrating sealers absorb into the tile and grout, providing protection from within, while topical sealers create a protective layer on the surface. The choice of sealant depends on the type of tile and the specific needs of the space.

Application: The sealant is applied using a brush, roller, or sprayer, depending on the product and the area being sealed. It’s crucial to apply the sealant evenly to avoid streaks and ensure complete coverage.

Drying Time: After application, the sealant needs time to cure. This period can vary from a few hours to a couple of days, depending on the type of sealant used and environmental conditions. It’s important to avoid using the tiled area during this time to allow the sealant to set properly.

Buffing and Finishing: Once the sealant is dry, the tiles may be buffed to enhance their appearance and ensure a smooth, even finish.

Guide to Residential Flooring in Brooklyn, NY

What is Residential Flooring in Brooklyn, NY?

Residential flooring Brooklyn NY encompasses a wide variety of flooring options tailored to meet the needs of homes in this diverse and vibrant borough. The choices range from traditional hardwood and elegant marble to modern laminates and versatile vinyl. Each type of flooring offers unique benefits and aesthetic qualities, catering to different preferences, lifestyles, and budgets.

How is Residential Flooring in Brooklyn, NY Done?

The process of installing residential flooring in Brooklyn involves several stages, each critical to achieving a durable and aesthetically pleasing result:

Assessment and Planning: This initial stage involves evaluating the existing flooring, measuring the space, and discussing the homeowner’s preferences and budget. Factors such as the room’s function, foot traffic, and exposure to moisture are considered to determine the most suitable flooring type.

Material Selection: Homeowners can choose from a vast array of materials, including hardwood, laminate, vinyl, tile, carpet, and more. Each material has its own set of advantages, maintenance requirements, and cost implications.

Preparation: The existing flooring is removed, and the subfloor is prepared. This may involve cleaning, leveling, and repairing any imperfections to ensure a smooth surface for the new flooring.

Installation: The new flooring is installed according to the manufacturer’s guidelines and industry standards. The method of installation varies depending on the type of flooring. For example, hardwood floors may be nailed or glued down, while vinyl and laminate often feature a click-lock system.

Finishing: After installation, the flooring may be finished with additional treatments, such as sealing or staining, to enhance its appearance and durability.

Final Inspection and Cleanup: The installation is inspected to ensure it meets quality standards. The area is then cleaned, and any debris is removed, leaving the space ready for use.

Guide to Tile Stores in Brooklyn

What is a Tile Store in Brooklyn?

A tile store Brooklyn is a retail establishment that specializes in selling a wide variety of tiles for different applications, including flooring, walls, backsplashes, and more. These stores offer an extensive selection of materials, colors, patterns, and sizes to cater to the diverse tastes and needs of Brooklyn residents and businesses. Tile stores in Brooklyn also provide valuable services such as design consultation, material sourcing, and sometimes even installation services.

How Are Tile Stores in Brooklyn?

Tile stores in Brooklyn are known for their diverse offerings and knowledgeable staff. They cater to a wide range of customers, from homeowners looking to renovate their kitchens or bathrooms to contractors and designers working on large-scale projects. Here’s what you can expect from tile stores in Brooklyn:

Wide Selection: Tile stores in Brooklyn carry a vast array of tiles, including ceramic, porcelain, natural stone, glass, and more. This variety allows customers to find the perfect tile for any project, whether it’s a traditional home renovation or a modern commercial space.

Expert Advice: Staff at Brooklyn tile stores are typically well-versed in the different types of tiles and their applications. They can offer valuable advice on choosing the right tile based on factors like durability, maintenance, aesthetic preferences, and budget.

Design Services: Many tile stores offer design services to help customers plan their projects. This can include assistance with tile layout, color coordination, and material selection to achieve the desired look and functionality.

Quality Products: Tile stores in Brooklyn are known for offering high-quality products from reputable manufacturers. This ensures that customers get durable, long-lasting tiles that can withstand the demands of their specific applications.

Competitive Pricing: With the competitive market in Brooklyn, tile stores strive to offer competitive pricing and various promotions, making quality tiles accessible to a broader range of customers.

How to Choose the Best Tile Sealing, Residential Flooring, and Tile Stores in Brooklyn

When selecting tile sealing services, residential flooring options, or a tile store in Brooklyn, consider the following tips to ensure you make the best choice:

For Tile Sealing:

Experience and Expertise: Choose a company with extensive experience in tile sealing and a proven track record of successful projects.

Product Quality: Ensure the sealants used are of high quality and suitable for your specific type of tile.

Customer Reviews: Look for positive customer reviews and testimonials to gauge the reliability and quality of the service provider.

Warranty: Opt for a company that offers a warranty on their sealing services, providing peace of mind and assurance of quality work.

For Residential Flooring:

Material Selection: Consider the range of materials offered and whether they align with your aesthetic preferences and functional needs.

Installation Expertise: Choose a flooring company with skilled installers who have experience with the type of flooring you select.

Customer Service: Excellent customer service is crucial. Ensure the company is responsive, communicative, and willing to address any concerns you may have.

Budget and Financing: Look for transparent pricing and financing options if needed, to ensure the project fits within your budget.

For Tile Stores:

Product Variety: A good tile store should offer a wide range of tiles to suit different tastes and project requirements.

Knowledgeable Staff: The staff should be knowledgeable and able to provide expert advice and assistance with your project.

Design Services: Consider stores that offer design services to help you plan and visualize your project.

Customer Reviews: Check online reviews and ask for recommendations to ensure the store has a good reputation for quality and service.

Conclusion

Whether you're sealing tiles, choosing new residential flooring, or shopping for tiles in Brooklyn, understanding the processes and what to look for in service providers and retailers is crucial for successful projects. Tile sealing protects your investment, residential flooring enhances your home's comfort and style, and tile stores provide the materials and expertise you need to bring your vision to life. By following the guides and tips outlined above, you can ensure that your home improvement projects in Brooklyn are both beautiful and durable, adding value and enjoyment to your living space.

[threenorth]

So yesterday I was looking at jobs there was one for w company and I wanted to try talk to someone about the role before i have to volunteer at a dysabilty conference all of most next week, so i thought I'd ask for her extension or cell phone number, I messaged the instant chat where they told me they consulted their team lead and asked me to come on down to their head office, so i got changed and went down to the bus into town, got into the building front entry way when I called their local customer line and tried explain that I was in the lobby but unable to access the floor as it was a restricted floor and if she could come down or someone else on her half when a business analyst and a sde (software developer engineer) tell me they don't really have a front desk, and she's currently away from the office working from home, when i explained why I came down to see her as I thought she may of wanted to see me.

We talked a little bit,

Then I walked over to the local help information kiosk where I was telling them about trying to figure out all the things you can do if you visited our country, I had a few ideas but nothing concerte, they said they made a fake kind of best of areas and regions in a map on their wall.

I then walked to a record shop and they said they did not have any John denver, I stock but one at the distributor.

I then walked over to a store like best buy, and asked the same thing where the answer was that they said the only one vinyl in stock but it's is in Hamilton, and it's one of the Muppet ones.

Then i went to real Grovey, books, records, posters, cool shit, second hand cd/vinyl. Hipster paradise. I saw they had the greatest hits volume 2 and 3,and I had to snag some days are diamonds.

I then proceeded to walk over the hill to glengarry Wines and fine spirits thinking what I'm gonna do for tom's 30th when an American asked for Jameson's and I went oh? That's tom's favorite but i wanted something rather different when he said I'd take the black label.

I asked him where he's from because he sounded yank, he was born in Brooklyn but lives in Vermont. And i said oh? That makes sense i said mines hidden being i was born here and then got two passports and birth certificates yaydada, i ask him why he's out here he said he needs to finish up some vfx on a new apple tv show, when i said last one i herd was chief of war, and he said that's what I'm working on.

He said how'd you know i said i bumped into one of the writers a few months ago, and he said oh no shit. I said his name and he laughed and when the clerk asked me for together or Separate I said separate he said together and he bought me toms birthday gift, so i had to tell him about my intersting script idea for a tv show and he said I've traveled 30 hours and just got off the plane but, you just blew my mind.

I asked to add him on LinkedIn as he's a visual vfx kind of guy, those are really interesting people. He said he worked on an old TV show that I've only herd of but unable to "track down"

And said you'll probably have to show me if we end up in Vermont, where I made a joke about Ben and Jerry's.

And after that i went old back home, got a burger king vegan chicken samwitch, played d&d and then got off for the night.

Today getting some last minute stuff done before tomorrow and picking up some pumpkin seeds 32 grams of protein per 100 grams now i gotta learn how to roast them.

Tomorrow we're going to rotorua for 5 nights.

That's about it, today was a yawn.

[suitk0via]

A Painful Love

Pairing : Bucky Barnes x Reader

              18 + MINORS DNI

Word Count : 3.3k

Warning : this is literally just smut. we've got knife kinks, use of restraint, hate sex?, car sex, unrequited love stuff...

Synopsis: Win a street race, lose a different kind of race. Reader has messed up her car and begrudgingly asks for Bucky's help. Of course, his help comes at a price.

        Street Racer AU | Masterlist

“God dammit.”

You threw the wrench over your shoulder listening to it clang against the concrete floor. Resting your head against the side panel of your car you sighed. This connection was as if to say, ‘ I know I’ve pushed you too hard recently, and I’m sorry. ’ You just knew if the car could talk it would most definitely scold you.

You knew you were pushing the limit, and you felt the skip in your engine go straight to your bones. Sure, you’d won the race but at what cost? The leads to your distributor got crossed making the engine skip in a painful way. You remembered physically wincing at the sound of it, but you were too caught up in the adrenaline of a win to care.

Specifically a win against Bucky.

“Careful princess, you'll push her too hard.” His words sort of haunted your mind. A deeper part of yourself wanted to blame this issue on him, like he may have sabotaged you. That was a baseless claim though. As much as you hated him he wasn’t an actual villain.

“Worry about yourself Brooklyn. She’s fine.” You had said, patting the hood of your car. Oh if you could’ve shown yourself a glimpse of the future. Grabbing your rag from your shoulder you wipe the black marks from your hands. Your patience had worn thin with this project and you knew you were going to need help. Problem is, the only person you knew that would help would be Bucky. His services came at a price though. Which usually began with you telling him how much you couldn’t stand him, and ending with your face pressed into the mattress begging him to give you some sort of release.

The relationship you had with him was odd. Odd yet satisfying. Though, Bucky had gotten a lot softer recently. Not as insatiable, rather. For some reason you hating him made him want you even more – and he wasn’t secretive about it either.

You weren’t even sure why you hated him. You just couldn’t stand the smug look he always had, and the way he looked down on you – mentally and physically. Grabbing your phone you let out a frustrated groan before dialing his number. You could already hear his condescending tone just dying to say, ‘ I told you so. ’

“Callin’ so soon? It’s only six thirty, princess.”

“Shut it, Brooklyn. Help me fix this and I’ll do whatever you want.”

He didn’t even respond before he hung up the phone. Scoffing you tossed it over on the counter. This was routine so you weren’t even disappointed in yourself. Because to be clear you hated Bucky – not the sex. The sex was always amazing. Simply because he knew you better than you gave him credit for.

He knew all the right things to say, how you liked those featherlight kisses on your neck, and anything else you could think of.

When you first met him, you never knew it would lead to this point.

You were all excited and wide eyed after a race, and he poked fun at you with everyone around. “It’s one race. You’re a rookie, princess.” Those collective snickers were enough to solidify your hatred. The only difference between him and every other asshole that had a crush on their car, was the fact that he was handsome. He carried himself like everyone owed him something and you hated it, but the lines in your hatred were becoming blurry though.

Can you truly hate someone you seek out when things go wrong?

Of course he knew about cars, but he was also a good friend. The word nearly made you sick but it was true. He was your friend in all technicality. Whenever your sad excuse of a boyfriend had broken up with you and you stopped showing up to races for a while, Bucky showed up at your door. Unprovoked, with no other intention than checking on you. Of course, it didn’t end there. You cried all over him and he didn’t even care. He never mentioned it either. It was like an unspoken agreement the two of you had.

Whenever he was having trouble sleeping for a while, you went over and stayed with him. You just stayed up late into the night running your hands through his hair and warding off any nightmares that crept up on him.

So, as much as you hated him, you’d also drop everything you were doing if he needed you.

To anyone looking in it made no sense, but it worked for the both of you. Sort of.

Your thoughts were interrupted by the sound of your front door opening. Bucky utilized that spare key more than you liked to admit. Listening to the sound of his footsteps you waited for the garage door to open, and his comments to run free. “Now, what did I say to you before we started?” He said, closing the door behind him.

Putting your hands on your face you groaned. You didn’t even have it in you to look at him and accept a form of defeat. “Just, fix it, please.” You sighed. His footsteps got closer and he stood beside you leaning over the hood. He started explaining what you had done wrong, and how you could’ve done it better. The longer he went on the more agitated you became.

Why did you need him? Why did it always get back to this point? Why did he feel the need to be so patronizing if he liked sleeping with you so much?

Idiot.

“Okay, fuck, I get it. I fucked up. Can you just get this over with?” You said standing up abruptly, chair squeaking against the floor. Bucky huffed at you and continued to do whatever he was doing. Watching him reach down and methodically fix the issue you had been slaving over for hours should’ve been overwhelmingly annoying – somehow it was just attractive. He noticed your staring and it only made his attitude worse. A smirk played on his lips as pulled his hand back, wiping the excess grease off of his fingers. Those ridiculous blue eyes stared back at you, a mischievous sheen covering them. “Princess, I’m startin’ to think you mess these things up on purpose. Just so you can ‘do whatever I want’.”

It was just the right amount of insulting to rile you up, and you knew you were taking the bait hard. “Oh yeah? Think so? Because it’s always an option for me to call Steve instead.” You knew you were playing with fire and unfortunately it was the most exciting thing ever to your expectant mind. He just smiled sitting down the rag. “Because I don’t need you. There are about twenty other guys just like you.” You said shifting your weight as if you weren’t nervous. He didn’t have to say anything, you just watched as he approached you. With purpose in his stride he reached you grabbing you by your wrists and yanking you towards him. Your attitude faded for a moment once you collided with his chest. The hold he had on you was painful in the best way.

“I’d love to see you call Steve.” His voice was low and there was a threat behind his words. A threat you couldn’t quite make out, but it was there. The fluorescent lighting above hummed, filling the void of silence between the two of you. You went to say something but quickly decided on keeping your mouth shut when you saw him pulling his belt off.

“I don’t know why you like running that pretty mouth so much. It’s not polite for a lady to talk to a man like that.”

“Fuck you.” You sneered trying to pull your arm away from him. In a swift motion he put your hands behind your back, pulling your wrists together with his belt. At this point you were just asking for whatever was coming your way, but you just couldn’t let him have the last word.

“Watch your fucking mouth.”

You nearly whimpered hearing him say it so close to your ear. That bit of submission was quickly halted whenever you heard him opening the door to the backseat of your car. “What the fuck? Bucky, no fucking way. I told you, not in my car!” You tried getting away from him but it was futile. Shoving you into the car your back pressed against the leather seats harshly. Whining in frustration you watched as he pulled his shirt over his head tossing it over his shoulder. “James. I’m not kidding!” You said, kicking your feet in a frustrated manner.

Your only condition was that you wouldn’t do anything with him in your car. It just seemed like common sense. Your car was the one thing he hadn’t completely desecrated, but it seemed like you weren’t going to win the battle this time. “I’ve had you everywhere but here. Seems like a fair trade for fixing your problem and listening to you bitch for a while.” He smiled, pulling something out of his pocket. Your eyes immediately went wide, already being able to recognize the familiar object. He caught the worried expression on your face and laughed before climbing on top of you.

“What? Now you wanna be quiet?” He mocked. Watching as he pulled his knife out of its little kevlar sheath you instinctively squeezed your thighs together. There were one too many memories of that blade being dragged across your skin just light enough to leave a red trail. Maybe it was the danger of it that had such an effect on you. Your actions didn’t go unnoticed either. He maneuvered himself between your legs, your hips slightly raised up by his spread knees.

“Bucky, please, not in m-”

“How is that fair to me, princess? You’ve made a mess all over my car before.”

Clearly this was all playing into his amusement because he was just grinning like the Cheshire cat. As much as you wanted to fight, you weren’t sure you could handle the consequences. To your dismay he reached up, shoving the knife through your shirt. Hearing the fabric rip made you wince. This had to be the third shirt he’d cut off of you.

The sharp point lightly trailed against your skin – from between your breasts down to your navel, effectively ripping it in half. Goosebumps raised on your skin and you internally chastised yourself for the involuntary reaction.

Of course, Bucky got a kick out of it. Simply because he liked knowing that no matter how much you hated him, you couldn’t get enough of him. Cutting the sides of your sleeves he pulled the shirt off completely. His eyes hungrily roamed the expanse of your bare skin. Running his hand over your sides he subconsciously licked his lips. The look on your face was lovely. One he thought about too often. A sort of anticipation on your face that you worked so hard to hide.

“Can you let my fuckin’ hands go?” You asked, writhing beneath him. He laughed moving his hands down to your jeans unbuttoning them slower than he wanted to. “No. If you want some dipshit to come over, pretend like he knows how to help you, and treat you nice – then you shoulda called Steve.” He said pulling your pants off a little harder than he meant to.

It rubbed him the wrong way that you said that – about calling Steve. Bucky was unbelievably jealous of you, and everyone knew it but you. You just kept turning your nose up and gave him little smartass comments. Meanwhile he would threaten the life of any man that dared to look in your direction. The relationship was confusing. He’d lay down everything for you, and you’d still say you hated him.

Leaning down he kissed you sweetly. A little too sweet considering moments ago you were yelling at him. He got caught up in you a lot. The way you’d kiss him back just as passionately and how sweet you tasted. Knife still in his hand he trailed it against your skin and down to your core. Running the blade over your panties enjoying the way your breath caught in your throat and you shivered.

“I thought I was fucked up.” He mumbled against your lips, looking down between the both of you. “Shut up.” You said, trying to conceal a breathy moan. Laughing a little he pulled back seeing the wet spot that had formed on the thin fabric. Hooking his fingers beneath the fabric he pulled them off watching your face.

He liked whenever your little act dropped, and he wished he could keep you that way. As opposed to you pretending you hated him. Dropping the knife on the floorboard he ran his hands down your thighs. “You’re so pretty...I almost don’t want to ruin you.” He said with a sigh. Before you could say anything he took his finger dragging it through your obscenely wet folds. He took a lot of pride in the fact he could work you up so easily. A whine passed through your lips as he pulled back looking at the glistening evidence of your arousal. The sight alone made his cock twitch in excitement.

The lead up to being able to sink into your warm cunt was almost tempting enough to make him fuck you right then. “I love the way you hate me, princess.” He sighed, putting the finger in his mouth. Sucking your juices off the digit he laughed. Enamoured by how sweet you tasted on his tongue. Moving downwards he strategically placed kisses on either side of your hips. “Bucky, please.” You whined, bucking your hips against him.

Pushing down on your hips he gave you a rather stern look. Leaning down he licked a thin stripe from your entrance to your clit. Moaning at the taste he ignored your desperate pleas. That taste was something he dreamed of, and when he had it on his tongue he became greedy. Taking you in like he had found the fountain of youth.

He wasn’t a wateful person.

Well, he didn’t want to get anything on your seats.

Not even looking over he grabbed the knife from the floor, holding it by the blade. “Oh my fucking god.” You whined trying to keep your legs from shaking. Pulling back he slapped his hand against your ass making you yelp. “Watch your fucking mouth.” He said through his teeth, running the handle of his knife against your slit. The cool metal was an intense contrast from your warmth and the way you flinched made him smile. Once you recognized the feeling you looked at him with a fire in your eyes.

“Don’t you dare.”

It was like an open invitation. He slowly pushed the handle into you, watching you try and move away from him. “Bucky, oh my god. It’s cold.” You whined. Again he leaned down sucking on your clit viciously. Slowly thrusting the handle in and out of you he held onto the blade a little too hard, feeling blood trickle down his palm.

“You’re so fucking awful.” You moaned, wriggling in his grasp. A little irritated he pushed it into you hard listening to you gasp at the feeling. Just to go harder he sat up pushing the hilt in and out of you at a harsh pace. He could see you losing control and he just went harder. Wet sounds and delicate moans filled the small space. He could tell you were close by the way your eyebrows knitted together and you held your breath.

Pulling it out of you he dropped it to the floor again. You cried out begging for some sort of friction between your legs. Taking his bloodied palm he wrapped his hand around your neck making your whines come to a halt. “Watch how you speak to me.” He warned. You nodded hesitantly and he let go. After a moment of admiring the bloody handprint he left behind, he grabbed the knife examining the remnants of you on the handle. Making sure you were looking he licked your essence off the hilt of it. Eyes rolling back at the taste of you.

As sweet as you were, he was mad at you for implying you’d call someone else over him. Sitting the knife down between your breasts he moved over so he could pull his pants off.

“Please, Bucky-”

“Shut up.” He hissed, wrapping his hand around his cock. This build up was a little too much for him and he was overly sensitive. Slapping his tip against your hole you jerked against him. “God damn. For someone who hates me so much you’re fuckin’ wet for me.” He said running himself back and forth through your folds.

“Please just fuck me already.” You groaned impatiently. He had half the mind to just leave you there. Hands behind your back begging for him to come back and help you. He would’ve if it wasn’t a move away from being inside you.

“I’m goin’ to.” He said pushing himself into you without any hesitation. You adjusted to him easily, and he moaned at the warm snug feeling of your fluttering walls. “Princess, you might hate me…but this pussy says otherwise.” He said grabbing onto your hips thrusting into you. You didn’t have the strength to reply, just a whining mess beneath him. Watching your breasts move with each drive he smiled wickedly.

Your entire being was just an ethereal vision to him. Something he could only imagine that had walked straight out of his dreams. “Bucky m’sorry-'' You breathed. Leaning down he kissed you fervently trying to hold himself together for a bit longer. He wasn’t sure why you had said that, but he didn’t care either. Just pounding into your wet cunt he felt himself losing control. That silky feeling was too overwhelming for him.

“I like you like this, you know?” He said pushing his hand against your lower stomach. The added pressure always made you squirm. You looked back at him and nodded. Your wide eyes made him push you harder. He could feel himself hitting that spongy spot inside of you making your legs twitch against his sides. “You get so tight when you’re close.” He moaned, throwing his head back.

You struggled with your hands bound behind you trying to catch your breath. “Bucky, I can’t-” He just went faster, the sound of skin against skin motivating him further. “I know. You gonna cum all over my cock, princess?” He asked, looking down at you. Tears slipped from your eyes and he let out an almost maniacal laugh. “Y-yeah.” You stuttered shakily.

As if on command he felt your walls tighten around him and your form went limp in his hold. You were holding your breath writhing against him. Incoherent mumbling came from your lips. The sight of you unravelling made him lose the bit of control he had left. “Gonna fill you up. You deserve it.” He said slamming his hips into yours, holding you in place. His cock twitched in you he sighed at the feeling of his own release coating your walls. It was a hot white feeling that flooded his entire being and it rolled through him in waves. Though his focus went back to you quickly.

Wrapping his arms around you he pulled you up allowing you to lean against his chest. Still slightly trembling you buried your face in the crook of his neck. Using his free hand he reached behind you pulling the belt from your wrists. Desperately you clung to him, and he hushed you gently. He kissed your forehead, running his hands back and forth over your skin.

“I love you.”

This wasn’t odd. He’d said it to you before. Always in moments like this, and he meant it with his entire being. You always responded the same, and it tore at him each time.

“I know.”

Then the cycle would start over.

[topfloorhvacnyc]

Top Floor HVAC Service NYC is an authorized servicer for all the major brands we represent. We have a repair shop on premises and service technicians ready to be dispatched for any in home repairs required. We are Specialists in cooling and heating services for our clients in New York City, Brooklyn, Bronx, Manhattan and Queens. We are authorized distributors for Major Brands like General Electric, Amana, Islandaire, Ice-Air, Fujitsu, Mitsubishi, McQuay, Suburban & more.

[pierrepont03]

Contact

Address

108 Pierrepont St

Brooklyn, NY

11201

Phone

929-419-2625

Website

https://allcitybuilding.com/pages/porcelain-tile

 About Us

Dealers of high-quality Home Design finishes and a leading resource as a Kitchen and Cabinetry Pro Center. We build relationships with designers, architects, and kitchen and cabinetry fabricators. We make things simple by partnering with globally recognized industry manufacturers and carry essential materials that both are imported and domestic. NY Home and Kitchen Design Center is an intersection of ideas and practical application for your home. Our corporate philosophy is founded on experience and connecting pros and individual clients with solutions. Our impact is local to the communities we serve but the resources are global.

Porcelain and ceramic tile are both part of the larger category of tiles that can generally be called ceramics - a category that includes all rigid tiles shaped from natural earthen clays and hardened by heat. In the modern tile industry, however, porcelain tiles occupy their own category, assigned there because they meet certain specifications. It is essential to touch and feel the surface prior to the installation, so we encourage you to stop by at our showroom to fully appreciate the broad selection of tile and stone available in stock and to order. Whether you are building a new home or remodeling part of it you'll be able to find a collection to match your desire.

 Related Searches

Tile store, best tile store, tile contractor, ceramic tile, glazed tiles, floor tile, decor tile, tile flooring distributor, MSI tile distributor, stone distributor, tile porcelain, Brooklyn, NY.

 Additional detail

Hours:

Monday - Friday:

08:00am - 05:00pm

Payments

CC, cash

GMB listing

https://goo.gl/maps/tNMBTtnXaqTLpnTu6

[floorstributor5]

Contact

Address

813 Bergen St

Brooklyn, NY

11238

Phone

929-419-2630

Website

https://allcitybuilding.com/pages/tile-and-natural-stone

 About Us

Dealers of high-quality Home Design finishes and a leading resource as a Kitchen and Cabinetry Pro Center. We build relationships with designers, architects, and kitchen and cabinetry fabricators. We make things simple by partnering with globally recognized industry manufacturers and carry essential materials that both are imported and domestic. NY Home and Kitchen Design Center is an intersection of ideas and practical application for your home. Our corporate philosophy is founded on experience and connecting pros and individual clients with solutions. Our impact is local to the communities we serve but the resources are global.

NY Kitchen and Home Design Center store is a local FLOOR and DECOR tile flooring distributor. Floor & Decor is a leading specialty retailer of hard surface flooring, offering the broadest in-stock selection of tile, wood, stone, related tools and flooring accessories at everyday low prices. Founded in 2000 and headquartered in Atlanta, Floor & Decor is one of Fortune’s 100 fastest-growing companies. The Floor & Decor brand is also bolstered by a local focus that allows us to create a store experience and mix of products that meet the needs of each market we serve. We empower our store managers, or chief executive merchants, to create a local shopping experience. Visit our showroom in Brooklyn to check all flooring materials including but not limited to tile and natural stone for bathroom, hallway, kitchen and other collections available in stock to touch and order.

 Related Searches

Tile store, best tile store, tile contractor, ceramic tile, glazed tiles, floor tile, decor tile, tile flooring distributor, MSI tile distributor, stone distributor, tile porcelain, Brooklyn, NY.

 Additional detail

Hours:

Monday - Friday:

08:00am - 05:00pm

Payments

CC, cash

GMB listing

https://goo.gl/maps/78hPWpAoZtQjvKwm8

[yr-bed]

“There must be a hundred records with voice-overs asking, ‘What is house?’ The answer is always some greeting card bullshit about 'life, love, happiness...' The House Nation likes to pretend clubs are an oasis from suffering, but suffering is in here with us (If you can get in, that is. I think of one time in New York when they wouldn't let me into the Loft, and I could hear they were actually playing one of my records on the dance floor at that very moment. I shit you not.)

“Let's keep sight of the things you're trying to momentarily escape from After all, it's that larger context that created the house movement and brought you here House is not universal House is hyper-specific: East Jersey, Lower East Side, West Village, Brooklyn - places that conjure specific beats and sounds As for the sounds of New York dance floors themselves, today's house classics might have gotten worked into a set once in a while, but the majority of music at every club was major label vocal shit I don't care what anybody tells you Besides, New York Deep House may have started out as minimal, mid-tempo instrumentals, but when distributors began demanding easy selling vocal tracks, even the label 'Strictly Rhythm’ betrayed the promise of it's own name by churning out strictly vocal after strictly vocal Most Europeans still think 'Deep House’ means shitty, high energy vocal house”

“So what was the New York house sound? House wasn't so much a sound as a situation The majority of DJ's - DJ's like myself - were nobodies in nowhere clubs: unheard and unpaid In the words of Sylvester: reality was less 'everybody is a star,' and more 'I who have nothing.'

“Twenty years later, major distribution gives us Classic House, the same way soundtracks in Vietnam war films gave us Classic Rock The contexts from which the Deep House sound emerged are forgotten: sexual and gender crises, transgendered sex work, black market hormones, drug and alcohol addiction, loneliness, racism, HIV, ACT-UP, Thompkins Sq. Park, police brutality, queer-bashing, underpayment, unemployment and censorship - all at 120 beats per minute.”

DJ Sprinkles - “Midtown 120 Intro“

[the-master-cylinder]

Empire Pictures/Tycin Films (1986-1987) “At the time everyone was talking high concept so I said let’s do RAPISTS FROM OUTERSPACE.” Charles Band bought the film released as Breeders as well as Mutant Hunt, which Kincaid shot back-to-back. Director Tim Kincaid was rewarded with a long term, ten picture deal with Empire in which some of the films will be made under his Tycin Films banner and others under Millennium Pictures. The latter will include some bigger budget items. Make them for under $1 million each on 10-day shooting schedules, back to back. Kincaid explained that most of the Tycin features will be produced for direct-to video sales probably through Empire’s own Wizard Video. The remaining films will see a theatrical release.

Although filmed after Mutant Hunt, Breeders (1986) was the first to land on video store shelves aided by a stylish pulp-influenced poster. Though no censors could get at his script Kincaid did have a domestic overseer. “My wife is very much into making sure that women aren’t being ripped-off in these films,” he said. “We had a lot of nudity but we weren’t brutalizing women on screen. Everything is implied. Variety speculated that BREEDERS went out on video because of problems with the rating board, but we had always planned to make it an R-rated film. Nothing has been cut for the video release.”

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The climactic scenes of BREEDERS take place in the monster’s underground lair, where it has created a nest for its victims. Kincaid filmed in a series of catacombs under the Brooklyn Bridge, used by workers who built the structure. There are vast rooms with brick and stone archways, the largest of which is a prayer room used by the men before they went into the depths to work. Kincaid learned of the location from BREEDER’s makeup effects man Ed French.

The monster’s victims were to be seen immersed in a pit of translucent slime actually gelatin. But with the actresses disrobed and immersed, the jello failed to gel. Kincaid was wary of adding the chemicals necessary for fear of harming the girls.

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“The art director jumped in a van and headed for the nearest supermarket,” said Kincaid. “He brought back ten pounds of flour and we poured it into the pit. It worked, but unfortunately it turned it white and gave the scene these sexual undertones that we never meant for it to have. The girls ended up working in the stuff for four or five hours-until 4 a.m.”

Necropolis (1986) Reincarnated “Satanic Witch” from New Amsterdam, circa 1600’s comes back to revive her cult members by sucking the life force out of people.

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Robot Holocaust (1986) Just outside New Terra (whats left of New York City), Neo, a drifter from the atomic-blasted wastelands, and his klutzy robot sidekick arrive at a factory where slaves labor to fuel the Dark One’s Power Station. He meets Deeja, a woman (Nadine Hart) who convinces him to help rescue her father. The father is a scientist (Michael Dowend) who has invented a device that can break the Dark One’s control over the factory slaves. Gathering a motley crew of allies on the way, Neo goes to the Power Station to confront the Dark One’s evil servants.

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Mutant Hunt (1987), which Kincaid calls an adventure film with a science fiction background” finds Manhattan in a state of terror as Z, a mad industrialist, alters a squad of cyborgs with a drug known as Euphoron, turning them into crazed killers. The cyborg’s original creator is imprisoned by Z, but his sister escapes and seeks the help of Matt Riker, a private operative.

Kincaid directed MUTANT HUNT in 15 days, stretching the budget to give it more value and making up the difference by cutting corners on BREEDERS, putting that film in the can in only eight days. Empire is easily the most prolific distributor of genre films and their tactic of using both theatrical and video markets to release their product should enable them to keep a constant supply of films flowing to the fans. This is fine with Tim Kincaid, who seems to get a genuine joy out of making films, even on restricted budgets.

The location is a large industrial type complex, eight stories high and several blocks long. The Army abandoned the terminal more than a decade ago. Today, it is the home of a noisy spice factory, hundreds of dilapidated city buses, and a small, but eager film crew. “There’s nothing like a set that doesn’t move,” says Rick Gianasi. The beefcake actor plays the film’s macho hero, Matt Riker. “This place is fabulous,” he observes.

The same location, with its scores of broken windows and rusty train tracks, conjures up a nice post apocalypse scenario on this windy and cloudy morning. Despite the atmosphere, Kincaid explains that his movie is not set in the next century. “Matt Riker: Mutant Hunt is not Road Warrior or Star Wars,” he notes, but it is in the future, only about six years from now.”

Matt Riker: Mutant Hunt certainly has its share of Fango moments, so don’t get the idea that this flick is simply another science-fiction yarn. The movie’s mutants are actually diseased cyborgs, exploited by an evil genius called Z, who eventually run amuck throughout the Big Apple. Kincaid, while looking around the set and mapping out the morning’s schedule, adds that his film will not take itself too seriously, either.

“It’s sort of-I don’t want to say tongue-in-cheek because that term’s overused-a contemporary adventure,” he explains. “There’s not much hardware, just some lasers and effects. It isn’t knockdown, fall about-funny, but Matt Riker: Mutant Hunt has a sense of humor. The heroes are a happy-go-lucky trio of mercenaries, adventurers for hire who share a kidding camaraderie with each other. It’s a comic strip.”

The first shot of the day, which Kincaid is now planning, will take place on a concrete walkway inside a spectacular atrium that bisects the terminal. Grey buttresses jut out from both sides of the enormous hangar-like structure. Sunshine streams in from a huge skylight above, reducing the need for artificial lighting. To the left of the walkway, New York-based special effects man Matt Vogel peers over the charred remnants of Z’s dummy corpse, the victim of a Vogel pyrotechnic effect from the previous night’s lensing.

Vogel, who honed his incendiary skills on the pyromaniac horror flick Don’t Go in the House, is also contributing cyborg sparks, various fireballs and assorted gunshots. And included in his makeshift FX lab–actually his very own spot on the floor are boxes of ornaments, Christmas balls. Christmas balls?

“We have this chemical called titanium tetrochloride, ” Vogel elaborates. “When you open it up, slivers of smoke come out. It was once used for skywriting. The smoke is nice, but you can’t contain it. If I put it in a Christmas ball and seal it up, I have a titanium tetrochloride bomb. With a small explosive charge, the ball breaks and tendrils of smoke emerge. The hardest part of my job is finding Christmas balls in September!”

A few feet from Vogel’s effects “shop” is makeup man Ed French’s cluttered work area where he and his assistants John Bisson and James Chai leisurely paint some cyborg appendages. Later, French will supply an immobile six-foot cyborg “stretcho” arm, plus the diseased facial features for a cyborg duo. French took on a multiple challenge on these dual productions. Not only is he providing the special makeup effects, but Kincaid is letting him direct most of the FX sequences as well. “In terms of directing the special effects,” French reveals, “much of it is up to me. I don’t have any designs on becoming a director, but it is something I’ll have a lot to do with on these films. My storyboards are followed very closely by the editor. They’re very practical in terms of our shooting time. We can’t compete with An American Werewolf in London, but if it’s planned intelligently, we can have a lot of fun.”

French is particularly excited about a mechanical cyborg puppet that both he and Tom Lauten built for Matt Riker: Mutant Hunt. Its enticing features include a blown-away face with missing jaw, but French resists displaying this trophy, explaining that it is so fragile that he prefers to bring it out only when the cameras are rolling. Instead, visitors to the set get to see his chicken-wire-and-foam dummy, an unfortunate body that many crew members delight in kicking.

“This is our generic, all-purpose cyborg-dummy,”French announces, pointing to the abused double. “We took him apart yesterday, and pulled his arm off and had sparking as it came out of the joint. We divide him in half for an operating table scene. He also does some falling. This is body part city. We have an action scene where a cyborg knocks another’s head off, a combination dummy-puppet. We even have industrial strength cyborg blood squirting all over. It looks like anti-freeze.”

Nearby, two of the actor-cyborgs sit patiently while their bizarre crew cut hairstyles are neatly trimmed by the set’s conventional makeup artist Laurie Aiello. With their threatening height and muscular builds, these guys seem perfect for the cloneesque cyborgs, but their haircuts make them look like demented sailor boys. “We knew what we were getting into when we were offered the roles,” jokes Beta Cyborg Mark Legan, one of this production’s chiefly unknown cast. Alpha Cyborg Warren Ulaner doesn’t mind his appearance. “I was in the East Village the other night and my haircut was, more or less, conservative.” Adds French, “The makeups and designs are very stylized and give them a punk-heavy metal look.”

“I was looking forward to playing this kind of role,” says Legan, “because these guys are as villainous as you can get. Warren does a number of nasty things to people and gets a lamp stuck in his eye. Yesterday, I got to tear somebody’s arm off. That’s more fun than saving the girl. For me, the film’s highlight will be when I attack a couple in an alley, tear the girl’s head off and roll it down the street.”

For a production that is supposed to wrap in only 10 days, things are going very slowly on this Wednesday morning. Most of the crew point to the reason: they’re recovering from late night shooting of some extra action stuff to impress Charles Band. Band flew in earlier this morning to get an advance peek at the dailies and, according to French, liked what he saw. Today’s first shot involves a short dialogue scene with the intense Z (Bill Peterson) holding a fellow scientist (Marc Umile) at laser point. Kincaid is an atypical, laidback director who stresses the “please” when he calls, “Quiet, please” as things finally get moving.

“Maybe the pace will pick up suddenly, and it will be rat-a-tat-tat, scene after scene,” predicts the hopeful Ron (New York Ninja) Reynaldi. He plays Johnny Felix, a martial arts master and electronics expert to Riker. He also doubles as Matt Riker: Mutant Hunt’s comic relief and stunt coordinator.

Following the short dialogue scenes, Kincaid readies the next few shots in which the heroine (Mary Fahey, sister of Jeff Fahey), is chased down a dark tunnel. The crew pauses for the sun to hide behind some clouds (day for night). Despite the brief delay, the director remains confident that Matt Riker: Mutant Hunt will come in on schedule.

“I plan my films like any other feature,” he notes during a lunch break. “It’s like a jigsaw puzzle. What you have to realize is that a Magnum P.I. even though it’s 52 minutes long and they have a bigger crew and bigger budget-goes out in seven days. Everything is carefully planned out in advance and really set up so that we know where we are going. We know how long it’s going to take to shoot each thing and how much time to allow for it. That’s why we’re shooting so radically out of sequence.”

After Matt Riker: Mutant Hunt wrapped principal photography a week later-inserts will be shot soon and Band’s California-based technicians are doing the post-production opticals. Kincaid and company immediately began Breeders, a tale of lustful aliens invading Fun City with sex, sex, sex on their otherworldly minds. Some new crew members have joined this film, along with another batch of unknown performers, including makeup man Ed French. Breeders is shooting in the same underground tunnels.

“I think Breeders is going faster, but I don’t know why,” observes French, while preparing a shot with a grotesque half-alien/half-human baby. “Maybe it’s the script. Breeders is more elementary and straightforward. The style, which is very ’50s sci-fi monsters on the loose, almost dictates what you should do. On Matt Riker: Mutant Hunt, the script kept getting rewritten and getting bigger and more complicated. It’s an action movie with a lot of special effects. We knew Matt Riker would go over schedule a bit since it’s so ambitious.”

French steps aside to talk with his assistant, James Chai, who is lying on the dusty concrete floor for his part in bringing the monstrous puppet to life. The baby alien is appropriately disgusting, with an immense, gaping mouth running vertically down its face. A big, bulging bug eye blinks blindly. French applies some gooey methyl cellulose to its row of razor sharp teeth. Meanwhile, gun toting actor Lance Lewman and stake-wielding Teresa Farley wait for French to call action so that they can battle the crippled beastie. As on Matt Riker, Kincaid lets French direct his own special FX sequences.

Acting is another experience French is enjoying on Breeders. The occasional actor plays a doctor possessed by the aliens. Eventually, he even turns into one. “It’s really kind of exciting,” French laughs. “There was an eerie moment yesterday. I’m supposed to be hiding this little creature and then let him loose on these people. I was in the shot, so I just couldn’t step out of the scene and check out the creature. I had to stay in character and let my assistant take care of it.”

In a connecting tunnel next door, a couple of production assistants place the finishing touches on the aliens’ “nest,” a squat six-foot-square box made of foam, goo, plastic and some broken glass. The “Gigeresque” nest is where the captive women are taken. Attractive actress Francis Raines, last featured as the first victim of The Mutilator, does not mind wallowing naked in the nest for her upcoming scene as alien breeding stock.

“This stuff is like food preservative,” explains Raines referring to the buckets of methyl cellulose ooze. “It’s not like they hired 40 Ukrainian elephants to spit in there. I go through the pit and transform to become another Breeder. I can’t wait! At least, I keep away from the dirt.

“My biggest scene is where it does its transformation and chases me around this photography studio while I’m modeling swimsuits. He gets me, attacks me, and uses me. The biggest effect occurs when this stomach cord shoots out and grabs me. Its tentacles drag me away.’

French insists that Breeders is not as lewd as it sounds, while Kincaid obviously believes that sex and violence sell flicks. “I’ve always liked the lurid exploitation movies of the ’50s when I was growing up,” Kincaid remarks. “I think the time is right for them to come back, since we’re coming to the end of the wholesome-family-type science fiction that appeals to a wide range audience. Now, we have a big video market for these low-budget pictures. There hasn’t been an audience for these movies in the last 10 to 15 years… until now.”

In addition to “tactfully” filming the alien rapes, Kincaid and French wanted an abstract look for the invaders. French based his designs on a book of insect microphotography. Most of the black-painted Breeders suit lies in sections around his ad-libbed workshop. A separate Breeders insert head is used for close-ups, and includes waving antennae. An alien hand snaps out a line like a frog’s tongue as well.

“The most challenging bit about the whole thing, and what I’m learning the most about, is integrating the monster suits into the film so that it doesn’t look like a monster suit,” explains French during a 4 p.m. lunch break. “I hate monster suits. Everytime you see this thing, we show a little more of it, like in The Elephant Man. First, you see its hand, then its shadow, a partial transformation, etc. It’s all judiciously shot and generally nightmarish. You’re not going to see a guy running around in a rubber suit.”

Monster suits or not, everyone at Entertainment Concepts is banking that Breeders and Matt Riker: Mutant Hunt serve as the first of a succession of independent New York productions all to be released by Empire… if all goes right.

“Empire has approached us about working with them as an East Coast off-shoot of their production suppliers,” Tim Kincaid reveals. “Their films are shot all over the world, Spain, Rome, California, but they don’t have a group of people to supply them from the East Coast. They like the feel and scenic look of what they’ve seen. We’re hoping it’s the beginning of a series.”

Waldo Warren Private Dick Without Brain (1988) (The Occultist, MAXIMUM THRUST) A cyborg private eye is hired to protect a Caribbean president visiting New York City. Unknown to him, the president’s daughter is in league with his country’s rebels who are trying to assassinate him.

The History of Empire Films Part Four Empire Pictures/Tycin Films (1986-1987) “At the time everyone was talking high concept so I said let's do RAPISTS FROM OUTERSPACE." Charles Band bought the film released as Breeders as well as Mutant Hunt, which Kincaid shot back-to-back.

[ourmisadventures]

Fix // r.h.

first off shout out to @suddenly-im-respecsable for both the prompts & for letting me use her OC Checks as a character.

second off this has like zero plot & it’s completely cliché but i love it all the same.

“You’ve got to calm down before I can fix you up, okay?” “Can we skip to the part where you save the day and I get to, I don’t know, swoon?”

---

"I wish we didn't have to keep this a secret," Race mumbles as the girl tucks her head into the space between his neck and his shoulder, "but Spot would kill me if he knew I's even dared t' look at his favorite girl."

"I ain't his favorite girl," she shoves him lightly, "if anything Checks is, not me."

"Either way, Conlon wouldn't like the thought of some Manhattan dweller makin' eyes at a Brooklyn newsie," Race says, pressing a kiss to her forehead, "you's worth it though, don't get me wrong."

She hums a response, eyes fixed on the Brooklyn skyline in the distance as he holds her.

"I should be gettin' back," she whispers reluctantly, " Spot'll start to worry if I get back any later."

"Do you have to?" Race asks knowingly. "There's nothin' I'd like more than to fall asleep with you in my arms for once."

"You's a sappy one," she smiles, chastely kissing his lips for a second, "but you knows I can't. Spot would loose his mind, 'n he'd soak every newsie in 'Hattan without even a second thought."

"Yeah I know," Race sighs, removing his arms from around her waist so she can stand, "I'll see you's tomorrow doll."

The girl smiles softly, leaning down and pressing a final kiss before she leaves, slipping down the fire escape and into the New York night.

"You got back late last night," Checks teases as they stand in line for papers, the girl raising her eyebrows, "somethin' keep you out? Someone keep you out?"

"Oh god, Checks," the girl rolls her eyes, "shut up 'n getcha papes 'fore the day ends."

"I'm jus' sayin'," Checks shrugs, pressing her coins into the distributors palm, "it ain't a secret that you's got someone who's sweet on ya, I'm jus' tryna figure out it is."

"You's been at the whiskey again?" She asks. "You's talkin' nonsense."

"I'll get the truth outta ya one'a these days, Spades," Checks calls as the girl walks towards her selling spot, "just you wait."

It's late that night when someone pounds on the front door, Spot getting up from the card game between himself, Checks, and Spades to answer it.

"What the hell are you's doin' 'ere!?" Spot shouts from the front door, Checks shooting out of her seat to see what was wrong.

"Spades!" She hears a few moments later, eyes widening at the serious tone in Spot's voice. "You betta get in 'ere!"

She does as he says, making her way into the front room with anxiety in each step. When her eyes land on him, she almost collapses, eyes filling with tears.

"Oh my god, Race," she breathes, falling to her knees beside the fragile boy, holding his head in her hands, "what happened, who did this to you?"

Race stutters his words, lip bleeding as he speaks, "I'm fine, I jus' needa rest 'fore I make it the rest'a the way to Manhattan."

"You's in no condition to make it up stairs let along to 'Hattan," she says, looking up at Spot, "Spot, please, you can't make 'im go back in this state."

Spot stands solemn, unmoving except for his fingers tapping against his thigh.

"Aight, bring 'im to your room, Spades," he finally says, "keep 'im 'ere til you's think he's ready to go back. We'll talk 'bout..." he stops, looking between the boy on the floor and his third in command, gesturing at the two of them, "all this, later."

The girl nods, putting Race's arm around her shoulders and helping him up the stairs and to her room, laying him down on the bed as a groan slips through his lips.

"Jesus, Antonio," she breathes as she lifts his shirt, eyes falling on the bruises littering his torso, "what the hell happened?"

"Was out sellin', some Bronx kids came up," he stops as she completely removes his shirt, "they started in Crutchie, callin' 'im all kinds'a names 'n such...I retaliated, punched one'a them in the jaw. Got a few good hits in 'fore they ganged up on me."

She shakes her head, speechless.

"I..." Race breathes in shakily, "I'm really tired, doll. Do you's think I could sleep some?"

"Did you's get hit on the head at all?" She asks.

"Nah," he shuts his eyes, "they knocked me down and kept at my stomach."

She swallows, pressing a gentle kiss to his forehead.

"Aight, go to sleep," she whispers, "we'll deal with everything in the mornin'."

Race hums in response, soft snores filling the room soon after.

"He gonna be okay?" Checks asks from the door.

"He's bruised, but he'll live," Spades says, stroking his hair, "god he's such an idiot."

"Hmm," Checks replies, "Spot wants us in his room, if you thinks you can leaves him."

"Yeah, he'll be fine."

She follows Checks up to Spot's room, swallowing back her anxiety.

"I's gonna ask this question, even though I thinks I know the answer," Spot says, turning around to face her as he continues, "what made him decide to show up here of all places?"

"Dunno," Spades replies, shoving her hands in her pockets, "suppose it was the closest place."

Spot takes a deep breath, looking at the girl with seriousness written all over his face. He speaks evenly, but the anger is evident.

"And why, exactly, did he ask for you by name?"

"Suppose you was bound t' find out," she sighs, running a hand through her hair, "Race 'n I are together, 'n I guess he came 'ere because he was hurt 'n he'd knew I'd be 'ere. I knows you don't approve of 'Hattan, but I can't help the way I feel."

Spot pinches the bridge of his nose, letting out a heavy breath.

"You and..." Checks stops, shaking her head, "christ, Spades, outta all the fellas in New York you's had to go for the second in command of 'Hattan?"

"It ain't like I chose it," the girl defends, "things just...happened."

Before either of the Brooklyn teens could respond, a shout is heard from down the hall. Spot lets out another sigh.

"What the hell..."

"Sorry to interrupt," Hotshot throws open the door and enters the room, "it's the 'Hattan boy, he's kinda freakin' out."

"Oh god, Race," Spades breathes, running out of Spot's room and into her own.

Her eyes land on the boy thrashing around in her bed, eyes squeezed tight as he lets out intermediate noises, her heart dropping.

She's by his side before she realizes she's even taken the steps, hand on his forehead.

"He's burnin' up," she mumbles, eyes scanning over his body as she searches for the culprit.

She finds it soon enough, a deep wound next to his hip bone below his waist, sticky blood seeping through the cut and onto his pants and the mattress.

"Shit," she almost shouts, "Checks, get the first aid kit, now."

"What's goin' on?" Spot asks from the doorway, a bit of worry slipping through his words.

"He's bleeding, possibly infected," Spades says, hand on his forehead, "I think he's havin' a nightmare too, 'n all the movin' around ain't helpin'."

"Can you help 'im?"

"Why do you suddenly care?" She spits. "You was 'bout t' turn 'im out 'fore I convinced ya to let 'im stay. Imagine if he'd been halfway t' 'Hattan 'n this happened?!"

Spot's response is cut off by Checks walking back into the room, first aid kit in hand. Spades thanks her quickly, turning her full attention to the boy on her bed.

"Hey, Racer, you's jus' dreamin', you's okay," she says gently, smoothing his hair back, "c'mon Race, you've got to calm down before I can fix you up, okay?"

Race stops thrashing, eyes still closed as a few whimpers escape his lips.

"Shh, you's okay," she says, pressing a soft kiss to his forehead, "you's safe, I promise."

The blonde finally opens his eyes, wide and terror-filled as he looks up at her.

"Y-Y/N?"

"I'm 'ere, Tonio," she whispers, "you's awake now, 'n I'm here."

"Fee-" the boy coughs, groaning as he does, "feel like shit. Wha's goin' on?"

"You didn't tell me you's got stabbed," she says, opening the fist aid kit and rummaging through it.

"Did I?" He asks, fingers moving down to the wound.

He hisses as he comes into contact, pulling his red-stained hand away with a few curses to follow.

"Hey, don't do that," she reprimands, "don't make it worse. I gotta stitch it up. I ain't gonna lie, it's gonna hurt like a bitch."

"Can we's skip to the part where you's save the day and I get to, I dunno, swoon?"

"Only you could joke at a time like this," she shakes her head, and Race grabs her hand.

"Hey," he whispers, eyes locking with hers, "I love you, Spades."

She freezes, all too aware of the presence of her fellow Brooklyn newsies in the room.

"Don't say it like that," is her response, Race's face falling a bit.

"Like what?" He asks hoarsely.

"Like a good bye," she says, eyes watering, "Antonio Higgins, you cannot have the first time you tell me you love me sound like your final words."

"Ain't you's gonna say it back?" Race jokes, watery smile on his face.

"Oh god, Tony," she lets out a scoff-like laugh, a tear slipping down her face, "I love you. I love you so much."

She leans forward and presses her lips to his, hand caressing his cheek. She feels a few more tears slide down her face, and her breath hitches as she pulls away.

"I gotta fix you up, okay?" She says unevenly. "'Fore it gets any worse."

Race nods, letting the girl move him onto his side.

"Checks get me some hot water and all the rags we's got," she says, "I's gotta clean up the blood 'fore I can stitch 'im up."

"He gonna be okay?" Spot asks quietly, worry lines prominent on his forehead.

"Ask me when I'm done."

---

She sits at his side, fingers combing themselves through his hair as the boy sleeps.

"So," Spot starts, leaning against the doorframe with his arms crossed, "you love 'im, then."

She stares down at Race's soft face, nodding.

"More than anythin'," she whispers, "I'm sorry, Spot. I know how you's feel 'bout 'Hattan, but I...I'm not givin' 'im up. You can't expect me to."

Spot nods a bit, walking into her room and taking a seat in front of her.

"I don't expect you to," he finally says, "the bad feelin's 'tween Brooklyn and 'Hattan are more 'tween me's and Kelly than anyone else. S'long as he's good t' ya I ain't got a problem with it."

"He's the best," she smiles, "likes t' act tough, but he ain't gotta mean bone in his body. Not when it comes t' me, anyway."

"That's good," Spot says, "I may not act like it sometimes, but I care 'bout you's 'n your happiness, Spades, 'n if 'Hattan...if Race makes you happy, then I's happy for ya."

She smiles in thanks as he leaves, switching her attention back to her boyfriend.

"Wha..." Race stirs, lifting his head up slightly as he blinks his eyes into focus, "where am I?"

"Shh," the girl soothes, placing a comforting hand on his forehead, "s'okay. You's in Brooklyn, my room t' be exact."

"Your room?" Race asks. "I should get outta 'ere 'fore Conlon sees."

"He's the one that tol' me to bring you's up 'ere," she laughs lightly, "you don't 'member much from last night, do ya?"

"I..." Race pauses, furrowing his eyebrows.

He's silent for a few moments, then realization crosses his face as his eyes lock with hers.

"No wonder I'm sore all over," he says, "thought we jus' had a fun night."

"God," she groans, dragging a hand down her face, "you seriously had to make a joke like that at a time like this?"

"You love me though," he smiles, brushing his hand across her face, "I knows ya do."

"Yeah, I do," she sighs, laying down next to him, careful not to knock his torso, "next time try not t' get yaself killed 'fore you's tell me."

"What did Spot say?" Race asks, eyes slipping shut as she presses a kiss to his cheek.

"He's fine with it," she replies, "but we's can talk 'bout that later. Rest now, darlin', let yourself heal."

"Love you," he breathes as he falls asleep.

"Love you too, Tony," she whispers, "sleep well."

---

taglist:

@blytheandherbrain

@thebroadwayaesthetic

@racinghiggins

@theys-a-joke

@yes-above-the-fold

[bororugcarpetwarehouse]

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[wineanddinosaur]

Next Round: Leaving NYC for a Small Town With Restaurateur Adam Dunn

On this episode of the “Next Round” host Adam Teeter chats with Adam Dunn, owner of The Pheasant on Cape Cod, Mass. The Pheasant is a coastal farm-to-table restaurant set inside a historic farmhouse. Dunn details his life before he became a restaurateur — working in the music industry and then for Greenpoint Fish and Lobster. The latter project served as the catalyst for his eventual relocation to Cape Cod.

Dunn explains how relocating to a small town from a big city certainly has its pros and cons. Tune in to hear Dunn explain how he continues to navigate that journey — especially during the ongoing pandemic.

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Adam Teeter: From Brooklyn, New York, I’m Adam Teeter, and this is a “VinePair Podcast” conversation. We’re bringing you these conversations as additions to our regular special podcast to give you a better idea of what’s going on in the industry during the Covid-19 crisis. This week I’m really lucky to be talking to Adam Dunn, owner of The Pheasant in Cape Cod. Adam, what’s going on?

Adam Dunn: Not much. Enjoying a beautifully sunny day here on Cape Cod.

A: Lovely. I don’t think I’ve interviewed another Adam before, so this is going to be fun. Tell me about The Pheasant and your background, because I know you as the owner of a really amazing restaurant in Brooklyn. Can you take me through your career so we can get a chance to know who you are and then a little bit about The Pheasant?

D: Sure. My background was in the music industry and entertainment originally. Interestingly enough, I was in college and was booking bands, which I knew that’s all I wanted to do. I moved to New York, started working at a bunch of music venues and live music. I thought that was going to be my career for a very long time. Late mornings, late nights. Go to work at 1 p.m., get home at 5 a.m. That kind of thing.

A: You were at Brooklyn Bowl, right?

D: Yeah, I did Pianos out of college. Then, I moved from there to Brooklyn Bowl for a number of years. On the side, I got really interested in food and where my food comes from, sustainability. I didn’t eat meat for 13 years in high school and college. Then, I started playing sports in college, and I was eating a ton of seafood. I knew nothing about where my fish comes from. It seems hypocritical to be very concerned about meat and know nothing about seafood, so I started learning about seafood. Growing up, I came to Cape Cod every summer as a kid and was used to being around seafood. I was living in Williamsburg at the time and there was nowhere to get local seafood or any quality seafood for that matter. This is before Whole Foods and before everything else came in. I had to go to Chelsea Market to get high-quality fish. That is a three-hour round trip, at least. This is crazy. Williamsburg being the food mecca as it is or was, it just seemed crazy. There was a local Italian market that was OK, but you go in, ask the guy where’s that piece of fish from? He’d look at a tag and say it’s imported. That’s all he could tell you. I knew there’s got to be something more to this, somebody’s got to do something. I had this idea that there should be a place where you can get local fish and know where it comes from, and there’s a little counter of chowder or lobster rolls, fish sandwiches. I knew nothing about fish or where to get fish or how to source it. In my music industry days, I had worked with a guy who had mentioned at some point during our conversations that his family had a seafood business. Fast-forward many years later, I know one person who mentioned knowing something about seafood. I bumped into him at a holiday party and said, “we got to talk. I got this crazy idea.” He said his family was one of the largest and oldest seafood wholesalers in New England. They’ve been around for about 130 years in Boston wholesale. This wasn’t a little seafood thing, this is a big-time major seafood distributor. He said you have a concept, I can source us probably the best fish in New York, if not the best fish in the country. We said, “let’s see where this goes.” We started on the side. We’d rent out the backyard of a bar out in Greenpoint or Williamsburg. We throw a party and promote it like a concert. We make fliers, make Instagram accounts, and Facebook events. We branded the hell out of it. Got a friend who designed a really fantastic brand and sold merchandise, hats, shirts, oyster knives, koozies, you name it. We started building some traction, and it started taking over. It climaxed when we took out one of those New York Harbor boats, and a buddy of mine ran concerts on those boats and gave me a deal on a boat. We put 300 people on the boat, open bar, lobster rolls, oysters, ceviche, and we had a DJ named Jonathan Toubin.

A: I love Jonathan Toubin. He did a party of mine because I was in the music industry, too. I think we crossed paths.

D: Oh man, there’s so much here especially to make connections with you.

A: Yeah, I used to do A&R for J Dub.

D: OK, so we definitely crossed.

A: We used to throw parties at Brooklyn Bowl. I think you booked one of my bands there.

D: It gets so fuzzy between the two.

A: It’s crazy — I’m going on a tangent here — but were you there at the same time? Now I just blanked on his name, but the guy who was involved in signing MGMT and stuff.

D: Oh, Will Griggs.

A: Yes, Will Griggs! Were you there at the same time?

D: Yeah, I took over when Will left. Will was there the first two years, I think, of Brooklyn Bowl. Then, he was focusing on his label and various other projects. Then, a buyer and I were involved in Brooklyn Bowl as a consulting partner for booking. I met those guys early on in my Pianos days. I started hanging out with them. When the time came, they said hey, you’ve got this 800 to 1,000-capacity venue in Brooklyn, and he’s a booker. I’ll do that.

A: That’s amazing.

D: Yeah, Jonathan Toubin is where we left off. Jonathan Toubin actually DJ’d my wedding here on Cape Cod. He was our first ask and he said “yeah, I’ll come up and do it.”

A: Very cool. You’re trying to source great seafood, throwing parties.

D: We were throwing parties and we said to each other, “let’s see how far this goes.” At some point, we expected to stop. There’s going to be some barrier and we can’t go any further and let’s see where that is. It never stopped. We just kept going. We kept finding ways around these barriers and managed to put some investors together because we had built a brand. We wanted to show that we had some traction and engagement. We managed to get some friends, family, private investors, random folks that we had come across that were interested. Before we opened up on June 30, 2018, we opened up this little brick-and-mortar fish market counter and raw bar. We did that for a number of years, expanding into wholesale. My partner Vinnie Milburn was the business brains behind the whole thing and grew and built this wholesale machine. That’s really the direction the business started going, it was wholesale. We realized we weren’t going to add more restaurant locations. The amount of debt you incur to open a new brick and mortar in New York was one step forward, two steps back. We were like, “How are we ever going to get out of this?” We decided wholesale was a lot easier to scale. You have to deal with customers and there are some benefits for certain types of personalities. We started going in that direction. Then I hit a point where I really like the customer-facing side. I really like creating experiences. I’m a promoter at heart. Back when I was booking bands, I was trying to find obscure bands and introduce them to people and grow them. I love that feeling of showing somebody something they haven’t seen before and then people are like “holy shit, that was awesome. Where do I get more?” That’s my drive. The wholesale thing, as awesome as it was to be knee-deep in razor clams at 4 in the morning and lugging 80-pound halibut around before dawn in New York City, it was exciting, but it was brutal hours and it wasn’t where my passion was. I was looking for opportunities and my wife and I were looking to start a family. We’re trying to forecast our life in New York. Then, we thought there might be an opportunity somewhere else. We fantasize, like everybody does who lives in New York, about where you would go. Upstate New York, Vermont, Maine. Then, I realized my family has a house in Cape Cod in South Dennis. I knew the Cape really well. I came here for 25 years with my family, so we asked, “What about Cape Cod?” What’s going on up there? We were looking for businesses for sale. We saw that this famous restaurant called the Red Pheasant Inn was for sale. My parents rented a house every summer from across the street from this restaurant.

A: Oh, wow.

D: I don’t know, for 11 or 12 years. That was where every summer my parents and friends of theirs would go out for an anniversary or a birthday and would leave the kids at home. It was a fancy restaurant on Cape Cod, and it had a massive wine list, white tablecloths. However, it was stuffy and dated, and we never wanted to go to the Red Pheasant. I don’t think they let people in under the age of 16.

A: It was supposed to be an adult place.

D: Exactly. We saw it was for sale and was like, “Oh, that’s interesting.” I think we had just come the summer before and we had walked into the restaurant to have a nice adult dinner. We couldn’t stop thinking about how amazing the floors were. It’s a 250-year-old farmhouse, original wood floors, original post-and-beam. It oozes New England farmhouse vibes. It’s got two working fireplaces. It’s just years, years, and years of firewood into the walls. It’s stunning. It’s a dream place. I remember saying, “Somebody could really do a number with this place.” Anyway, it came up for sale and we couldn’t believe that place was for sale. We kept reading and it said there’s a four-bedroom house attached to it. It’s on an acre and a half. Oh, it’s on a lake. It’s a 10-minute walk to the beach. I know the neighborhood. My parents have a house in the area. This seems like a no-brainer. Let me tell you, money goes a lot further when you leave New York City, as I think everybody knows. It depends on where you go, but we got a lot of bang for the buck.

A: Before we kick it off more, ’cause then I want I to hear about the process — that’s how you wound up on this podcast, right? You actually listened to our Monday podcast episode about restaurateurs and beverage specialists moving to smaller towns, smaller cities to open places, and you reached out. Turns out we had these crazy mutual connections and you got to come on the podcast and talk about it. This is something people are doing. I’d love to use you as a way to show other people who might be thinking about it, what you did, and how you figured it out. The one thing that I wanted to ask you is, did you know other people who had already done this? Who had been restaurateurs in New York City? For example, Prairie Whale in the Berkshires, the way you describe your spot sounds very similar to what it’s like in a very old home. Did you go check out places like that? Did you know people who had done this? What was the thought? What happened when you decided to do this. Did you start doing research, or what research did you do?

D: We probably didn’t do as much research as we should have. We found the building, the property, and the deal was right. We could live there. We could sustain. I think the easiest thing when people do these moves is finding a business and a residence together. It might not sound awesome to be living where you work, but it makes it affordable. If we were just buying the restaurant, it would have been too expensive to buy the restaurant. If you were just buying a house, it would have been too expensive to just buy the house. When you get them together, it’s an incredible deal. The business fee pays for the house, and it’s a self-sustaining system. You can keep the doors open and cover the mortgage or the lease. I think the best thing is to buy in these types of situations because you’re going all-in on this. I’ve seen in other places, what’s worked typically is when you can find that work-live situation. Otherwise, you’d be buying a restaurant and you need quite a bit of cash to do that. Then, you’ve got to figure out where you’re going to live. Sure, sometimes where you are, you can find cheaper housing. What’s tough about the Cape is the housing market is really expensive here. The Cape is such a weird place, because it’s so seasonal and in the off-season has a somewhat rural vibe to it. It’s really quiet and deserted, but the housing prices are crazy because they get such huge money in the summer. The Cape is actually very difficult, unless you’re coming from gobs of money — and good for you if you can make that happen. You need to find this live-work situation. It’s prohibitively expensive to find a business to buy and then to find a house to buy. That’s been the hardest thing. Affordable housing is such a big issue on the Cape because of the weird dynamics of seasonal vacation waterfront homes. Prairie Whale is in Great Barrington, which was definitely an inspiration for sure. I read articles. I read everything I could about people who have done this stuff. None of it accurately describes what it’s going to be like but it’s exciting. It’s romantic. We were reading about Mark. He was involved in Marlow and Sons in the Andrew Tarlow empire in the beginning. Then, they split and went up there to start a farm and then the restaurant. I was like, “This all sounds incredible.” I’m sure the housing market there is not too dissimilar, but I’m sure there are also pockets of much more affordable housing. There’s just a larger space because the Cape is such a limited, narrow strip of land. There’s only one way on, one way off. There isn’t that much inventory. It’s hard to live 40 minutes away.

A: It makes me think of someone who would think about doing this in the Hamptons.

D: Yeah, it’s not nearly that same over-the-top wealth in the same way that the Hamptons can be. However, it definitely has that same one long road all the way to the end. A two-lane highway kind of thing.

A: You’re not going to live 30 minutes away, 40 minutes away. If you need to get to the restaurant, then all of a sudden there’s a traffic jam, basically.

D: Yeah, that’s an issue but there just aren’t that many houses because it’s not 30 miles in every direction. It’s 30 miles north or south, east or west. It just limits how much housing is available in the immediate area.

A: OK, so you buy the place. What was going through your head? Did you know what you wanted to do? Were you going to buy it and take it over? What were the people selling it expecting to happen?

D: The people who sold it to us had owned the restaurant for 40 years. The father ran it for a number of years and the son took over and ran it. It was an institution, a real icon on Cape Cod. I told my parents we’re buying it, they were like “The Red Pheasant?” They couldn’t fathom that we were buying this iconic restaurant. It means a lot to people, a lot of anniversaries, birthdays, special occasions. It was a special-occasion place where people dressed up. It was a nice dinner out in this area, Cape Cod. They were looking to hand this off. I think they were just grateful to get rid of it. Honestly, we felt that toward the end of the business we saw they were 70, and just getting tired. The customers ran the place at the end. They had a regular clientele. I remember I told the chef-owner that we’re going to put this awesome gourmet burger on the menu. He’s like, “Oh, I always wanted to put a burger on the menu and couldn’t.” I never understood what he meant. “Why couldn’t you put a burger on the menu? It’s your restaurant.” Not to get ahead of myself in this conversation, but we had somebody come in when we had first opened and this older gentleman who was wearing a jacket pulled me aside to say, “Are you the owner?” I said “Yeah.” He said, “This is a nice restaurant, you can’t have hamburgers on the menu.” I had this whiplash, this aha moment. I realized that these customers had been with him for 30, 40 years and they had everything dialed in exactly how they wanted it.

A: He wasn’t going to mess with them because they were super-loyal customers.

D: Correct. There are some people that he had met. Oh, man, there’s so much here. Every December, all the towns around the holidays do holiday strolls and people walk through town, restaurants give things away, stores give things away. It’s a meet-and-greet kind of thing. Once we knew we were likely to buy it, we made an offer and it was accepted. I came up to do the stroll because he wanted to introduce me to all the regulars. He wanted to introduce me as the new owner so I came up and met all these people and everybody wanted to meet me and were sizing me up. I remember some people were just terrible. He was like, “Yeah, you don’t want those people. I’m so glad to be getting rid of them.” Oh, thanks, appreciate that. They expected to hand off the restaurant to let us run it. They told us to keep some of the menu items, some of the staples on the menu. Then, maybe you can slowly change them out. Frankly, we had no interest in the old menu. The old menu hadn’t changed in 30, 40 years. It was dated, like French-American, but slowly getting further away from being French. It became a weird menu of wasabi mashed potatoes next to seared duck and just got all over the place.

A: Right. Trendy food items here from the ’90s, mixed with trendy food items here from the ’80s. I know what you’re talking about.

D: We were looking to get rid of that entirely. He said to just be careful. We had learned that two of their items made up about 40 or 50 percent of the menu sales. There was a sole meunière and a seared duck. That was it. That’s all they sold. You can’t run a business like this. If that’s your business, then just open a shack and just sell one item. Don’t open a full-service restaurant with a full menu if you’re only selling two dishes. The logistics and economics of it made no sense. We have to get rid of that, and we have to have a menu that every item is balanced in terms of sales to some degree, at least less than how skewed it is with this current menu. We brought in a chef. We managed to find a chef locally who was really talented, and he wanted nothing to do with the old menu. He was not coming to cook somebody else’s food. We’re like, great, we’re on the same page there. We opened up. The other wrinkle in this whole thing was that Erika, my wife, is pregnant with our first baby. We were told that the due date was July 4th, which, if you know vacation towns in New England, July 4th is a very busy weekend. Easily the busiest weekend of the summer, which therefore is the busiest week of the year. It was also a brand-new restaurant for us. We ended up opening the restaurant on June 1. We had four weeks under us. Then Erika went into labor on July 4th. The baby was born on July 5th. It was insane. I was a zombie the entire year. It was probably the most intense thing we’ve ever done. We were renovating the house and the restaurant. We moved into the rest of the house on May 15, opened the restaurant on June 1, the baby came on July 5th. I don’t recommend it.

A: You’ve re-done the entire place, right?

D: No, it just needed new paint. It was really dark and drab. Everything was mauve, like red. It was just dark and dated. There are lots of tchotchkes everywhere, people bring them gifts I guess. Old Victorian lighting fixtures were hanging from a low ceiling so the whole place had this cavernous feel, but not a good way. It was stuffy so we brightened the whole place up. We added some new tables. We re-did the whole bar area. The bar needed a lot of work. The bones of the place were incredible but it just needed some love. Frankly, a slightly more contemporary approach to the style of a farmhouse, but modernized it a little bit. I think if you were to walk in, you would get what’s going on in here.

A: You basically re-do the place in terms of the menu, etc. What style of cuisine were you going for?

D: The stuff that we had loved in Brooklyn, new American comfort. Our favorite restaurants are these cozy new American spots in Brooklyn with a fantastic wine list and great cocktails. Again, like the Andrew Tarlow empire, Jeffery’s Grocery, this style of rustic, new American, but with great technique and a certain level of casualness at the same time. That was a weird thing for Cape Cod that people didn’t understand that you can have a nice restaurant that’s not fancy. They didn’t get that. People were very upset that we got rid of white tablecloths. We changed out all the glassware. We change out these giant Martini glasses for coupes. People lost their minds. They’re like, “What is this? Where’s my Martini glass?”

A: They’re angry, though.

D: Yeah, they were mad. I’ll tell you, we had people who walked out because we didn’t have a certain type of vodka. That’s all they drank is this one type of vodka and we didn’t have it. They got up and left. Then, they asked us for Limoncello and I didn’t have Limoncello so they left. Cape Cod is a weird place. I love it here, but there’s a weird culture where people overpay for food and underpay for booze. In New York City, there are certain benchmarks, standards for how you price things, and it was inverted on Cape Cod. People are giving away booze and charging stupid money for poor-quality frozen ingredients.

A: Whereas you’re taking the margin where you’re supposed to get it, which is from alcohol.

D: We are serving better-quality food at the same prices as everybody else. Anyway, our drink prices were not quite New York City prices by any means, but were priced according to the ingredients in the drink. There were quality ingredients and cheap cocktails, 12, 13, 14 bucks, but they were measured. They weren’t free-poured. People were really upset that they weren’t getting these giant pours of wine and giant, 6-ounce Martinis. People were angry, and they called us out for being from New York. We had people writing us letters, angry letters, saying they are never coming to our restaurant. For the check presenters, in the beginning, we’re using postcards. We had somebody write us a letter, a really nasty negative letter on one of our postcards with no return address. We were like, “Cool, thanks. I appreciate that.” It was wild. It was hard. The bar food on Cape Cod is very low. It’s been stuck in this ‘80s, ‘90s thing with seafood shacks with low-quality ingredients. It’s touristy, right? It’s getting your money when you can from people you’re never going to see more than once. Everything was stuck in that. Erika and I, coming from New York, we‘re going to be on Cape Cod. We want to create a place that we would eat on a regular basis, not just a special occasion, but a place that you want to go and see your friends. You want to go post up at the bar. You never know who’s going to walk in and be a neighborhood community spot. We thought we were bringing something that was very much needed to the Cape. It was needed. On the other side of this, people who don’t like change. You get older people, especially on Cape Cod there’s a lot of retirees. You get people who think they know everything, and they like it because nothing changes. As soon as you come in and you’re from a place in New York City, they get very upset.

A: It seems as though you thought that you were going to come in and people would say, “Thank you so much, we’ve been waiting for a Brooklyn-style restaurant on Cape Cod.” And they were like “get the fuck out.”

D: That was exactly it. There are so many emotions flying, between the move, the baby, going all-in on every penny. Then, to have somebody essentially spit in your face and not care about any of that. It’s the people who wouldn’t even try it, the people who wouldn’t even sit down and taste it would say, “I can’t read any of these ingredients. I don’t know what any of this is.” They were getting offended because they felt radicchio is a novel concept. You don’t want to make people feel small. They want to know and understand, they don’t want to have to ask questions. We were trying to do something where we were introducing people to new things. That’s the fun of it, right? For my wife and I, that’s why we like dining out, to go to new places and try different things and be excited when the menu changes every time we’re there because there’s something new to try. It’s an experience for us, and we’re dealing with a lot of people who just want the same thing every time. They wanted to count on certain things. On top of that, we throw in a seasonal menu, which changes four times a year and their heads really spin. They would say “Oh, I love that dish, where did it go?” We try to do something different that’s not in season anymore. We burned a lot of these old regulars from this restaurant, hard. Honestly, it was probably the best thing that ever happened.

A: There’s a silver lining here, Adam. Right now, it sounds all doom and gloom. You go to another place and you open the thing. We’ve got to get there.

D: Yeah, we’re going to get there. I’m just trying to say it is hard. It was a roller coaster of emotions. Everybody who’s considering doing this should be prepared for how this can happen.

A: Yeah, you don’t just walk in as a conquering hero.

D: Yeah, exactly. It took us a minute to recover. That first year, we closed for the first winter. We closed for three months because we were so fried emotionally. We asked, “What are we doing?” We stuck it out. That first year we had to go through that fire because the customers that came out the second year were so much more pleasant. They were people who didn’t go initially because they were nervous about this new restaurant. Then they started coming out and the previous restaurant customers, most of them, had left. It was great. All of a sudden, people are commenting on how much younger the guests in the restaurant were. It was a place where we heard that older and younger people used to call The Red Pheasant “The Dead Pheasant” because it was just so stuffy and old. It’s been taking a long time, but people now are like, Oh, it’s not The Red Pheasant anymore. It’s not like that, it’s not stuffy. It’s new owners, it’s young, it’s exciting. Those people had started coming out after these, for lack of a better term, crotchety, angry, disgruntled older customers stopped coming because they felt like this is a cool place to be. Every year since then has gotten better and better. People are more receptive to our menus and ingredient choices, style, and drink menus. The second year, we did a CBD cocktail with a weed leaf garnish dropped on top of the rocks, and people were so excited. People came out. We ran that for 4/20 as a special, and people went nuts. This is clearly a new thing here. Then, fast-forward, we got to Covid, and we were panicking. We were closed for six weeks. We were on vacation in Jamaica when the news started coming out in February about this looming pandemic. I was freaking out and having a hard time settling in on vacation. Then, we came back and it was full-blown. We were supposed to open on March 18 for the season. The governor shut everything down on the 16th, I think it was. It all changed. Then, we decided to push everything outside. We just did picnic tables. I’m really proud of how we set it up. There was all counter-service. We ran food out to you. The menu was much faster, and it was really easy for the kitchen to execute. It was a really fun and high-quality menu. It was casual. Everything’s in takeout containers. High-quality, compostable biodegradable containers, but still takeout containers nonetheless. We also had compostable forks and knives. The wine was all in plastic. It was all cans and bottles. We didn’t do anything by the glass, but it worked really, really well. We had a lot of people who were blown away by the experience. We had families coming out, which is great. The restaurant during normal times is probably not a great place for little kids. Their parents are absolutely our regular customers, and we can introduce them. Also, get people in during the summer that will hopefully continue to come. When things get back to normal, they’ll get babysitters and now they discover this restaurant. We had people who would be on vacation for five days and they were coming three or four nights of their trip because they were so excited about being outside and being safe. Everything was really spacious. We started selling all this natural wine that we were struggling to sell previously. I’ve got old ladies drinking Broc Cellars Love Red cans by the case. It was incredible. The casualness that was forced upon everybody really worked in our favor. It really took the pressure off, because we are still known to a lot of people as this special-occasion restaurant, which is a tag label we’ve been trying to shed. It really changed people. I’ve had customers say “I actually really liked your outdoor vibe better than what the restaurant was previously inside.”

A: I wonder about that. A bunch of people I know, we’re talking about now doing two different things when things go back to normal. For example, we brought on James who owns Popina in Brooklyn. I don’t know if Popina existed before you left.

D: I don’t think so but I’ve been keeping tabs on things.

A: He basically went to counter service and the question now becomes, does he become counter service in one part of his restaurant, or is that a during-the-day thing where he’s counter service and then he converts to sit down at night? There are now customers who love that. They love that they could come at 1 o’clock in the afternoon, get a bottle of wine, eat some of your food, sit out in the backyard and play bocce. Also, it’s going to allow him to come back more easily. We talk about this a lot on the podcast, too. What is it going to look like in terms of service and how many people are going to add to your staff and that kind of stuff? I wonder, have you thought about that, too? Would The Pheasant be casual during the day? Then you go to the traditional sit-down at night but outdoors. It’s still the same kind of counter service, etc. you guys were doing?

D: The problem with space is that we realize it’s not good to do indoor and outdoor at the same time. It’s one or the other. This past summer, while we were doing all the outdoor seating and everything, we were like, “Let’s do lunch. Let’s try lunch because we’re set up. It’s beautiful out. It’s Cape Cod.” We’ve never done lunch before and we were proven right. We don’t do lunch because on Cape Cod, on a sunny day, no one’s eating lunch. They’re all at the beach. Everyone’s at the beach. If you don’t have a waterfront view, you’re not going to get lunch business. There are a couple of places maybe, but most of them have views. Most of them have some connection with the beach or you can walk on from the beach. We tried for the first two months of June and July, offering lunch. It just didn’t happen. You would get a couple of tables. It’s also hard to change people’s perceptions. On the Cape, the biggest issue we have is marketing and communicating to customers, because so many people are tourists. They come out on the weekends, and there’s no way to connect to them. We hit people on Facebook and Instagram with ads or promote ads in Boston, because we want to get them before they come out here because once they’re out here, they’ve already made their plans. They know where they’re going. They’re going to go to all the favorites. You have to get them talking and thinking about it before they even get out here, get it on their radar. It’s hard to suddenly convince people like, “Oh, by the way, the restaurant is now doing lunch.” They’ve never done lunch in the 40 years they’ve been a business. We didn’t see it. The plan for us, and I’m knocking on wood right now, but we’re less than a mile from our local beach, which is a fantastic beach, very family friendly corporation beach. It’s a 10-minute walk, and they have a killer snack bar there. Well, the operator right now is not awesome. It’s pretty generic, mozzarella sticks and a bad burger. It’s just generic, but the space and layout are awesome. There are all these picnic tables on a cliff above the dunes, looking over the beach. It’s a really great setting, and it comes up for bid every two years. We’re going to put in for it for next summer and try to kill that program. That’s how we’ll do lunch. It’s off-site, but it’s less than a mile away. It’s a different style of food. You get people that way and then transition them, “Hey, come off the beach, bring this flyer and come get a cocktail with us at 5 o’clock or 4 o’clock.”

A: That’s awesome.

D: That is what we’re thinking is the transition and the next move is to get lunch because you have a captive audience at the beach.

A: You guys are closed now because this is the worst time to be open in Covid. What are your plans for when you reopen?

D: We were debating for a long time. I was really stressing out about if we’re going to be inside, outside, or if we’re going to do both. I was really concerned that a lot of people are going to want this sense of normalcy and they’re going to want to go back inside. We had a comfortable bar. A lot of regulars and people tell us, “We can’t wait to go back to the bar.” I was thinking, if we don’t go inside, we are going to have a lot of disappointed people, and people want normal. The more we thought about it, there’s just no flow. The building wasn’t designed to do that. The server who is going out with food would have to be sharing the entrance with people coming in. It’s a really long haul from the kitchen. We were talking about putting in new doors and this historic farmhouse cut doors into the side to access outside. It was just getting more and more complicated. We were thinking, all right, we already have all this infrastructure for doing outdoor dining. It’s summer on Cape Cod. Most people are probably going to eat outside. Last summer, everybody had outdoor dining setups, but they were janky. There were a lot of crappy rental tents with cement barricades. Those places are not going to do that again. They’re all going to go back inside because it’s easier for them. We’re set back from the road and we have these lush gardens and it’s very private. There are string lights, and you feel like you’re somewhere else. We’re thinking, “Let’s just stick with outside, we have the model down. We can build upon it and let’s take a chance on being the only game in town doing extensive outdoor seating. We’ve got 20 tables. We can put 120 people outside. It’s substantial. Let’s try that again and own it.” Massachusetts is operating differently than New York, from what I can tell. There’s a reopening, and they lifted the capacity limits in Massachusetts. The only restrictions for indoor dining are six feet apart, but nobody can get vaccines. The governor is saying, “We know the vaccines are taking a long time, everyone needs to be patient. We’re racing against the variants to get everybody vaccinated but we’re excited to reopen restaurants and businesses.” We’ve gone this far, why don’t we wait until more people are vaccinated or restaurant workers are vaccinated? Going inside is somewhat contingent on hope and a prayer that it seems it’s trending in that direction, but I don’t know. What do we know for sure? Outside, it’s safe. It’s Cape Cod in the summer, people like sitting outside, we know we can execute it. Let’s just do it. And we have this rare opportunity where other towns are giving waivers to restaurants to do extensive outdoor dining in areas that they normally wouldn’t let you do outdoor dining. You have to have patios. You have to have all kinds of infrastructure to do it “properly.” They’ve allowed waivers last summer, and I just checked again and they are going to do it again this year. Let’s run with it. Why complicate it? Everybody can feel comfortable. We can continue doing the kid thing. That all being said, we know that transition back inside in the fall next year is going to be rough, because we have to completely reinvent the restaurant. We’re going to close for a couple of weeks and go back inside because it’s just too cold out here, as it is in New York. I’m not looking forward to that, but I think that’s going to be the play. That’s where we’re at right now. We’re on a break right now, but every day all we’re doing is trying to run through scenarios. If we’re not doing anything inside, we have to do outdoor bathrooms. Are people going to respond to that? Are they going to get angry? How do we do this? How is the flow going to work? It’s a lot of what-ifs and unknowns. It’s stressful, but it’s almost easier now that we decide we’re just going to be outside, as opposed to trying to think about half in, half out. That’s the play. I’ve had fun listening to all the podcasts about your predictions and trends. I was listening to the lemonade one. I’m like, “Huh, I should probably look into lemonade.” We’re doing a lot of research and trying to see, trying to glean as much information as we can to try to have the most efficient and best summer we can. On Cape Cod, summer is it. You make 80 percent of your revenue for the year in three months.

A: It’s crazy.

D: We’re hoping that this year will start earlier. Last year, it didn’t really take off until August, because everyone was locked down and they weren’t allowing rentals on the Cape until July. It sputtered along until August, and then took off. This year, as soon as the weather turns, it’s going to be on like a firehose. There are no rental properties on Cape Cod. You can’t find a place to stay. It’s wild. They just announced part of the reopening so now you can have outdoor gatherings of 150 people. And so, all the weddings are back on. All the resorts are booked. It’s going to be bananas. You want to be in the right position to receive all that. There’s not a whole lot of room for error, at least for us. We take it really seriously. We take every review seriously. If somebody doesn’t leave telling us how amazing a time they had, we feel like we failed.

A: It means you’re a good restaurateur.

D: We’re trying to have it all dialed in for this quick hit, and then we’ll cross the next bridge when we get to it.

A: Well, Adam, this has been an amazing conversation. I feel like I’ve definitely learned a lot about what you’ve been through, which is awesome. Hopefully, everyone who has listened has as well. I think if you are thinking about moving from a city into a smaller town, much of what you say is encouraging to people. I think you’re also a realist, which is great. It’s not going to be easy. You’re not going to go somewhere and be welcomed with open arms. I think your story is a really, really cool one. I really appreciate you sharing it with me.

D: My pleasure. The best takeaway is that the quality of life is incredible. That’s the biggest thing. At the end of the day, on any given day, our son goes to the lake in the morning and goes to the beach in the afternoon, maybe we go fishing. It’s this incredible, magic childhood. We love being here in the winter because it’s so quiet and beautiful. We have so much space, but nothing comes easy. That was our ultimate goal. We will figure out the other part of it. Don’t give up the fight, but just know that it’s definitely not easy.

A: Well, Adam, thanks so much again, I really appreciate it. I wish you the best. I can’t wait to come to The Pheasant sometime. I’ve actually never been to Cape Cod, so I’m going to have to go. People talk about how amazing it is.

D: Thanks for having me. It’s a pleasure.

Thanks so much for listening to the podcast. If you love this show as much as we love making it, then please leave a rating on review on iTunes, Spotify, Stitcher, or wherever it is you get your podcasts. It really helps everyone else discover the show.

Now for the credits, VinePair is produced and recorded in New York City in Seattle, Wash., by myself and Zach Geballe, who does all the editing and loves to get the credit Also, I would love to give a special shout-out to my VinePair co-founder, Josh Malin, for helping make all this possible, and also to Keith Beavers, VinePair’s tasting director, who is additionally a producer on the show. I also want to, of course, thank every other member of the VinePair team who is instrumental in all of the ideas that go into making the show every week. Thanks so much for listening, and we’ll see you again.

The article Next Round: Leaving NYC for a Small Town With Restaurateur Adam Dunn appeared first on VinePair.

source https://vinepair.com/articles/next-round-adam-dunn-the-pheasant/

[johnboothus]

Next Round: Leaving NYC for a Small Town With Restaurateur Adam Dunn

On this episode of the “Next Round” host Adam Teeter chats with Adam Dunn, owner of The Pheasant on Cape Cod, Mass. The Pheasant is a coastal farm-to-table restaurant set inside a historic farmhouse. Dunn details his life before he became a restaurateur — working in the music industry and then for Greenpoint Fish and Lobster. The latter project served as the catalyst for his eventual relocation to Cape Cod.

Dunn explains how relocating to a small town from a big city certainly has its pros and cons. Tune in to hear Dunn explain how he continues to navigate that journey — especially during the ongoing pandemic.

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Adam Teeter: From Brooklyn, New York, I’m Adam Teeter, and this is a “VinePair Podcast” conversation. We’re bringing you these conversations as additions to our regular special podcast to give you a better idea of what’s going on in the industry during the Covid-19 crisis. This week I’m really lucky to be talking to Adam Dunn, owner of The Pheasant in Cape Cod. Adam, what’s going on?

Adam Dunn: Not much. Enjoying a beautifully sunny day here on Cape Cod.

A: Lovely. I don’t think I’ve interviewed another Adam before, so this is going to be fun. Tell me about The Pheasant and your background, because I know you as the owner of a really amazing restaurant in Brooklyn. Can you take me through your career so we can get a chance to know who you are and then a little bit about The Pheasant?

D: Sure. My background was in the music industry and entertainment originally. Interestingly enough, I was in college and was booking bands, which I knew that’s all I wanted to do. I moved to New York, started working at a bunch of music venues and live music. I thought that was going to be my career for a very long time. Late mornings, late nights. Go to work at 1 p.m., get home at 5 a.m. That kind of thing.

A: You were at Brooklyn Bowl, right?

D: Yeah, I did Pianos out of college. Then, I moved from there to Brooklyn Bowl for a number of years. On the side, I got really interested in food and where my food comes from, sustainability. I didn’t eat meat for 13 years in high school and college. Then, I started playing sports in college, and I was eating a ton of seafood. I knew nothing about where my fish comes from. It seems hypocritical to be very concerned about meat and know nothing about seafood, so I started learning about seafood. Growing up, I came to Cape Cod every summer as a kid and was used to being around seafood. I was living in Williamsburg at the time and there was nowhere to get local seafood or any quality seafood for that matter. This is before Whole Foods and before everything else came in. I had to go to Chelsea Market to get high-quality fish. That is a three-hour round trip, at least. This is crazy. Williamsburg being the food mecca as it is or was, it just seemed crazy. There was a local Italian market that was OK, but you go in, ask the guy where’s that piece of fish from? He’d look at a tag and say it’s imported. That’s all he could tell you. I knew there’s got to be something more to this, somebody’s got to do something. I had this idea that there should be a place where you can get local fish and know where it comes from, and there’s a little counter of chowder or lobster rolls, fish sandwiches. I knew nothing about fish or where to get fish or how to source it. In my music industry days, I had worked with a guy who had mentioned at some point during our conversations that his family had a seafood business. Fast-forward many years later, I know one person who mentioned knowing something about seafood. I bumped into him at a holiday party and said, “we got to talk. I got this crazy idea.” He said his family was one of the largest and oldest seafood wholesalers in New England. They’ve been around for about 130 years in Boston wholesale. This wasn’t a little seafood thing, this is a big-time major seafood distributor. He said you have a concept, I can source us probably the best fish in New York, if not the best fish in the country. We said, “let’s see where this goes.” We started on the side. We’d rent out the backyard of a bar out in Greenpoint or Williamsburg. We throw a party and promote it like a concert. We make fliers, make Instagram accounts, and Facebook events. We branded the hell out of it. Got a friend who designed a really fantastic brand and sold merchandise, hats, shirts, oyster knives, koozies, you name it. We started building some traction, and it started taking over. It climaxed when we took out one of those New York Harbor boats, and a buddy of mine ran concerts on those boats and gave me a deal on a boat. We put 300 people on the boat, open bar, lobster rolls, oysters, ceviche, and we had a DJ named Jonathan Toubin.

A: I love Jonathan Toubin. He did a party of mine because I was in the music industry, too. I think we crossed paths.

D: Oh man, there’s so much here especially to make connections with you.

A: Yeah, I used to do A&R for J Dub.

D: OK, so we definitely crossed.

A: We used to throw parties at Brooklyn Bowl. I think you booked one of my bands there.

D: It gets so fuzzy between the two.

A: It’s crazy — I’m going on a tangent here — but were you there at the same time? Now I just blanked on his name, but the guy who was involved in signing MGMT and stuff.

D: Oh, Will Griggs.

A: Yes, Will Griggs! Were you there at the same time?

D: Yeah, I took over when Will left. Will was there the first two years, I think, of Brooklyn Bowl. Then, he was focusing on his label and various other projects. Then, a buyer and I were involved in Brooklyn Bowl as a consulting partner for booking. I met those guys early on in my Pianos days. I started hanging out with them. When the time came, they said hey, you’ve got this 800 to 1,000-capacity venue in Brooklyn, and he’s a booker. I’ll do that.

A: That’s amazing.

D: Yeah, Jonathan Toubin is where we left off. Jonathan Toubin actually DJ’d my wedding here on Cape Cod. He was our first ask and he said “yeah, I’ll come up and do it.”

A: Very cool. You’re trying to source great seafood, throwing parties.

D: We were throwing parties and we said to each other, “let’s see how far this goes.” At some point, we expected to stop. There’s going to be some barrier and we can’t go any further and let’s see where that is. It never stopped. We just kept going. We kept finding ways around these barriers and managed to put some investors together because we had built a brand. We wanted to show that we had some traction and engagement. We managed to get some friends, family, private investors, random folks that we had come across that were interested. Before we opened up on June 30, 2018, we opened up this little brick-and-mortar fish market counter and raw bar. We did that for a number of years, expanding into wholesale. My partner Vinnie Milburn was the business brains behind the whole thing and grew and built this wholesale machine. That’s really the direction the business started going, it was wholesale. We realized we weren’t going to add more restaurant locations. The amount of debt you incur to open a new brick and mortar in New York was one step forward, two steps back. We were like, “How are we ever going to get out of this?” We decided wholesale was a lot easier to scale. You have to deal with customers and there are some benefits for certain types of personalities. We started going in that direction. Then I hit a point where I really like the customer-facing side. I really like creating experiences. I’m a promoter at heart. Back when I was booking bands, I was trying to find obscure bands and introduce them to people and grow them. I love that feeling of showing somebody something they haven’t seen before and then people are like “holy shit, that was awesome. Where do I get more?” That’s my drive. The wholesale thing, as awesome as it was to be knee-deep in razor clams at 4 in the morning and lugging 80-pound halibut around before dawn in New York City, it was exciting, but it was brutal hours and it wasn’t where my passion was. I was looking for opportunities and my wife and I were looking to start a family. We’re trying to forecast our life in New York. Then, we thought there might be an opportunity somewhere else. We fantasize, like everybody does who lives in New York, about where you would go. Upstate New York, Vermont, Maine. Then, I realized my family has a house in Cape Cod in South Dennis. I knew the Cape really well. I came here for 25 years with my family, so we asked, “What about Cape Cod?” What’s going on up there? We were looking for businesses for sale. We saw that this famous restaurant called the Red Pheasant Inn was for sale. My parents rented a house every summer from across the street from this restaurant.

A: Oh, wow.

D: I don’t know, for 11 or 12 years. That was where every summer my parents and friends of theirs would go out for an anniversary or a birthday and would leave the kids at home. It was a fancy restaurant on Cape Cod, and it had a massive wine list, white tablecloths. However, it was stuffy and dated, and we never wanted to go to the Red Pheasant. I don’t think they let people in under the age of 16.

A: It was supposed to be an adult place.

D: Exactly. We saw it was for sale and was like, “Oh, that’s interesting.” I think we had just come the summer before and we had walked into the restaurant to have a nice adult dinner. We couldn’t stop thinking about how amazing the floors were. It’s a 250-year-old farmhouse, original wood floors, original post-and-beam. It oozes New England farmhouse vibes. It’s got two working fireplaces. It’s just years, years, and years of firewood into the walls. It’s stunning. It’s a dream place. I remember saying, “Somebody could really do a number with this place.” Anyway, it came up for sale and we couldn’t believe that place was for sale. We kept reading and it said there’s a four-bedroom house attached to it. It’s on an acre and a half. Oh, it’s on a lake. It’s a 10-minute walk to the beach. I know the neighborhood. My parents have a house in the area. This seems like a no-brainer. Let me tell you, money goes a lot further when you leave New York City, as I think everybody knows. It depends on where you go, but we got a lot of bang for the buck.

A: Before we kick it off more, ’cause then I want I to hear about the process — that’s how you wound up on this podcast, right? You actually listened to our Monday podcast episode about restaurateurs and beverage specialists moving to smaller towns, smaller cities to open places, and you reached out. Turns out we had these crazy mutual connections and you got to come on the podcast and talk about it. This is something people are doing. I’d love to use you as a way to show other people who might be thinking about it, what you did, and how you figured it out. The one thing that I wanted to ask you is, did you know other people who had already done this? Who had been restaurateurs in New York City? For example, Prairie Whale in the Berkshires, the way you describe your spot sounds very similar to what it’s like in a very old home. Did you go check out places like that? Did you know people who had done this? What was the thought? What happened when you decided to do this. Did you start doing research, or what research did you do?

D: We probably didn’t do as much research as we should have. We found the building, the property, and the deal was right. We could live there. We could sustain. I think the easiest thing when people do these moves is finding a business and a residence together. It might not sound awesome to be living where you work, but it makes it affordable. If we were just buying the restaurant, it would have been too expensive to buy the restaurant. If you were just buying a house, it would have been too expensive to just buy the house. When you get them together, it’s an incredible deal. The business fee pays for the house, and it’s a self-sustaining system. You can keep the doors open and cover the mortgage or the lease. I think the best thing is to buy in these types of situations because you’re going all-in on this. I’ve seen in other places, what’s worked typically is when you can find that work-live situation. Otherwise, you’d be buying a restaurant and you need quite a bit of cash to do that. Then, you’ve got to figure out where you’re going to live. Sure, sometimes where you are, you can find cheaper housing. What’s tough about the Cape is the housing market is really expensive here. The Cape is such a weird place, because it’s so seasonal and in the off-season has a somewhat rural vibe to it. It’s really quiet and deserted, but the housing prices are crazy because they get such huge money in the summer. The Cape is actually very difficult, unless you’re coming from gobs of money — and good for you if you can make that happen. You need to find this live-work situation. It’s prohibitively expensive to find a business to buy and then to find a house to buy. That’s been the hardest thing. Affordable housing is such a big issue on the Cape because of the weird dynamics of seasonal vacation waterfront homes. Prairie Whale is in Great Barrington, which was definitely an inspiration for sure. I read articles. I read everything I could about people who have done this stuff. None of it accurately describes what it’s going to be like but it’s exciting. It’s romantic. We were reading about Mark. He was involved in Marlow and Sons in the Andrew Tarlow empire in the beginning. Then, they split and went up there to start a farm and then the restaurant. I was like, “This all sounds incredible.” I’m sure the housing market there is not too dissimilar, but I’m sure there are also pockets of much more affordable housing. There’s just a larger space because the Cape is such a limited, narrow strip of land. There’s only one way on, one way off. There isn’t that much inventory. It’s hard to live 40 minutes away.

A: It makes me think of someone who would think about doing this in the Hamptons.

D: Yeah, it’s not nearly that same over-the-top wealth in the same way that the Hamptons can be. However, it definitely has that same one long road all the way to the end. A two-lane highway kind of thing.

A: You’re not going to live 30 minutes away, 40 minutes away. If you need to get to the restaurant, then all of a sudden there’s a traffic jam, basically.

D: Yeah, that’s an issue but there just aren’t that many houses because it’s not 30 miles in every direction. It’s 30 miles north or south, east or west. It just limits how much housing is available in the immediate area.

A: OK, so you buy the place. What was going through your head? Did you know what you wanted to do? Were you going to buy it and take it over? What were the people selling it expecting to happen?

D: The people who sold it to us had owned the restaurant for 40 years. The father ran it for a number of years and the son took over and ran it. It was an institution, a real icon on Cape Cod. I told my parents we’re buying it, they were like “The Red Pheasant?” They couldn’t fathom that we were buying this iconic restaurant. It means a lot to people, a lot of anniversaries, birthdays, special occasions. It was a special-occasion place where people dressed up. It was a nice dinner out in this area, Cape Cod. They were looking to hand this off. I think they were just grateful to get rid of it. Honestly, we felt that toward the end of the business we saw they were 70, and just getting tired. The customers ran the place at the end. They had a regular clientele. I remember I told the chef-owner that we’re going to put this awesome gourmet burger on the menu. He’s like, “Oh, I always wanted to put a burger on the menu and couldn’t.” I never understood what he meant. “Why couldn’t you put a burger on the menu? It’s your restaurant.” Not to get ahead of myself in this conversation, but we had somebody come in when we had first opened and this older gentleman who was wearing a jacket pulled me aside to say, “Are you the owner?” I said “Yeah.” He said, “This is a nice restaurant, you can’t have hamburgers on the menu.” I had this whiplash, this aha moment. I realized that these customers had been with him for 30, 40 years and they had everything dialed in exactly how they wanted it.

A: He wasn’t going to mess with them because they were super-loyal customers.

D: Correct. There are some people that he had met. Oh, man, there’s so much here. Every December, all the towns around the holidays do holiday strolls and people walk through town, restaurants give things away, stores give things away. It’s a meet-and-greet kind of thing. Once we knew we were likely to buy it, we made an offer and it was accepted. I came up to do the stroll because he wanted to introduce me to all the regulars. He wanted to introduce me as the new owner so I came up and met all these people and everybody wanted to meet me and were sizing me up. I remember some people were just terrible. He was like, “Yeah, you don’t want those people. I’m so glad to be getting rid of them.” Oh, thanks, appreciate that. They expected to hand off the restaurant to let us run it. They told us to keep some of the menu items, some of the staples on the menu. Then, maybe you can slowly change them out. Frankly, we had no interest in the old menu. The old menu hadn’t changed in 30, 40 years. It was dated, like French-American, but slowly getting further away from being French. It became a weird menu of wasabi mashed potatoes next to seared duck and just got all over the place.

A: Right. Trendy food items here from the ’90s, mixed with trendy food items here from the ’80s. I know what you’re talking about.

D: We were looking to get rid of that entirely. He said to just be careful. We had learned that two of their items made up about 40 or 50 percent of the menu sales. There was a sole meunière and a seared duck. That was it. That’s all they sold. You can’t run a business like this. If that’s your business, then just open a shack and just sell one item. Don’t open a full-service restaurant with a full menu if you’re only selling two dishes. The logistics and economics of it made no sense. We have to get rid of that, and we have to have a menu that every item is balanced in terms of sales to some degree, at least less than how skewed it is with this current menu. We brought in a chef. We managed to find a chef locally who was really talented, and he wanted nothing to do with the old menu. He was not coming to cook somebody else’s food. We’re like, great, we’re on the same page there. We opened up. The other wrinkle in this whole thing was that Erika, my wife, is pregnant with our first baby. We were told that the due date was July 4th, which, if you know vacation towns in New England, July 4th is a very busy weekend. Easily the busiest weekend of the summer, which therefore is the busiest week of the year. It was also a brand-new restaurant for us. We ended up opening the restaurant on June 1. We had four weeks under us. Then Erika went into labor on July 4th. The baby was born on July 5th. It was insane. I was a zombie the entire year. It was probably the most intense thing we’ve ever done. We were renovating the house and the restaurant. We moved into the rest of the house on May 15, opened the restaurant on June 1, the baby came on July 5th. I don’t recommend it.

A: You’ve re-done the entire place, right?

D: No, it just needed new paint. It was really dark and drab. Everything was mauve, like red. It was just dark and dated. There are lots of tchotchkes everywhere, people bring them gifts I guess. Old Victorian lighting fixtures were hanging from a low ceiling so the whole place had this cavernous feel, but not a good way. It was stuffy so we brightened the whole place up. We added some new tables. We re-did the whole bar area. The bar needed a lot of work. The bones of the place were incredible but it just needed some love. Frankly, a slightly more contemporary approach to the style of a farmhouse, but modernized it a little bit. I think if you were to walk in, you would get what’s going on in here.

A: You basically re-do the place in terms of the menu, etc. What style of cuisine were you going for?

D: The stuff that we had loved in Brooklyn, new American comfort. Our favorite restaurants are these cozy new American spots in Brooklyn with a fantastic wine list and great cocktails. Again, like the Andrew Tarlow empire, Jeffery’s Grocery, this style of rustic, new American, but with great technique and a certain level of casualness at the same time. That was a weird thing for Cape Cod that people didn’t understand that you can have a nice restaurant that’s not fancy. They didn’t get that. People were very upset that we got rid of white tablecloths. We changed out all the glassware. We change out these giant Martini glasses for coupes. People lost their minds. They’re like, “What is this? Where’s my Martini glass?”

A: They’re angry, though.

D: Yeah, they were mad. I’ll tell you, we had people who walked out because we didn’t have a certain type of vodka. That’s all they drank is this one type of vodka and we didn’t have it. They got up and left. Then, they asked us for Limoncello and I didn’t have Limoncello so they left. Cape Cod is a weird place. I love it here, but there’s a weird culture where people overpay for food and underpay for booze. In New York City, there are certain benchmarks, standards for how you price things, and it was inverted on Cape Cod. People are giving away booze and charging stupid money for poor-quality frozen ingredients.

A: Whereas you’re taking the margin where you’re supposed to get it, which is from alcohol.

D: We are serving better-quality food at the same prices as everybody else. Anyway, our drink prices were not quite New York City prices by any means, but were priced according to the ingredients in the drink. There were quality ingredients and cheap cocktails, 12, 13, 14 bucks, but they were measured. They weren’t free-poured. People were really upset that they weren’t getting these giant pours of wine and giant, 6-ounce Martinis. People were angry, and they called us out for being from New York. We had people writing us letters, angry letters, saying they are never coming to our restaurant. For the check presenters, in the beginning, we’re using postcards. We had somebody write us a letter, a really nasty negative letter on one of our postcards with no return address. We were like, “Cool, thanks. I appreciate that.” It was wild. It was hard. The bar food on Cape Cod is very low. It’s been stuck in this ‘80s, ‘90s thing with seafood shacks with low-quality ingredients. It’s touristy, right? It’s getting your money when you can from people you’re never going to see more than once. Everything was stuck in that. Erika and I, coming from New York, we‘re going to be on Cape Cod. We want to create a place that we would eat on a regular basis, not just a special occasion, but a place that you want to go and see your friends. You want to go post up at the bar. You never know who’s going to walk in and be a neighborhood community spot. We thought we were bringing something that was very much needed to the Cape. It was needed. On the other side of this, people who don’t like change. You get older people, especially on Cape Cod there’s a lot of retirees. You get people who think they know everything, and they like it because nothing changes. As soon as you come in and you’re from a place in New York City, they get very upset.

A: It seems as though you thought that you were going to come in and people would say, “Thank you so much, we’ve been waiting for a Brooklyn-style restaurant on Cape Cod.” And they were like “get the fuck out.”

D: That was exactly it. There are so many emotions flying, between the move, the baby, going all-in on every penny. Then, to have somebody essentially spit in your face and not care about any of that. It’s the people who wouldn’t even try it, the people who wouldn’t even sit down and taste it would say, “I can’t read any of these ingredients. I don’t know what any of this is.” They were getting offended because they felt radicchio is a novel concept. You don’t want to make people feel small. They want to know and understand, they don’t want to have to ask questions. We were trying to do something where we were introducing people to new things. That’s the fun of it, right? For my wife and I, that’s why we like dining out, to go to new places and try different things and be excited when the menu changes every time we’re there because there’s something new to try. It’s an experience for us, and we’re dealing with a lot of people who just want the same thing every time. They wanted to count on certain things. On top of that, we throw in a seasonal menu, which changes four times a year and their heads really spin. They would say “Oh, I love that dish, where did it go?” We try to do something different that’s not in season anymore. We burned a lot of these old regulars from this restaurant, hard. Honestly, it was probably the best thing that ever happened.

A: There’s a silver lining here, Adam. Right now, it sounds all doom and gloom. You go to another place and you open the thing. We’ve got to get there.

D: Yeah, we’re going to get there. I’m just trying to say it is hard. It was a roller coaster of emotions. Everybody who’s considering doing this should be prepared for how this can happen.

A: Yeah, you don’t just walk in as a conquering hero.

D: Yeah, exactly. It took us a minute to recover. That first year, we closed for the first winter. We closed for three months because we were so fried emotionally. We asked, “What are we doing?” We stuck it out. That first year we had to go through that fire because the customers that came out the second year were so much more pleasant. They were people who didn’t go initially because they were nervous about this new restaurant. Then they started coming out and the previous restaurant customers, most of them, had left. It was great. All of a sudden, people are commenting on how much younger the guests in the restaurant were. It was a place where we heard that older and younger people used to call The Red Pheasant “The Dead Pheasant” because it was just so stuffy and old. It’s been taking a long time, but people now are like, Oh, it’s not The Red Pheasant anymore. It’s not like that, it’s not stuffy. It’s new owners, it’s young, it’s exciting. Those people had started coming out after these, for lack of a better term, crotchety, angry, disgruntled older customers stopped coming because they felt like this is a cool place to be. Every year since then has gotten better and better. People are more receptive to our menus and ingredient choices, style, and drink menus. The second year, we did a CBD cocktail with a weed leaf garnish dropped on top of the rocks, and people were so excited. People came out. We ran that for 4/20 as a special, and people went nuts. This is clearly a new thing here. Then, fast-forward, we got to Covid, and we were panicking. We were closed for six weeks. We were on vacation in Jamaica when the news started coming out in February about this looming pandemic. I was freaking out and having a hard time settling in on vacation. Then, we came back and it was full-blown. We were supposed to open on March 18 for the season. The governor shut everything down on the 16th, I think it was. It all changed. Then, we decided to push everything outside. We just did picnic tables. I’m really proud of how we set it up. There was all counter-service. We ran food out to you. The menu was much faster, and it was really easy for the kitchen to execute. It was a really fun and high-quality menu. It was casual. Everything’s in takeout containers. High-quality, compostable biodegradable containers, but still takeout containers nonetheless. We also had compostable forks and knives. The wine was all in plastic. It was all cans and bottles. We didn’t do anything by the glass, but it worked really, really well. We had a lot of people who were blown away by the experience. We had families coming out, which is great. The restaurant during normal times is probably not a great place for little kids. Their parents are absolutely our regular customers, and we can introduce them. Also, get people in during the summer that will hopefully continue to come. When things get back to normal, they’ll get babysitters and now they discover this restaurant. We had people who would be on vacation for five days and they were coming three or four nights of their trip because they were so excited about being outside and being safe. Everything was really spacious. We started selling all this natural wine that we were struggling to sell previously. I’ve got old ladies drinking Broc Cellars Love Red cans by the case. It was incredible. The casualness that was forced upon everybody really worked in our favor. It really took the pressure off, because we are still known to a lot of people as this special-occasion restaurant, which is a tag label we’ve been trying to shed. It really changed people. I’ve had customers say “I actually really liked your outdoor vibe better than what the restaurant was previously inside.”

A: I wonder about that. A bunch of people I know, we’re talking about now doing two different things when things go back to normal. For example, we brought on James who owns Popina in Brooklyn. I don’t know if Popina existed before you left.

D: I don’t think so but I’ve been keeping tabs on things.

A: He basically went to counter service and the question now becomes, does he become counter service in one part of his restaurant, or is that a during-the-day thing where he’s counter service and then he converts to sit down at night? There are now customers who love that. They love that they could come at 1 o’clock in the afternoon, get a bottle of wine, eat some of your food, sit out in the backyard and play bocce. Also, it’s going to allow him to come back more easily. We talk about this a lot on the podcast, too. What is it going to look like in terms of service and how many people are going to add to your staff and that kind of stuff? I wonder, have you thought about that, too? Would The Pheasant be casual during the day? Then you go to the traditional sit-down at night but outdoors. It’s still the same kind of counter service, etc. you guys were doing?

D: The problem with space is that we realize it’s not good to do indoor and outdoor at the same time. It’s one or the other. This past summer, while we were doing all the outdoor seating and everything, we were like, “Let’s do lunch. Let’s try lunch because we’re set up. It’s beautiful out. It’s Cape Cod.” We’ve never done lunch before and we were proven right. We don’t do lunch because on Cape Cod, on a sunny day, no one’s eating lunch. They’re all at the beach. Everyone’s at the beach. If you don’t have a waterfront view, you’re not going to get lunch business. There are a couple of places maybe, but most of them have views. Most of them have some connection with the beach or you can walk on from the beach. We tried for the first two months of June and July, offering lunch. It just didn’t happen. You would get a couple of tables. It’s also hard to change people’s perceptions. On the Cape, the biggest issue we have is marketing and communicating to customers, because so many people are tourists. They come out on the weekends, and there’s no way to connect to them. We hit people on Facebook and Instagram with ads or promote ads in Boston, because we want to get them before they come out here because once they’re out here, they’ve already made their plans. They know where they’re going. They’re going to go to all the favorites. You have to get them talking and thinking about it before they even get out here, get it on their radar. It’s hard to suddenly convince people like, “Oh, by the way, the restaurant is now doing lunch.” They’ve never done lunch in the 40 years they’ve been a business. We didn’t see it. The plan for us, and I’m knocking on wood right now, but we’re less than a mile from our local beach, which is a fantastic beach, very family friendly corporation beach. It’s a 10-minute walk, and they have a killer snack bar there. Well, the operator right now is not awesome. It’s pretty generic, mozzarella sticks and a bad burger. It’s just generic, but the space and layout are awesome. There are all these picnic tables on a cliff above the dunes, looking over the beach. It’s a really great setting, and it comes up for bid every two years. We’re going to put in for it for next summer and try to kill that program. That’s how we’ll do lunch. It’s off-site, but it’s less than a mile away. It’s a different style of food. You get people that way and then transition them, “Hey, come off the beach, bring this flyer and come get a cocktail with us at 5 o’clock or 4 o’clock.”

A: That’s awesome.

D: That is what we’re thinking is the transition and the next move is to get lunch because you have a captive audience at the beach.

A: You guys are closed now because this is the worst time to be open in Covid. What are your plans for when you reopen?

D: We were debating for a long time. I was really stressing out about if we’re going to be inside, outside, or if we’re going to do both. I was really concerned that a lot of people are going to want this sense of normalcy and they’re going to want to go back inside. We had a comfortable bar. A lot of regulars and people tell us, “We can’t wait to go back to the bar.” I was thinking, if we don’t go inside, we are going to have a lot of disappointed people, and people want normal. The more we thought about it, there’s just no flow. The building wasn’t designed to do that. The server who is going out with food would have to be sharing the entrance with people coming in. It’s a really long haul from the kitchen. We were talking about putting in new doors and this historic farmhouse cut doors into the side to access outside. It was just getting more and more complicated. We were thinking, all right, we already have all this infrastructure for doing outdoor dining. It’s summer on Cape Cod. Most people are probably going to eat outside. Last summer, everybody had outdoor dining setups, but they were janky. There were a lot of crappy rental tents with cement barricades. Those places are not going to do that again. They’re all going to go back inside because it’s easier for them. We’re set back from the road and we have these lush gardens and it’s very private. There are string lights, and you feel like you’re somewhere else. We’re thinking, “Let’s just stick with outside, we have the model down. We can build upon it and let’s take a chance on being the only game in town doing extensive outdoor seating. We’ve got 20 tables. We can put 120 people outside. It’s substantial. Let’s try that again and own it.” Massachusetts is operating differently than New York, from what I can tell. There’s a reopening, and they lifted the capacity limits in Massachusetts. The only restrictions for indoor dining are six feet apart, but nobody can get vaccines. The governor is saying, “We know the vaccines are taking a long time, everyone needs to be patient. We’re racing against the variants to get everybody vaccinated but we’re excited to reopen restaurants and businesses.” We’ve gone this far, why don’t we wait until more people are vaccinated or restaurant workers are vaccinated? Going inside is somewhat contingent on hope and a prayer that it seems it’s trending in that direction, but I don’t know. What do we know for sure? Outside, it’s safe. It’s Cape Cod in the summer, people like sitting outside, we know we can execute it. Let’s just do it. And we have this rare opportunity where other towns are giving waivers to restaurants to do extensive outdoor dining in areas that they normally wouldn’t let you do outdoor dining. You have to have patios. You have to have all kinds of infrastructure to do it “properly.” They’ve allowed waivers last summer, and I just checked again and they are going to do it again this year. Let’s run with it. Why complicate it? Everybody can feel comfortable. We can continue doing the kid thing. That all being said, we know that transition back inside in the fall next year is going to be rough, because we have to completely reinvent the restaurant. We’re going to close for a couple of weeks and go back inside because it’s just too cold out here, as it is in New York. I’m not looking forward to that, but I think that’s going to be the play. That’s where we’re at right now. We’re on a break right now, but every day all we’re doing is trying to run through scenarios. If we’re not doing anything inside, we have to do outdoor bathrooms. Are people going to respond to that? Are they going to get angry? How do we do this? How is the flow going to work? It’s a lot of what-ifs and unknowns. It’s stressful, but it’s almost easier now that we decide we’re just going to be outside, as opposed to trying to think about half in, half out. That’s the play. I’ve had fun listening to all the podcasts about your predictions and trends. I was listening to the lemonade one. I’m like, “Huh, I should probably look into lemonade.” We’re doing a lot of research and trying to see, trying to glean as much information as we can to try to have the most efficient and best summer we can. On Cape Cod, summer is it. You make 80 percent of your revenue for the year in three months.

A: It’s crazy.

D: We’re hoping that this year will start earlier. Last year, it didn’t really take off until August, because everyone was locked down and they weren’t allowing rentals on the Cape until July. It sputtered along until August, and then took off. This year, as soon as the weather turns, it’s going to be on like a firehose. There are no rental properties on Cape Cod. You can’t find a place to stay. It’s wild. They just announced part of the reopening so now you can have outdoor gatherings of 150 people. And so, all the weddings are back on. All the resorts are booked. It’s going to be bananas. You want to be in the right position to receive all that. There’s not a whole lot of room for error, at least for us. We take it really seriously. We take every review seriously. If somebody doesn’t leave telling us how amazing a time they had, we feel like we failed.

A: It means you’re a good restaurateur.

D: We’re trying to have it all dialed in for this quick hit, and then we’ll cross the next bridge when we get to it.

A: Well, Adam, this has been an amazing conversation. I feel like I’ve definitely learned a lot about what you’ve been through, which is awesome. Hopefully, everyone who has listened has as well. I think if you are thinking about moving from a city into a smaller town, much of what you say is encouraging to people. I think you’re also a realist, which is great. It’s not going to be easy. You’re not going to go somewhere and be welcomed with open arms. I think your story is a really, really cool one. I really appreciate you sharing it with me.

D: My pleasure. The best takeaway is that the quality of life is incredible. That’s the biggest thing. At the end of the day, on any given day, our son goes to the lake in the morning and goes to the beach in the afternoon, maybe we go fishing. It’s this incredible, magic childhood. We love being here in the winter because it’s so quiet and beautiful. We have so much space, but nothing comes easy. That was our ultimate goal. We will figure out the other part of it. Don’t give up the fight, but just know that it’s definitely not easy.

A: Well, Adam, thanks so much again, I really appreciate it. I wish you the best. I can’t wait to come to The Pheasant sometime. I’ve actually never been to Cape Cod, so I’m going to have to go. People talk about how amazing it is.

D: Thanks for having me. It’s a pleasure.

Thanks so much for listening to the podcast. If you love this show as much as we love making it, then please leave a rating on review on iTunes, Spotify, Stitcher, or wherever it is you get your podcasts. It really helps everyone else discover the show.

Now for the credits, VinePair is produced and recorded in New York City in Seattle, Wash., by myself and Zach Geballe, who does all the editing and loves to get the credit Also, I would love to give a special shout-out to my VinePair co-founder, Josh Malin, for helping make all this possible, and also to Keith Beavers, VinePair’s tasting director, who is additionally a producer on the show. I also want to, of course, thank every other member of the VinePair team who is instrumental in all of the ideas that go into making the show every week. Thanks so much for listening, and we’ll see you again.

The article Next Round: Leaving NYC for a Small Town With Restaurateur Adam Dunn appeared first on VinePair.

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[delfinamaggiousa]

How Sommeliers Can Pivot to Other Wine Jobs

After months of unemployment as a result of Covid-19-related restaurant closures, some sommeliers may be considering new career moves within the wine industry. While positions in importer or distributor sales, wine production, retail, consulting, and wine writing may seem like natural pivots for somms, those who have already made the transition from the floor explain that there’s more to these moves than meets the eye.

Pursuing Sales Positions

Because a sommelier’s primary job is to sell wine to guests in order to generate beverage sales for a restaurant, other sales and marketing positions in the wine industry are common pursuits for somms looking to leave the floor. When Jeff Russell was ready to step away from his position as a sommelier at Terroir in New York, he joined the team at MFW Wine Co. as a sales representative. His wine knowledge, hospitality experience, and sales skills transitioned well, but there was still plenty to learn.

“It takes a lot more preparation than people think,” says Russell. Before visiting buyers, he suggests studying wine lists ahead of time, looking for open spots in the program, and bringing wines that will most resonate with the buyer. And for those who want to leave the floor to avoid the physical strain of restaurant work, be forewarned: In cities where personal cars aren’t prevalent, carrying a wine bag from appointment to appointment is still physically demanding.

While wine sales positions have experienced cuts as well — Russell himself was furloughed from his most recent position as the head of sales and marketing at Eden Ciders — he expects more available job opportunities once restaurants reopen. To find potential jobs, Russell suggests that somms reach out to contacts working with portfolios they like, and getting an understanding of which territories may need to be addressed.

Being a successful sales rep takes time and investment, though. “You’re not going to make a ton of money right away,” says Russell. “That only happens once you build up your territory.”

Many sommeliers look to sales positions at wine shops — or have even worked in wine retail in the past — because there’s a relatively light lift to transition from selling wine in a restaurant to selling wine at retail. However, Russell, who is currently working at Brooklyn Wine Exchange, notes that the interaction with consumers in wine shops is often different than it is in restaurants. “Not everyone wants an ‘experience’ in retail,” he says. “Not everyone wants to talk with you, and a lot of people want to get the same bottle over and over.”

Full-time marketing or brand ambassador roles with individual companies or regional organizations are often highly coveted — and rarely offered — positions. Often, obtaining these roles depends on contacts within the industry and specialized knowledge. While Jim Clarke joined the Wines of South Africa team as a full-time marketing manager in 2013, getting the job resulted from a strong relationship with the organization that he developed early in his wine career.

“Figure out what region you are passionate enough about that you can make that personal investment,” says Clarke, who specialized in South African wines early on and freelanced for the organization regularly before taking on a full-time role. It can also be helpful to gain a foundation in marketing and seek out experience in public speaking, as Clarke notes that it is much different than speaking at a table with guests.

It’s also important to understand how the wine industry works at all levels — especially retail — and to embrace every wine being represented. “As a sommelier, you tend to work with the fine wines of the world,” says Clarke. “Working with the wine that retails for $8 or $10 in big-box stores is also part of your job.”

Leaping to Writing and Consulting

Sales positions aren’t the only wine industry options for sommeliers. Some may be interested in the flexibility that writing and consulting can offer, and others may want to make the leap to winemaking. Clarke began writing about wine before he landed his first official sommelier position and continued to write on a freelance basis while working in restaurants.

“The most important thing is to learn how to pitch,” says Clarke, who took a Mediabistro class early in his writing career to hone his writing skills. “Learning to communicate with editors that way is vital to getting in the door.” If they want to pursue writing jobs, sommeliers must also accept that they will often be interviewing other experts as sources — even if they may know the information themselves.

“You have to check your ego,” says Clarke. “Not many people want your opinion without quoting sources, so you’re giving up being an authority on the subject.” He stresses the importance of crafting stories about wine, rather than including every fact about a region or style, and warns that freelance writing rarely pays the bills on its own; most freelance writers have other sources of income, like consulting, full- or part-time positions, or spousal support.

Though former Jean-Georges chef sommelier Kristie Petrullo expected that her consulting business would largely have her working with private collectors and managing home cellars, she quickly discovered that wasn’t the case. “Flexibility is the key to consulting,” she says. “I had to hustle and learn on the fly.” In addition to crafting beverage programs and working with private clients, she has worked as a guest sommelier, an educator and spokesperson, and more through Petrullo Wine Company.

It’s important to treat a consulting business like a business from the start: Formally create a business entity, get a business bank account, start a website, and create business cards. Most of Petrullo’s business happened organically through industry contacts, other consultants, and word of mouth, so she suggests that sommeliers leverage their networks — and be gracious to everyone they meet in their careers.

While the prospect of being independent is alluring, adjusting to a more solitary work environment can be tricky. “You need to be really organized,” says Petrullo. “You’re only held accountable by yourself.” Be disciplined with finances, time management, and schedules, and meet every client’s expectations by resisting the urge to overcommit. “Everything you do affects your reputation,” she says, “and it’s your entire livelihood.”

Moving Into Wine Production

Likewise, pursuing a winemaking position can be a shock. “Going from working in restaurants to a winery is a major change, one that wasn’t easy — physically or mentally,” says Chris Walsh, the owner of Little John Lane and the End of Nowhere in Amador City, Calif. When Walsh left his sommelier position at Corkbuzz in New York City to start his own winery in 2014, he found that his blind-tasting experience and familiarity with diverse styles of wine were helpful to the transition — but there’s plenty more for aspiring winemakers to learn.

“The more you educate yourself the better you’ll be,” says André Hueston Mack, who started Maison Noir Wines in Oregon’s Willamette Valley in 2007, after leaving his position as head sommelier at Per Se. He suggests taking an online winemaking class through U.C. Davis or getting an apprenticeship. Walsh, who interned at Donkey & Goat in Berkeley, Calif., admits that he had to shake off some preconceived notions about winemaking when he started.

“I think every somm should work at least one harvest as an intern at a smaller winery,” says Walsh, adding that small wineries offer a well-rounded and hands-on learning experience. Mack agrees, suggesting that sommeliers seek out opportunities to spend time in wineries and ask plenty of questions.

“All of these things are only gonna make you stronger at your job and also prepare you for life after the floor,” Mack says. These typically unpaid learning opportunities can lead to a cellar hand position, where an aspiring winemaker will typically stay for several years, adds Walsh.

The goal of launching a new winery adds another hurdle on top of simply entering the field of winemaking; as with any new business, it takes time and financial investment. “The wine business is a huge outlay of cash, and it could be years before you see any type of return,” says Mack.

“This is the kind of career change that takes years — plural,” adds Walsh. “Don’t expect to jump into winemaking and be making good wine — or even your own wine — three months from now.” Things like licensing and compliance with local and federal rules come before sourcing grapes or planting vines.

Even after the wine is made, success relies on the ability to manage logistics like pricing, storing, shipping, and marketing, as well as finding distribution. “[A misconception] is that making wine is good enough,” says Walsh. “You have to be very savvy about selling wine as well. It’s a lot to handle.”

Launching a Wine Startup

Other sommeliers might be thinking of pursuing new business ideas outside of wine production as full-time gigs or side hustles. Russell, along with partner Will Mcleod, who has experience getting startups off the ground, quickly launched virtual tasting company Bespoke Social Club after he was furloughed due to Covid-19. With sommeliers out of work and consumers drinking more wine at home, the duo saw a long-term business opportunity.

“I think it’s going to be awhile before anything gets back to normal,” says Russell, “so there will be a paradigm shift in the way people drink.” Bespoke Social Club sells $60 tickets to themed beverage classes, which gets purchasers a flight of six 3-ounce samples shipped to their homes, along with access to the live tasting. Between paying guest somms with a per-attendee fee and profit share, purchasing materials and wines, and packaging and shipping each flight of 3-ounce wines for classes, the new business has required plenty of manpower without much profit — yet.

“It was trial and error,” says Russell, who notes that the company has recently had success with private corporate tastings. But the most important thing for starting a new business is perseverance. “Just keep going,” he says. “Don’t automatically pull back, and don’t let it bring you down.”

The article How Sommeliers Can Pivot to Other Wine Jobs appeared first on VinePair.

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[peckoutyoureyes]

Opinion: 1001 Harlem Nights

How one man’s documentation of 80s Queer New York, with a store-bought VHS recorder, inspired Queer Cinema & Hollywood

In one of the late Nelson Sullivan's earliest videos, we see the videographer in his Meatpacking District apartment pointing his new lens on himself. In amongst the men in sequin dresses and thrift-store Liberace chandeliers, a pale skinned and ill-focused Nelson is seen trying to work his new fish-eye. “Like I think right now I'm out of the frame but if I was like picking my nose could you see it?” is almost jarringly cordial from the man who created perhaps the most personable and organic accounts of Post-Stonewall America, Equally, his darkly lit and busted videos don’t seem fitting to be amongst the first frames of the kaleidoscopic Club Kids. But Sullivan, his VHS camera, and neatly conservative moustache created a place for minority New York to wander and wonder the sprawling avenues on a piece of 35mm film.

Sullivan's vignettes defy traditional tropes of cinema and documentary in the sense that they never seek to entertain nor challenge. Instead, they present its subjects and location authentically. His films place us in some of the most expressive and sacred places for minority America with the people to match; from the murderous Michael Alig's infamous Monday night dances to RuPaul performing in The Tunnel. These venues and artist embodied the post-Studio 54 generation and, much in the same way the documenter of 70’s Brooklyn, Andy Warhol, was always armed with tape recorder in hand, Sullivan's 8mm serves as an extension to his coke-stained fingers and allowed a new type of medium to explore Downtown Nightlife. Indeed, in amongst Sullivan's many hours of footage there is recording of Andy Warhol at a signing, the camera is close enough to see Warhol's pupils skewed through his glasses but it also floats around the store to see Andy's everyday cultural successors. Sullivan's craft and new stars are indebted to the Pop Art movement but have managed to find their own red-tinted spotlight. Andy’s covert but also obvious contribution to the gay liberation movement of the 60s and his experimental films that explored the improvisation between fiction and reality are things that obviously influenced the work of Sullivan and indeed made his films possible in the first place. Sullivan’s films see people openly experimenting with sexuality and gender in a very public sphere with costumes that were only seen in sketchbooks but were now being paraded on the streets of Brooklyn. It would not be rash to say 80’s Queer New York and thus Sullivan would not be the same without Warhol.

Andy Warhol and Joey Arias, a core fixture at the Tunnel: The Club Kids version of Studio 54 

In amongst the videos of grey expansive Brooklyn, there are glimpses of home for the South Carolinan native. Sullivan was raised in a family that seems from his documentations decidedly old-American. His videos show his old Aunts in floor-length patterned dresses and big silver earrings on the way, in their aged Cadillacs, to the Pentecostal Church of his old gold-mining hometown. This seemingly white conservative upbringing that Sullivan experienced is what many, inspired by the cultural upheaval of the post-Stonewall movement, were trying to escape when they moved from Middle America to the coastal walls of their country, namely San Francisco and New York. Sullivan, still seems to have an affinity for home describing one of his Aunties as the “most loving person I have ever met” and saying he documents his home “as this is what I will have to remember of them when I am dead”. In the same way he gives a voice to the minority in his works, his videos of home give a charming but perhaps ostensible illumination of his vision of 80’s rural America.

The hazy ramblings of friends walking from mythical clubs to more fantastical after-parties, broke visionaries trying to borrow enough money to buy fruit from the store and drugs from the street are just that. Sullivan nor anyone seen in his videos ever expected the videos to be seen by a larger audience. But much like the generation who succeeded Warhol, the YouTube and Facebook generation have now been handed the baton as the curators of the artistic past. The videos have gained a cult following amongst YouTube audiences, the briefness of Sullivan's work perhaps catering to a generation more adept to scrolling than watching.

This conversion of grainy film to historical but artistic artefact could also be seen as a precursor to the trend of using home video not as a nostalgic archive but as a creative outlet. This trend can perhaps be first seen in the the context of the New Queer Cinema movement of the 90’s. The New Queer Cinema Movement (as coined by B. Ruby Rich) was used to describe a filmic shift in the 90’s to a creation of movies often brazen in sexuality and aggressively radical in form. Mainly found in the independent movie distributor cutting rooms and voluptuous tents of the film festivals of North America, creating such stars as Gus Van Sant and Todd Haynes. The movement moved away from the heteronormativity of Hollywood and exclusion of fringe society. Sullivan’s influential use of home video footage can be seen in the work of two directors in particular: Sadie Benning and Jonathan Caouette. Sadie Benning, a founding member of both New Queer Cinema and the feminist post-punk band Le Tigre, created the short film Jollies at just 15 on a literal toy camera. Likewise, Jonathan Caouette’s searing love letter to his mother and youth Tarnation was made up of home footage shot over a period of 8 years on a budget of less than $250. Both deal with the loosened grip on identity experienced when one is neither child nor adult and explore ideas of loss and sexuality. Even with their low budgets and isolations, both films experienced critical and artistic notice with Jollies being housed in the MoMA and Tarnation being screened at Cannes. The use of handheld camera and low budget film roll, like Sullivan, was not an artistic choice but an artistic necessity, none of them could afford to create their works on better cameras. So whilst the rawness of the footage may seem to match the rawness of the stories that are being told, need comes above preference; authenticity has always been an integral part of the New Queer Cinema movement. Like many other movements before, white straight male Hollywood has appropriated the New Queer Cinema movement without showing any queer identity itself, including the rise in the 2000’s of the use of the home recording film such as The Blair Witch Project and Paranormal Activity. In this way Sullivan could be seen in some respects as directly influencing facets of the Hollywood contemporary audiences engage with. Allowing queer youth of today not clawing to find their voice but being given a platform in order to express their views. 

Sadie Benning’s Jollies and Jonathan Caouette’s Tarnation

One of the reasons that queer youth fought to find their voice and create radical queer films in the 90’s was due to the AIDs epidemic that ripped apart the queer community the decade before. The communities that were blighted by the illness needed to find a voice to both deal with their loss and express their views on the matter. it would not be rash to assume that almost all of Nelson Sullivan’s subject either knew someone or themselves suffered from the epidemic. Omnipresent stalwarts of the Meatpacking District who are repeatedly spotted in Sullivan’s videos such as Keith Haring, John Sex, Cookie Mueller all lived and died with the HIV virus.. The early death of such trailblazing artistic voices inspired much of 90’s queer culture and stretching to today; to both honour and build upon artistic legacies finalised too soon. Sullivan has created an ode to this epoch of marginalisation but not in the traditional sense as he allows for these people to speak for themselves. The artistry of the people seen of course speaks for itself but Sullivan lets us see this is not limited to the canvas or stage, it was a part of their everyday lives and everything that they did and lets us glimpse the minority as a collective who shared the same values in life. Nelson Sullivan himself died on Independence Day ‘89. He was 41.

Nelson Sullivan’s cinematography skills may not be of the calibre of the greats, his work not filmed on the latest in image recording technology nor a big movie budget granted by a cigar smoking, pinstripe wearing executive. But he did not need that, he was part of a community that had stories to tell, the greatest parties in the world, a minority only just being allowed to speak for themselves. His reels of film developed from a camcorder worth less than a directors chair has influenced Queer Cinema and the Hollywood of today. Whereas Hollywood homogenised the idea of queer identity, taking ideas from Queer Cinema but not giving their films a queer voice, Sullivan’s movies were full of camp, unabashed screams of the evolution of queer identity that still resonates today.

The 5ninthavenue project is a YouTube channel devoted to the work of Nelson Sullivan

[auburnfamilynews]

John Reed-USA TODAY Sports

Auburn explodes for a huge win over a potential conference champ.

I have to admit, I was always more of a Crest man myself.

Auburn must be too, because the Tigers destroyed Colgate tonight at Auburn Arena by a score of 91-62.

It was the Samir Doughty show for much of the first half, as he scored 11 points before hitting the 20-point plateau for the second straight game. Everyone seemed to click in the opening period and Auburn put this one out of reach by the intermission on the way to a 5-0 record.

Samir Doughty didn't even bother watching the shot after breaking his defender's ankles. Cc: @AuburnMBB pic.twitter.com/dpycheUMCN

— NCAA March Madness (@marchmadness) November 19, 2019

Auburn opened the game on a 15-2 run, thanks to a pair of threes by Danjel Purifoy and some smooth facilitation from J’Von McCormick. McCormick’s jumper midway through the first half put the Tigers ahead 24-11, but they’d continue to build the lead quickly and easily. Threes by Purifoy and Doughty gave Auburn a 19-point lead, and the final four minutes was a clinic in finishing a half. Out of the under-4 timeout, a quick 8-0 run built a a 46-19 lead, and Isaac Okoro’s crushing dunk on the alley-oop just before the buzzer put Auburn on top 53-21 at the half.

Things didn’t slow down for the Tigers in the second half, and Colgate got to experience the full brunt of an Auburn team playing fast and loose. Less than four minutes into the half, a jumper from Doughty pushed the lead to 41 at 67-26, and Okoro’s transition throwdown boosted the margin to its largest of the game at 71-26 immediately after. Colgate would go on a big run, but they could only trim the lead down near 30 points, and Auburn kept them at that distance the rest of the way.

In the end, Samir Doughty led all scorers with 20 points on 7-13 shooting, including 4-9 from deep. J’Von McCormick finished with 14 points and 8 assists after setting the program record with 16 assists in the previous game against CSUN. Austin Wiley notched a double-double with 13 points and 10 rebounds, while Danjel Purifoy and Isaac Okoro both ended up with 11 points.

For the Tigers, this game showed that they may have found a certain rhythm. It was easy to start, and all through the first half. So far this season, Samir Doughty can do what he wants, and he’s playing like the best player in the SEC right now. Isaac Okoro has figured out his game and thrown aside any freshman tentativeness. He’s an explosive and dynamic player that impacts the action on all 94 feet. Meanwhile, Auburn seems to have found the J’Von McCormick that we saw during the NCAA Tournament last year. He’s looking like the replacement for Jared Harper, and the past couple of games have him seeing the floor and reading the defenses as well as Jared did last season. His 24 combined assists between Friday and now show that he’s carved out the role as the distributor.

Up next for Auburn, it’s New Mexico a week from tonight in Brooklyn. Tipoff for that game comes at 8:30 PM, with the winner taking on the winner of the Richmond/Wisconsin meeting. War Eagle!

from College and Magnolia - All Posts https://www.collegeandmagnolia.com/2019/11/18/20971790/game-recap-19-auburn-91-colgate-62

[pragueyeah]

"In 1986, at age 18, I left Missouri by train, pulling into Midtown Manhattan's Grand Central Station some 72 hours later. Until that point life had, quite frankly, been miserable, each and every day facing verbal and physical harassment as a queer-fag-pussy-AIDS bait. The climate in New York wasn't really so different. But from within my isolation I saw others isolated like myself. One of the places we met, in our self-containment, was on the dance floor. The nastiest and seediest clubs were located in Midtown. That's mostly where I DJ'ed, at tragic places like Sally's II and Club 59. In the early 1990's, Disney bought 42nd Street, closing the places around which transgendered life revolved for many of us. That "community of isolation" was scattered to other cities, other states, other countries. Isolated, still...." -- House isn't so much a sound as a situation. There must be a hundred records with voice-overs asking, "What is house?" The answer is always some greeting card bullshit about "life, love, happiiness...." The House Nation likes to pretend clubs are an oasis from suffering, but suffering is in here with us. (If you can get in, that is. I think of one time in New York when they wouldn't let me into the Loft, and I could hear they were actually playing one of my records on the dance floor at that very moment. I shit you not.) Let's keep sight of the things you're trying to momentarily escape from. After all, it's that larger context that created the house movement and brought you here. House is not universal. House is hyper-specific: East Jersey, Loisaida, West Village, Brooklyn - places that conjure specific beats and sounds. As for the sounds of New York dance floors themselves, today's house classics might have gotten worked into a set once in a while, but the majority of music at every club was major label vocal shit. I don't care what anybody tells you. Besides, New York Deep House may have started out as minimal, mid-tempo instrumentals, but when distributors began demanding easy selling vocal tracks, even the label "Strictly Rhythm" betrayed the promise of it's own name by churning out strictly vocal after strictly vocal. Most Europeans still think "Deep House" means shitty, high energy vocal house. So what was the New York house sound? House wasn't so much a sound as a situation. The majority of DJ's - DJ's like myself - were nobody's in nowhere clubs: unheard and unpaid. In the words of Sylvester: reality was less "everybody is a star," and more "I who have nothing." Twenty years later, major distribution gives us Classic House, the same way soundtracks in Vietnam war films gave us Classic Rock. The contexts from which the Deep House sound emerged are forgotten: sexual and gender crises, transgendered sex work, black market hormones, drug and alcohol addiction, loneliness, racism, HIV, ACT-UP, Thompkins Sq. Park, police brutality, queer-bashing, underpayment, unemployment and censorship - all at 120 beats per minute. -- house music looks at its own reflection in the water, breathes calmly for a while, and takes the plunge. these are the midtown 120 blues.