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In Gentrifying Atlanta, Black-Owned Food Businesses Are Banding Together to Survive—and Thrive

This story is from 13 Ways to Launch the Food Business of Your Dreams, where women entrepreneurs share their experiences and best advice on turning a passion for food into a career.Driving her minivan through Atlanta’s historic West End, Keitra Bates points out the signs of change. There are patterns, she tells me, when it comes…



In Gentrifying Atlanta, Black-Owned Food Businesses Are Banding Together to Survive—and Thrive

This story is from 13 Ways to Launch the Food Business of Your Dreams, where women entrepreneurs share their experiences and best advice on turning a passion for food into a career.

Driving her minivan through Atlanta’s historic West End, Keitra Bates points out the signs of change. There are patterns, she tells me, when it comes to determining which houses are occupied by long-term Black residents and which ones belong to the mostly white newcomers. Patterns you might not notice if you don’t know what to look for.

“This one kind of throws you off,” she says, nodding toward a squat gray bungalow. “’Cause you’re like, ‘That’s an inside couch, out on the porch. Maybe it’s not gentrified?’ But then you see the Prius, and then you see the landscaping. And you’re like, ‘Oh, okay. That’s more like it.’”

Through the passenger window, riding past block after block patchworked with renovations and For Sale signs, I begin to notice the patterns too. Soon they become impossible not to notice. “Yep, the colors of gentrification,” Bates sighs. “Blue houses, gray houses, yellow doors, red doors. It’s like a smoke signal.”

We pull onto Ralph David Abernethy Boulevard, the neighborhood’s commercial artery. “Now look there,” says Bates. “African hair braiding, wig shop, fried fish, chicken wings. There’s a guy selling oils out of a tent.” She smiles and waves to him. “My response to anybody who’s like ‘this is just a neighborhood’ is, ‘okay, well guess what, according to the census this is a Black neighborhood, because we are 87 percent of the people that live here. A wing shop is not just some whatever nothingness. These are the places that let us know where we are.”

A former rail crossroads not far from Downtown Atlanta, West End and its surrounding neighborhoods have been home to mostly Black residents since the 1960s, when desegregation and the civil rights movement prompted white flight to the northern suburbs. The sense of community is strong, which is notable in a city with a long history of segregating neighborhoods with racially motivated highway construction and redlining. (West End’s northern border is Interstate 20, which in the late 1950s was purposefully plotted as a “boundary between the white and Negro communities,” according to then-mayor Bill Hartsfield—co-namesake of the world’s busiest airport.)

Today, the area still boasts the oldest and largest consortium of historically Black colleges and universities in the country, one of the nation’s oldest and largest Black-owned bookstores, a multitude of urban farming initiatives, and a thriving network of Afrocentric plant-based restaurants. There’s Soul Vegetarian, a cozy cafeteria that’s been doling out black-eyed pea burgers and veggie gyros since 1979; Tassili’s Raw Reality, where you can order a shockingly tasty kale wrap the size of your forearm; and relative newcomer Slutty Vegan, a food truck turned brick-and-mortar phenomenon where people wait hours in line for jazzed-up Impossible Burgers topped with sweet jerk plantains and vegan bacon.

Marddy’s vendor Desmond Miller, a.k.a. Chef Boss Hog, created his dairy-free, nut-free, soy-free Yes Chef Vegan Cheese Sauce so that even folks with allergies could share in the creamy, cheesy goodness we all deserve.

Photo by Emma Fishman

Over the past decade, however, migration patterns have reversed and white folks have returned to the neighborhood in droves, buying up hundred-year-old Craftsman bungalows to flip or inhabit. Property values have doubled or even tripled, which is good for people trying to sell, but bad for renters who want to stay, thanks to the property taxes and rental prices that balloon as a result. The emergence of the BeltLine, Atlanta’s “glorified sidewalk” (or “river of gentrification,” if you ask Bates), which opened its Westside Trail at the end of 2017, has sped the deluge. And with a kind of chicken-or-the-egg synchronicity, businesses catering primarily to new white residents have popped up with a quickness, replacing what was there before under the coded banner of “revitalization.”

Bates, a mother and former schoolteacher who has lived in the neighborhood for more than a decade, doesn’t begrudge the newcomers themselves, but knows the changes they bring all too well. A sudden rent hike from new owners is what forced her to close her restaurant, Westview Pizza Cafe, back in 2016. And the resulting period of reflection—about culture and community and visibility and displacement—is what led her to buy a new piece of property in Ashview Heights, a small neighborhood that abuts West End’s historic district to the north, the following year. Knowing that properties like this one weren’t going to stay affordable for long, the purchase was Bates’ way of staking claim before it was too late—not just for her but for the Black community as a whole.

Today, that property is Marddy’s (short for Market Buddies), a shared kitchen, marketplace, and education center for Black food entrepreneurs. Here, Bates nurtures the kind of under-the-radar commerce that has long characterized Black communities around the country. Mothers who cater as a side hustle while their kids are at school and cookie bakers who set up shop in beauty salons and barber shops. Teasha Chestnut of Sugarholic Desserts, who sold her colorful Caketinis out of the back of her car before joining Marddy’s; Georgette Reynolds of Juiced Up Inc, who found customers for her fresh-pressed elixirs at the gym. “These fledgling bootstrap business owners are the keepers of our culture,” says Bates. “They are sustainable as long as you don’t disrupt the system, but the second you come in and close a barbershop, well, now you’re messing with their business model.”

When her son was diagnosed with Autism Spectrum Disorder, Georgette Reynolds turned to fresh-pressed juices as way of maintaining healthy gut bacteria to aid in his wellness. Today as a Marddy’s vendor, she helps others do the same with her company, Juiced Up Inc.

Photo by Emma Fishman

Nikishka Iyengar, founder and CEO of the Guild, an Atlanta-based social enterprise focused on community-led real estate development, concurs: “The people making products out of their homes or cars are also the people who might not otherwise have the means to do it in the most institutionalized, professionalized way, so they’re the first to get displaced from an income and wealth standpoint,” she says. “A place like Marddy’s changes that.”

Atlanta is by no means the only North American city in the throes of rapid displacement. According to a 2019 report published by the National Community Reinvestment Coalition, New York City, Los Angeles, D.C., Philadelphia, Baltimore, San Diego, and Chicago account for nearly half of the country’s gentrification. The patterns of West End mirror those of these other major cities, where shifting populations (namely, wealthy people moving into poorer urban areas) disproportionately displace Black and Latino residents.

This makes Bates’ work to preserve West End’s cultural legacy that much more powerful, Iyengar says. “Yes, there’s the physical displacement of Black people that happens with gentrification. But because of that, there’s also cultural erasure, where the Black-owned restaurant is replaced by the brewery or some other culturally white place.”

In 2017, at the West End’s southern border, the Atlanta branch of Dallas-based company Stream Realty opened a 23-acre mixed use property called the Lee+White Food and Beverage District. Here, you’ll find a collection of breweries, a distillery, a kombucha bar, and shops selling gelato and artisanal pickles. Its website makes much of “supporting local businesses” and “growing community.” Yet soon after the opening, when I asked co-managing partner Ben Hautt if any of the businesses are owned by Black people, he paused so long I thought the line had gone dead. “No,” he finally said.

The property has since been sold to a different firm, Ackerman & Co., but the demographics remain much the same.

King Williams, an Atlanta-based journalist and documentarian who has been studying the effects of gentrification on the city for more than a decade, has his own name for this particular phenomenon. “I call it bro-based gentrification,” he tells me. Those breweries and restaurants geared toward “replicating that college feel” that mostly white, educated newcomers enjoy. “They’re essentially frat houses,” he says. “Nothing is meant for the people there already. It’s meant for the people who are coming.”

Louis Deas, a 31-year-old Morehouse College graduate who left his nonprofit career to become a Marddy’s vendor, understands why the changes have happened but has mixed feelings about the results. Ultimately, he concludes, you can’t fight progress. But you can be strategic about keeping your cultural heritage intact. “Keitra is a business owner, but she’s still blackity-Black and she’s not going to change. I appreciate that. It helps me know what progress can look like for our city.”

Inspired by his grandparents and their bountiful backyard pecan tree, Marddy’s vendor and Deas Nuts founder Louis Deas coats his cashews, almonds, and pecans in addictive dessert flavors like cinnamon sugar and red velvet.

Photo by Emma Fishman

Bates says intentionality is more important now than ever, “with things all the way down to paint colors as representations of our culture. Because if not, we lose visibility.” And if they lose visibility, well, there goes the neighborhood.

I found a clear example of this paradigm in two separate conversations with Bates and Hautt, describing the same strip of property along White Street, where the Lee+White development now stands. When I asked what had been there before, Hautt, the developer, replied: “We had a tire retreader; a guy selling 60 socks for $5; we had basically like a—I don’t know how to describe it, but a used junk store.” He laughed. “Basically the people that drive around on trash day and grab a bunch of stuff. That guy compiled all of it in there and then would sell the working stuff. I mean we had just a total mess. It took a long time but we cleared that out entirely.”

Asked the same question, Bates said: “There was nothing but Black businesses and warehouses here. For years, this place was where you’d go and get socks and white tees, and then one day all of a sudden you see ‘going out of business, everything must go.’ There was an importer of shea butter and black soap, things that Black people like. Gone.”

Painted on Marddy’s exterior wall is a mural by Atlanta artist Fabian Williams, who goes by the moniker Occasional Superstar. The young, wide-open faces of Bates’ son and Fabian’s daughter are surrounded by a tableau of older folks, hands cupped around their mouths like they’re telling secrets, skin painted in swirling day-glo pinks, greens, and blues. These are those ancestors, says Bates. The ones Marddy’s honors by refusing to disappear. “Our mission is to make sure we have a permanent place. That no matter how much this neighborhood changes, we never have to seek permission to exist.” 

The building itself was erected in 1949 by a woman named Leila Williams, who turned it into one of the few full-service Black-owned restaurants in Atlanta at the time. For almost 40 years, Leila’s Dinette served steaming plates of fried chicken and greens to locals and icons like John Lewis and Spike Lee. After that it was a fried fish shop, and later a convenience store. “As far as I know, it has always been owned by Black people,” Bates says. “There’s a lot of power in this space. You can feel it.”

When she was first starting out, Georgette Reynolds sold her fresh-pressed juices, wellness shots, and cleanse packages at the local gym; now, thanks to help from Marddy’s, she’s able to ship them all across the country.

Photo by Emma Fishman

The building’s remodeled interior is bright and cozy: cream walls, potted palms, blonde wood shelving lined with old photos. Williams’s original lunch counter remains at the center of it all, and a painting gifted by her goddaughter Charlotte Riley Webb hangs on the wall. Until she passed away this month, Williams herself lived in a nursing home across town; in November, Bates joined the family in celebrating her 108th birthday.

Once cooks are accepted into the Marddy’s program and have completed the coursework for their food safety certificates (which Bates helps them acquire at a reduced rate), they get access to the kitchen and other resources for $15 per hour, about half the average rate for other shared kitchen spaces. The certification is an important step toward legitimizing these homegrown businesses in a commercial sense, allowing them to take on larger catering jobs and sell their food in more formal settings.

Marddy’s vendors Cris Ravarre and Megan Leigh of RAVARRE+CO offer catering, meal planning, small-batch plant-based spice blends, and dehydrated fruit garnishes for making fancy cocktails at home.

Photo by Emma Fishman

For Louis Deas, these practicalities were important, but it was Bates’s bold mission that ultimately drew him to Marddy’s. His company, Deas Nuts (pronounced “deez”—get it?) was inspired by his grandparents, who used to box up pecans from a tree in their backyard and send them to family members as gifts. Marddy’s offered the affordable commercial kitchen space he was looking for—and so much more. “It’s an incubator that’s specifically tailored for food entrepreneurs, but it’s not just about the money,” he says. “Keitra empowers us to give back to the community where we live in similar ways that she herself has given back.” That’s why, as Deas expands his business model from candy-roasted nuts (red velvet pecans! cinnamon sugar cashews!) to coffee and nut milks, he’ll also factor in ways to donate a portion of his proceeds to charity.

Marddy’s, then, is a disruption to the disruption—this kitchen, with its giant Hobart mixer and a gleaming six-burner stovetop, is a place where Deas can roast his nuts and partners Cris Ravarre and Megan Leigh of RAVARRE+CO can mix up their small-batch herb blends without worrying about rent hikes or displacement. It’s a place where Bahamian caterer Vera Browne of V’s Tate of 7000 Islands can develop her grandmother’s famous coconut and pineapple tarts into a frozen product line and chef Desmond Miller can come up with a business plan for getting his vegan cheese sauce on grocery store shelves.

“At Morehouse,” says Deas, “I was really involved in activism, but so many of my heroes died poor or broke. Keitra showed me I didn’t have to make a choice between being impactful and being stable and successful.”

Bahamas-born caterer Vera Browne has been whipping up coconut and pineapple tarts from her grandmother’s traditional recipe for decades. Marddy’s helped her develop V’s Taste of 700 Islands, a line of frozen, ready-to-bake mini tarts she’ll sell nationally.

Photo by Emma Fishman

Atlanta has long been a majority Black city, with a history of Black leadership and activism, nationally resonant cultural output, and its newest claim to fame—turning Georgia blue. But Iyengar points out that Black majorities have dwindled in other cities, like Oakland and D.C., as a result of thoughtless development. Even here in the so-called Black Mecca, Black residents are being pushed to the suburbs and even out of the city entirely; West End is just one example of a historically significant Black neighborhood experiencing that uncertainty firsthand.

In fact, other areas, like Atlanta’s Old Fourth Ward—the birthplace of Martin Luther King, Jr.—are much further along in what can feel like an inevitable process. There, gentrification began in the 1980s, but the story was the same: new development leads to skyrocketing property taxes leads to rapid displacement of a historically Black community. Now the neighborhood is less than half Black—a fate that Bates, Williams, Iyengar, and others fear could befall many more Atlanta neighborhoods if flashy food halls appealing to wealthy gentrifiers continue to be the norm.

But must notions of “progress” always lead to displacement and cultural erasure? Or could there be such a thing as good development—the kind that benefits long-term residents rather than steamrolling over them? In a South Atlanta neighborhood just ten minutes from Marddy’s, a massive new project called Pittsburgh Yards hopes to answer that last question in the affirmative.

The project is a partnership among the Annie E. Casey Foundation and local real estate companies including Columbia Ventures, a leader in the affordable housing field. (It should be noted that Stream Realty, the company that originally developed Lee+White, has stake in the project too.) At first glance, the 31-acre mixed use complex, located alongside the BeltLine’s soon-to-be Southside Trail, looks a lot like other developments in Atlanta: a series of sleek white edifices with big industrial windows, a shipping container marketplace, a centralized grassy lawn. But unlike Lee+White or Ponce City Market or the rest of the city’s new retail juggernauts, this space will include low-cost shared workspaces for local residents (starting at $350 a month) and apartments priced at 60 percent of the area median income.

“The idea was that it needed to be evident that we appreciate and respect existing residents and businesses, and that we want a space that will reinvigorate the community, not ‘revitalize’ it or redefine it,” says Erika Smith, AECF’s Senior Associate of Economic Opportunity and a key player in the Pittsburgh Yards project. With an impressive resume of equitable economic development work under her belt, Smith is clear about the coded buzzwords so often attached to big developments like food halls and breweries. “We see often, with developments that are targeting Black and Brown communities, that they’re attracted to the low cost of land or building, but they don’t see the existing community as an asset. They will curate their business tenants to essentially attract new homeowners, which results in increased property values and a new demographic mix.”

Pittsburgh Yards aims to do the opposite, says Smith, by making hyper-local community engagement a core tenet. The development team hosts monthly meetings for local business owners and residents, with committees focused on art and history and entrepreneurship to give residents “a sense of agency and ownership.”

It’s no coincidence then, that Bates is in talks to become one of the development’s anchor tenants, which would come with a new 2,000-square-foot commercial kitchen, cafe, and marketplace for Marddy’s vendors. “The attraction to Marddy’s is that it’s a Black-owned business rooted in the community and committed to addressing food entrepreneurs’ needs,” says Smith. “It’s a business that’s cultivating other businesses and harnessing the economic power that allows funding to circulate within the community.”

“After joining a commercial kitchen and receiving guidance from Marddy’s we were able to catapult our name and brand reputation by working directly with the community,” says Cris Ravarre of small batch spice company RAVARRE+CO.

Photo by Emma Fishman

Bates, for her part, is thrilled by the possibility of a partnership. “This is how development should be,” she says. “This is development for all—including the people who are already here. I want [Pittsburgh Yards] to be a flagship, a beacon, a prototype. Proof that you can get it done without everybody losing.” 

In the new space, Marddy’s would be able to significantly increase its number of vendors (from the current dozen to 30 or more) along with exposure and sales, since Pittsburgh Yards has built-in retail space, with indoor/outdoor cafe seating and regular business hours. “It means double the impact,” says Deas.

As far as Smith knows, Pittsburgh Yards’ approach is unique not just to Atlanta but the country at large. But she believes it can and will be used as a model for other cities and neighborhoods. “I think we have the opportunity to demonstrate the value of being a people-centric, mission-related design,” she says. This approach could help not only gentrifying boomtowns like Atlanta but low-to-middle income cities, like those along the Rust Belt, suffering from stagnation and disinvestment—a problem both highlighted and significantly worsened by the COVID-19 pandemic.

Giving communities a say in the development of their neighborhoods is not just ethical but smart business as well, says Smith. For example, if residents say they need an affordable grocery store, building one offers an immediate financial advantage to developers—a built-in, localized, and loyal customer base. Strong local brands that already have a following, like Marddy’s, also act as a destination for those outside the community, while still reflecting the community’s values. Paired with affordable office and retail space that prioritizes local residents (a studio for a fledgling music producer, a shipping container stall for a small ice cream business), the development becomes a business that investors see as worthy.

Of course, notes Iyengar, there are drawbacks to any major development, no matter how good its intentions, and some local organizers in Pittsburgh have doubts about the project’s long-term benefits. “Any time you create value in a neighborhood, property prices go up, and when property prices go up, that’s usually a signal for displacement,” she says. And because private developers will profit from Pittsburgh Yards, the project does not challenge traditional ownership structures in a way Iyengar believes to be radically transformational. (Iyengar herself is working on a smaller mixed use development in South Atlanta’s Capitol View neighborhood called Groundcover, which through a unique collective ownership structure will put equity entirely into the hands of local residents, rather than any developers at all.)

But still, considering how large and ambitious Pittsburgh Yards is, Iyengar feels cautiously optimistic. “In an ideal world, we’d completely dismantle capitalist systems, and maybe that’s possible in the future,” she says. “But a lot more intentionality and thought has gone into this project than any other development I’ve seen. It paves the way for a better kind of development.”

Only time will tell how Pittsburgh Yards fares in the coming months, years, decades, and what changes it will bring in the long-term. But the seeds it has planted—the very idea that Big Development can have a conscience—paired with its interest in partnering with grassroots organizations, is not insignificant. “The Casey Foundation is a behemoth,” says Bates. “You can’t ignore their power or their presence, and they’re in a position to work with partners like Marddy’s that are not willing to be quiet about displacement or gentrification or disrespect for what our ancestors have done.”

V’s Taste of 700 Islands mini tarts come in coconut and pineapple, and will soon be sold on grocery store shelves.

Photo by Emma Fishman

Since the pandemic hit last spring, Marddy’s, like most businesses, has been forced to adjust. Gone are the large-scale catering gigs that once brought significant income to their vendors (Bates is now planning to install a carry-out window at the original West End location so vendors will have a safely-distanced retail space). Negotiations on the Pittsburgh Yards expansion are taking longer than expected, though Bates is hopeful that the new space will open by early summer. 

But in the wake of challenges, new opportunities have sprung up.

This past summer, Marddy’s partnered with an urban farming initiative for the low-income community of Thomasville Heights. Students there, in partnership with students from a wealthy private school called Paideia, harvested vegetables together from a collection of Black-owned urban farms. Marddy’s chefs then took the produce and turned it into healthy boxed meals not just for Thomasville Heights students but for their families as well. 

“We were producing 1,800 meals a week out of 1,600ish pounds of local fresh produce from Black farmers,” says Bates. “It was by far one of our proudest moments. Our vendors could earn money while helping families that needed it.”

In a changing world, where inequity is a constant yet ever-moving target, perhaps there is no better illustration of what Marddy’s is all about than this: tackling systemic problems with mutually beneficial, small-but-scalable initiatives that just make sense. Being the connective tissue that bends but does not break.

“It proves that it’s possible to get past bureaucracy and red tape when people are really determined,” Bates says. “When people are really determined, we can do anything.”

Want to help support Marddy’s? Click here.

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News of the World, Sound of Metal Lead Movie Sound Editors Nominations

“News of the World” and “Sound of Metal” led all films in nominations for the Motion Picture Sound Editors’ Golden Reel Awards, the MPSE announced on Monday. The two films each received three nominations in the seven Golden Reel film categories, including in the Feature Effects/Foley category, the MPSE category that most closely corresponded to…



News of the World, Sound of Metal Lead Movie Sound Editors Nominations

News of the World and Noise of Metal led all movies in nominations for the Movie Noise Editors Golden Reel Awards, the MPSE announced on Monday. The 2 films each received three nominations in the 7 Golden Reel film classifications, consisting of in the Feature Effects/Foley classification, the MPSE category that most carefully corresponded to the Oscars Best Noise Modifying category.

( This year, the Academy has actually merged what were two sound classifications, Finest Sound Editing and Best Sound Mixing, into a single Best Sound classification.)

Other nominees in the effect/foley category were Cherry, Greyhound, The Midnight Sky, Tenet and Wonder Lady84 Movies with two nominations consist of The Trial of the Chicago 7, Ma Rainey s Black Bottom, The Midnight Sky, Tenet, Marvel Lady 84 and Greyhound.

Also Read:

Why ‘Mank’ Noise Designer Reserved an Empty Cinema to Make the Movie ‘Sound Old’ (Special Video)

In the television classifications, Snowpiercer, Better Call Saul, Ozark and The Queen s Gambit led all programs with three elections each, while The Umbrella Academy, Locke & Key, The Mandalorian, Marvel s Agents of S.H.I.E.L.D., The Right Things, Raised by Wolves, Star Trek: Picard and Westworld each got two.

The complete list of the individual candidates in each classification can be discovered at the MPSE site.

The winners will be announced on Sunday, April 16 in a virtual event. Director George Miller will get the MPSE Filmmaker Award at that ceremony.

Likewise Read:

Riz Ahmed’s ‘Noise of Metal’: How the Deep Space Silence of ‘Gravity’ Shaped Hearing Loss Drama

The nominees:

Outstanding Accomplishment in Noise Editing Feature Animation
The Croods: A New Age
Over the Moon

Impressive Accomplishment in Noise Editing Feature Documentary
Bee Gees: How Can You Heal a Broken Heart
Crip Camp
John Lewis: Good Problem
My Octopus Teacher
The Factor I Jump
Rebuilding Paradise
The Social Issue

Outstanding Accomplishment in Sound Editing Foreign Language Feature
The 8 Hundred
I m No Longer Here
The Life Ahead

Outstanding Achievement in Noise Modifying Function Underscore
The Undetectable Man
The Midnight Sky
News of the World
Sound of Metal
The Trial of the Chicago 7
Wonder Lady 84

Impressive Achievement in Noise Modifying Function Musical
Eurovision Tune Contest: The Story of Fire Saga
The High Note
I Am Woman
The Forty-Year-Old Variation
Ma Rainey s Black Bottom
The Senior Prom

Impressive Achievement in Sound Editing Function Discussion/ ADR
Ma Rainey s Black Bottom
News of the World
Sound of Metal
The Trial of the Chicago 7

Impressive Accomplishment in Noise Editing Function Impacts/ Foley
The Midnight Sky
News of the World
Sound of Metal
Wonder Woman 84

Impressive Accomplishment in Noise Editing Live Action Under 35: 00
Brooklyn 99: Lights Out
Dead To Me: If You Just Knew
Homecoming: Giant
I Might Ruin You: Eyes Eyes
A Parks and Recreation Special
Servant: 2: 00
Area Force: The Introduce
Ted Lasso: The Hope That Kills You

Exceptional Achievement in Noise Editing Episodic Short Form Music
The Alienist: Stubborn Belly of the Beast
Hollywood: Hooray for Hollywood
Selena: The Series
Snowpiercer: Trouble Comes Sideways
The Umbrella Academy: Valhalla
Vikings: The Very Best Laid Plans
Zoey s Amazing Playlist: Pilot

Exceptional Achievement in Noise Editing Episodic Short Form Dialogue/ADR
Babylon Berlin Season 3 Episode 12
The Flight Attendant: Other individuals s Homes
Locke & Secret: Crown of Shadows
The Mandalorian S2: Chapter 13: The Jedi
Marvel s Representatives of S.H.I.E.L.D.: What We re Fighting For
The Right Stuff: Flight
Snowpiercer: Difficulty Comes Sideways
The Umbrella Academy: Completion of Something

Outstanding Achievement in Sound Editing Episodic Short Type Effects/ Foley
The 100: The Last War
Hanna: The Trial
Locke & Secret: Head Games
The Mandalorian: S2: Chapter 13: The Jedi
Marvel s Representatives of S.H.I.E.L.D.: What We re Combating For
The Right Stuff: Flight
Snowpiercer: Difficulty Comes Sideways

Exceptional Accomplishment in Noise Modifying Episodic Long Kind Music/ Musical
Better Call Saul: Magic Male
The Boys: Absolutely nothing Like It in The World
Bridgerton: Shock and Pleasure
Ozark: Kevin Cronin Was Here
The Queen s Gambit: Adjournment
Raised By Wolves: Pilot

Impressive Accomplishment in Noise Editing Episodic Long Kind Dialogue/ADR
Much Better Call Saul: Something Unforgivable
Dark: Life And Death
Fargo: The Pretend War
Ozark: All In
Star Trek: Picard: The Impossible Box
The Crown: Fairy Tale
The Queen s Gambit: End Video Game
Westworld: The Mother of Exiles

Outstanding Achievement in Noise Modifying Episodic Long Kind Results/ Foley
Much Better Call Saul: Bagman
Devs: Episode 3
Ozark: All In
The Queen s Gambit: End Video Game
Raised By Wolves: Episode 1
Star Trek: Discovery: That Hope is You, Part 1
Star Trek: Picard: Et in Arcadia Ego, Part 2
Westworld: The Mother of Exiles

Outstanding Achievement in Noise Modifying Single Discussion
A Christmas Carol
The Comey Guideline: Episode 2
Into the Dark: The Existing Occupant
Self Made: Motivated by the Life of Madam C.J. Walker: The Fight of the Century
Unorthodox: Part 1

Exceptional Accomplishment in Noise Editing Non-Theatrical Animation Long Form
Batman: Death in The Household
The Boss Infant: Back in Company: Get That Infant
DuckTales: Let s Get Dangerous!
The Epic Tales of Captain Underpants: The Xtreme Xploits of the Xplosive Xmas
The Loud House: Schooled
Mortal Kombat Legends: Scorpion s Revenge
To Your Last Death

Impressive Accomplishment in Noise Editing Non-Theatrical Documentary
Be Water
Beastie Boys Story
Bruce Springsteen s Letter to You
High Rating Ep.1 Boom & Bust
Jeffrey Epstein: Rich: The Island
The Last Dance Ep.1
Laurel Canyon: A Place in Time: Episode 1

Outstanding Achievement in Sound Editing Non-Theatrical Feature
Bad Education
Blow the Male Down
The Bygone
Christmas On the Square
Troop Zero
The Ultimate Playlist of Sound

Exceptional Achievement in Sound Modifying Computer System Cinematic
Fate 2: Beyond Light
Ghost of Tsushima
The Last of Us Part II
Ori and the Will of the Wisps: Willow Event
Spider-Man: Marvel s Miles Morales
Star Wars Jedi: Fallen Order

Impressive Achievement in Sound Modifying Computer System Interactive Game Play
Ghost of Tsushima
The Last of United States Part II
Spider-Man: Marvel s Miles Morales
Star Wars Jedi: Fallen Order

Outstanding Achievement in Sound Editing Animation Short Kind
Archer: Cold Combination
Baba Yaga
The One In Charge Baby: Back in Organization: Escape From Krinkles
Clone Wars: The Phantom Apprentice
Star Trek: Short Trek: Ephraim and Dot
Wizards: Mesmerized

Impressive Accomplishment in Sound Editing Student Film (Verna Fields Award)
Kadalin Kural, Annapurna College of Movie and Media
Lakutshon Ilanga (When the Sun Sets), Dodge College of Film and Media Arts
Las Escondidas, Chapman University
Listen to United States, SCAD
Meow or Never ever!, The National Movie and Television School
O Black Hole!, The National Film and Tv School
Phantom Spectre, USC School of Cinematic Arts
The Unknown, The National Film and Television School

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Our favorite electrical standing desk is down to $235 at Amazon

If you purchase an independently reviewed product or service through a link on our website, we may receive an affiliate commission. Electric standing desks can be quite expensive, but they’re often worth the price now that so many people are working from home during the pandemic. The good news is that Amazon has a pair…



Our favorite electrical standing desk is down to $235 at Amazon

If you buy a separately examined service or product through a link on.
our site, we may receive an affiliate commission.

  • Electric standing desks can be rather expensive, however they’re often worth the price now that many individuals are working from house throughout the pandemic.
  • The good news is that Amazon has a set of great deals right now on popular Flexispot Electric Standing Desks, with rates beginning at just $23499
  • Flexispot’s updated EG1 Electric Standing Desk is just $25 more, making it a no-brainer if you want the added benefit of one-touch height modifications.

So many offices around the nation are still closed due to the coronavirus pandemic, which implies lots of people are working from home today who are used to operating in an office setting. A fascinating negative effects is that companies are finding out the simple fact that just as much work gets done when people operate remotely as when they’re entirely in an office. Now that companies are seeing just how much cash they can conserve, the pattern of working from house is only going to get increasingly more popular.

Regardless of whether you’re amongst the people who simply began working from home or you’ve been at it for years, you must certainly think about getting yourself a standing desk so you’re not sitting the entire time. The issue, of course, is that choosing a standing desk can be so much more tough than it appears.
List Cost: $1600(12%)Amazon Prime logo Offered from Amazon, BGR might get a commission Buy Now Readily Available from Amazon BGR may get a commission

The most inexpensive choices out there are typically tabletop desk risers and manual standing desks, however running them can be a pain. There are standing desks with electric motors that make changes a breeze, but they can cost a lot of money.

That is, unless you get one now throughout Amazon’s excellent Flexispot sale.

Flexispot’s EG1 Electric Standing Desk is a premier model that’s streamlined and trendy. It has a smooth electric motor and the capability to keep three various heights in its memory. If you desire to invest even less money, the Flexispot EC1B Electric Standing Desk in black that was a best-seller this previous Black Friday is now on sale for just $234

You almost certainly won’t discover any other electric standing desks this great for anywhere near these costs, so do yourself a favor and participate the action while you still can.

Flexispot Electric Stand Up Desk Workstation with 48 x 30 Inches Whole-Piece Desktop Ergonomic … List Price: $29900(13%)Amazon Prime logo Readily Available from Amazon, BGR may receive a commission Buy Now
Flexispot Standing Desk 48 x 30 Inches Height Adjustable Desk Electric Sit Stand Desk Home Offi … List Cost: $24900(6%)Amazon Prime logo Readily Available from Amazon, BGR may get a commission Buy Now

Here’s what you require to know from Amazon’s item page:

  • SPACIOUS WORKSPACE: The big work surface area measuring 48″ x 30″ is ecologically sourced and provides sufficient area for a range of screen or laptop setups, plus space for ongoing projects and office supplies.Please allow small 0-1 inch difference due to manual measurement.
  • ELECTRIC HEIGHT ADJUSTABLE LIFT SYSTEM: The motor lift system offers smoother height adjustments, from 28 ″ to 47.6 ″ (without 1 ″ thickness of tabletop consisted of), at a speed of 1 ″/ second with low noise( under 50 dB) while running.
  • STRONG BUILDING AND CONSTRUCTION: An industrial-grade steel frame integrated with a solid desktop allows for a 154 pounds. weight capacity to support your ideal work space setup.
  • LED MEMORY CONTROL PANEL: A 7-button controller with 3 programmable memory presets lets you set 3 wanted desk heights for convenient switching from sitting to standing throughout the day.
  • PLEASE NOTE: The product will be shipped in 2 separate bundles which may be delivered separately from each other. Some actions may require a drill, which is not included.

Flexispot Electric Stand Desk Workstation with 48 x 30 Inches Whole-Piece Desktop Ergonomic … List Price: $29999 Price: $25999 You Conserve: $4000(13%)Amazon Prime logo Readily Available from Amazon, BGR might get a commission Buy Now

Flexispot Standing Desk 48 x 30 Inches Height Adjustable Desk Electric Sit Stand Desk House Offi … List Price: $24999 Rate: $23499 You Conserve: $1500(6%)Amazon Prime logo Available from Amazon, BGR might get a commission Buy Now

Follow @BGRDeals on Twitter to stay up to date with the latest and greatest deals we discover around the web. Rates subject to alter without notification and any discount coupons mentioned above may be available in restricted supply.

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Feature: Forget Conserving Hyrule, Zelda: Ocarina of Time Is All About Fishing For Me

To celebrate the 35th anniversary of The Legend of Zelda, we’re running a series of features looking at a specific aspect — a theme, character, mechanic, location, memory or something else entirely — from each of the mainline Zelda games. Today, Kerry admits that she didn’t always stick to the proposed path when playing one…



Feature: Forget Conserving Hyrule, Zelda: Ocarina of Time Is All About Fishing For Me
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To celebrate the 35 th anniversary of The Legend of Zelda, we’re running a series of features looking at a particular aspect– a style, character, mechanic, area, memory or something else entirely– from each of the mainline Zelda video games. Today, Kerry admits that she didn’t always adhere to the proposed path when playing one of Link’s most famous adventures …

Did the Hero of Time triumph against his horrible foe, approving Hyrule a duration of peace and prosperity? Or … did the Hero of Time make a beeline for the fishing pond by Lake Hylia and hope the whole Ganondorf/time travel/world-saving organization was going to arrange itself out while he was preoccupied with pole-caught piscines?

That less-than-heroic third scenario’s how Zelda: Ocarina of Time always ends up playing out for me. One little building stuck in the corner of what (at the time of release) seemed like the biggest stretch of water video gaming would ever see somehow slowly transforming from a location where I went to when I desired a quiet break from Link’s legendary N64 adventure into the one location I really wanted to be whenever I turned the game on– and, at the height of my fascination, even when I switched on almost any other game too.

” Yeah this is great, but it’s not fishing, is it?” I ‘d say to myself as I browsed F-Zero X‘s twists and turns or gracefully cannon ‘d myself through the air in Pilotwings 64, indifferent towards the gaming riches that lay prior to me. It took me a long period of time prior to understood why I kept coming back to this “pointless” sideshow in a title bursting at the joints with more productive pursuits: in any kind and on any format, video gaming is constantly requiring more. I have actually got to be faster, tougher, much better, than I was last time. I’ve got to hunt down much more of whatever semi-hidden shiny thing I already gathered previously. I have actually got to complete the video game. I’ve got to 100% complete the game. I’ve got to move on and buy the sequel and do it all over once again.

The fishing pond isn’t like that. The fishing pond is a sanctuary of untouchable and unvarying calm, an opportunity to loosen up and to connect with a minimum of one walled-off part of one game completely on my own terms and at my own rate– and all of it starts with a simple wooden door stuck on one wall of a simple square structure.

Unlike Lon Ranch’s leap-able fencing to the grassy lands beyond, Kakariko’s open-village cucco-bothering, or numerous other picturesque backyard in Hyrule, there is only one way in or out of this secluded fishing pond, simply one NPC to engage with, and just the slightest tip of the world outside glancing through the trees that line the edge of this little location.

It’s a place without external diversions, and that implies it’s a place that allows you to focus on every stunning information present: the gentle sound of running water from the little stream feeding the pond, the bend of the rod, the lily pads floating aside as you learn them, the lure darting through the water to the movements of the analogue stick, and the sluggish death of time, brilliant blue days merging dusky orange nights to moonlit nights and back again.

It’s a location without external diversions, and that implies it’s a place that allows you to focus on every beautiful information present

For an area with very little going on (in the traditionally game-y sense, at least) it’s a highly tactile environment, a location that will constantly respond to whatever I wish to do but never need an out-and-in-again reset no matter what I attack-roll Link at or how many hours I sprinkle about. Nothing occurs here unless I desire it to, and absolutely nothing can ever wander too close and disrupt this tranquil swimming pool– there actually is nothing to do here aside from attempt and capture some fish.

I do not even need to be any good at it; whether I’m landing every fish that dares to come within 10 ft of the end of my lure or if I’m having an off day so bad I ‘d have much better luck diving in and trying to catch them with Link’s bare hands. Due to the fact that here, I’m not in a competition versus anyone besides myself. I can enter this location with the burning desire to invest a whole afternoon trying to capture a legendary lunker, or I can be here just to enjoy the screen go wibbly as I stand in the middle of the lake wearing a set of iron boots (blue tunic on, obviously) looking ludicrous as Link sticks his face underwater to try and get an excellent take a look at the fish, the pond owner no doubt questioning what the heck I’m doing and asking himself if 20 rupees for an unlimited fishing session was truly the very best business design he might create.

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But how could anyone resist gawping at those fish? They’re so happily plump with smooth underbellies and shining scales on top, all wearing an inscrutable expression hovering someplace between euphoric ignorance and utter shock. They’ll dart away when I get too close, attempt their finest to disregard me at the inmost part of the pond, and kick (or more precisely, flipping) up the earth as they resist the fishing line.

They do not, officially speaking, have private (or cumulative) personalities– however it’s tough not to declare one my own individual bane when a possible prize catch feigns interest until they’re practically touching Link’s sodden boots … prior to swimming away to the other side of the pond. And after that there’s the enigmatic Hylian Loach, the strange elongated silhouette who’s certainly always sometimes there, however never rather interested enough in the lure to bite … whatever takes place, all is forgiven when a big wheel lastly is available in, in some cases so huge even adult Link fights with their size, that reward catch of the day entering the tank on the counter as proof of my own little triumph; a customised keepsake of an enjoyable time that’ll still exist next time I return.

There are so very many great factors to keep returning to Ocarina of Time; the innovative dungeons, seeing Hyrule fleshed out in full-3D for the first time, the innovative usage of time travel, Epona, playing your own melodies on the ocarina, therefore much more– but for me nothing beats this tiny location that, in the grand scheme of things, goes no place and not does anything. I might not know how many fish I’ve captured or how big the most significant one of them was, but I do know whenever I open that wood door and pay my 20 rupees I’m precisely where I want to be.

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