Live From The Hotel Edison Times Square Chronicles Presents, is filmed from the Hotel Edison and is a podcast extension of T2C. We are back after a small hiatus.

Today owner Suzanna Bowling talks with with Caricaturist Ken Fallin and his new book About Face. Fallin’s big break was in 1983 doing the posters and advertising for the popular satirical revue Forbidden Broadway. In 1987, he was commissioned by the Boston Herald to do a celebrity caricature every week in the Sunday arts and entertainment section. Fallin has illustrated roughly 500 notable people for the Wall Street Journal, including President Barack Obama, Paul Newman and Tim Russert for Peggy Noonan’s memorial of the newsman in the paper.

The Fabulous Ken Fallin

His Forbidden Broadway posters promoted the show in London, Tokyo and Sydney. Outside of entertainment, Fallin developed relationships with corporate clientele, particularly American Express, which engaged him on several national media campaigns as well as private work. Belvedere Vodka hired him to turn famous icons like the Playboy Bunny and Quentin Tarantino into bottles of the alcohol. Other clients have included HBO, Showtime and Walt Disney Productions.

Ken Fallin in Shubert Alley

His new book About Face is a distinctive art and cultural publication that brings together a broad collection of caricatures celebrating notable figures from entertainment, music, Broadway, Hollywood, and contemporary popular culture. Through expressive artwork and recognizable subjects, the book captures the personalities and visual character of individuals who have made an impact on audiences across different generations. The collection reflects the author’s ability to transform familiar faces into engaging artistic interpretations while maintaining recognizable characteristics. With its combination of artistic expression, cultural familiarity, and entertainment value, ABOUT FACE offers readers more than a traditional collection of drawings. It presents a visual journey through the personalities and cultural figures that have shaped entertainment and public life.

Join Ken Fallin on October 7th at New World Stages, 340 W 50th St, from 5 – 7 for the unveiling of his art with a wine and cheese soiree. You have been invited.

I am so grateful to Ken Fallin for his conversation, his joy of life and his art that captures the imagination.

We are so proud because the show and our guests are featured on the TV screens in the lobby and the hotel rooms.

Rommel Gopez, Ken Fallin, Suzanna Bowling

Thank-you Magda Katz for videoing and creating the content to go live, Rommel Gopez and The Hotel Edison for their kindness and hospitality, Broadway HD and Dr K and at 200 West 54th Street for giving me back my health and my smile.

We have been named by Variety Entertainment News as one of Summer’s Best Picks in the category of Best Television, Radio, Podcasts. The company we are in, has made us so humbled, grateful and motivated to continue.

“The Daily Geek Report” named host Suzanna Bowling on the list of Most Engaging Hosts.

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There are photographers who document New York society, and then there are photographers who become part of the society they document. Annie Watt belongs firmly in the latter category.

Sometimes a photograph does something far more important than document who was in a room. Walking into Watt’s 20th anniversary photography exhibition at The Consulate, hosted by owners Kiril and Miki Mihajlov, one photograph on the wall stopped me. There was Annie with Judy Gilbert and my friend Errol Rappaport, who passed away last year. For a moment, Errol wasn’t someone I was remembering. There he was again, caught in a living moment among friends. That is the peculiar magic of a photograph: it can collapse time. Someone who is gone can suddenly walk back into the room.

Prince Mario-Max

Nearby were photographs of Prince Mario-Max, another familiar figure in New York’s social and philanthropic world, among the many faces Watt has captured during a career chronicling New York—and, during the season, Palm Beach. Taken together, the walls weren’t simply displaying photographs. They held pieces of lives, friendships and celebrations, a social history preserved one shutter click at a time.

Rod and Judy Gilbert

On September 16, Watt turned the camera back on her own remarkable journey with a one-night-only exhibition and fundraiser celebrating 20 years of the Annie Watt Agency, 2006–2026. But the evening wasn’t simply about looking backward. Net proceeds benefited scholarship programs at the School of Visual Arts, helping promising young artists move forward.

For two decades, Watt has been a familiar presence at galas, benefits, openings and celebrations. Her ability to make people comfortable in front of a camera, coupled with her celebrated eye for posing, turned what began as the work of one independent photographer into the far-reaching Annie Watt Agency. As her bookings grew beyond what one photographer could handle, Watt began sharing assignments with other photographers, eventually building an agency whose work now extends from New York and the Hamptons to Palm Beach and beyond.

Highlighting other photographers work

The Consulate proved a natural setting for an exhibition built around people. Guests mingled over wine and delicious hors d’oeuvres while live jazz played and Watt’s photographs transformed the restaurant into a temporary gallery. The people in the room weren’t simply looking at photographs; many were part of the world those photographs preserve.Even better, guests were encouraged to take their portraits off the wall and bring them home, allowing the exhibition itself to disappear piece by piece as the evening progressed. What had been part of the gallery became a personal keepsake.

Under the scaffolding a fantasy blooms upon summer’s edge as the ladies at the helm of One Art Space bring Hunt Slonem and his colony of rabbits quite literally home to 23 Warren.

Renaissance of whimsy: Hunt Slonem at One Art Space

The arc of Slonem’s career itself is a masterworking of the American dream and this, his “Through The Looking Glass” exhibition, is an ebullient celebration that insists upon deliberate optimism, despite life’s grim particulars.

Unique Glass Bunny 2026. Courtesy Hunt Slonem

If NYC (battered, resilient, always game for wonder) is the looking glass, then the reflection here is sunny and, despite the state of the nation at large, spot on with whimsy.

The artist held court on September 10, 2026

Hunt Slonem at One Art Space

Here Hunt takes his ubiquitous bunnies, created with singular frolicking strokes that lop themselves onto an array of colored canvases and sends them multiplied throughout One Art’s bright expanse.

Oval Bunny 2026 oil on wood. Courtesy Hunt Slonem

Hunt Slonem at One Art Space

It’s a much larger experience of Slonem than when we shared gallery space at DTR last year. Now, the bunnies have birthed themselves into twisty glass and bright neon. They shimmer in huge lenticular display. At the far end of the exhibition a towering tea cake of bright pastel lurched stoically, Carroll-like and bunny festooned, natch.

Hunt Slonem at One Art Space

Producer Jamie de Roy

The artist, himself resplendent in a verdant green-patterned blazer, chatted amicably among book signing with press, collectors and fans. One Art Space always puts together a top class affair, and the passed small bites were equally creative. Guests sampled from a clever arancini set with tops cut off, revealing its nest of bedfellows marinara and mozzarella, as well as tiny rafts of thinly sliced rare roast beef on artisanal crackers, tuna tartare and heady truffles cuddled with Telaggio cheese in a tender vol au vent.

Hunt Slonem at One Art Space

Hunt Slonem at One Art Space

I couldn’t stay for cake, Manhattanites have just returned from their far-flung summer places and the season has started on steroids. However I trust that, just like Slonem’s hare harem, it too was an airy delight of soft fluff and — upon reflection — just what our collective needs.

Photography by Teddy Wolff

New York has seen just about everything parade through its streets, but on September 18 and 19, 40 life-sized buffalo will thunder through Lower Manhattan and Downtown Brooklyn—without creating so much as a hoofprint.

The extraordinary herd is at the heart of Return of the Buffalo: Tatanka Owe Akupi, a two-day public-art event conceived by Amir Nizar Zuabi in partnership with elders from the Lenape and Lakota communities. Billed as the largest interactive public-art experience in the country this year, the event combines spectacle, history, performance and ceremony while bringing the story of America’s national mammal directly into the streets.

Photography by Teddy Wolff

These are no ordinary puppets. Created by South Africa’s Ukwanda Puppets from recycled materials and assembled locally at St. Ann’s Warehouse in Brooklyn Bridge Park, the buffalo are remarkably lifelike. More than 150 volunteer puppeteers will bring the 40 animals into motion, transforming downtown New York into something between a migration, a theatrical event and a living work of art.

The creative pedigree should sound familiar. Zuabi and many of the artists involved were behind Little Amal, the unforgettable 12-foot-tall puppet representing a young Syrian refugee who walked through New York City in 2022. Amal turned sidewalks into stages and strangers into participants. This time, instead of one enormous child moving through the city, New Yorkers will encounter an entire herd.

Photography by Ant Strack

Beneath the visual spectacle is a much deeper story. The American buffalo was driven nearly to extinction during the 19th century, its destruction inseparable from the devastation inflicted upon Native communities whose lives and cultures were intimately connected to it. Its survival and restoration—due significantly to Native conservation efforts and their allies—makes the buffalo an unusually potent symbol of resilience, reckoning and repair.

New Yorkers aren’t being asked merely to watch from behind a barricade. The audience is invited to join the herd. As the buffalo move through locations carrying their own layers of American history, parks and plazas will become temporary stages filled with tribal ceremonies, gospel choirs, marching bands and live performance.

The impressive roster includes Rhiannon Giddens, Laurie Anderson, Native Pride Dancers, Pilobolus and the all-women Brazilian percussion band Fogo Azul, joined by First Nations tribal elders, civic leaders and additional performers.

On Friday, September 18, the buffalo take Manhattan, beginning at Bowling Green Park at 5 p.m. and making their way through Lower Manhattan before arriving at Foley Square at 7:30 p.m.

The following afternoon, Saturday, September 19, the herd crosses into Brooklyn. The procession begins at Abolitionist Place at 2 p.m. and travels through Downtown Brooklyn before reaching Brooklyn Bridge Park at 4:30 p.m.

Both events are free and open to the public.

There is something wonderfully audacious about releasing 40 buffalo into the visual chaos of New York City. Yet Return of the Buffalo promises considerably more than an irresistible photograph. It places an animal nearly erased from America back into the center of public life while asking us to remember what disappeared alongside it—and who fought to bring it back.

For two September days, New York won’t simply stop traffic. It will stop for the buffalo.