Why Some Businesses Get Found Online, and Others Don’t, According to Marketing Expert Edmond Abramyan

NY Weekly Staff on October 12, 2026

The owner has done everything the old way, and done it well: repeat customers, steady referrals, a solid local reputation. Then one evening they type their own service and city into Google, the way a new customer would. Competitors with a fraction of their experience fill the first page. Their own business is nowhere, sometimes not even when they search its exact name.

The question that follows is usually some version of “why isn’t my business showing up on Google?” For many established service businesses, the honest answer has little to do with how good they are. It has to do with whether search engines, and now AI systems, can read them, verify them, and confidently recommend them.

Word of Mouth Now Gets Checked Online

Referrals still matter, but what happens next has changed. A friend recommends a dentist or an attorney, and the next move is a search: the name, the reviews, the map listing, the website. Some now also ask an AI assistant for a short list before calling anyone.

A business that doesn’t appear, or appears with an outdated listing and a thin page, loses a customer who was already halfway through the door. Getting found online is no longer separate from word of mouth. It is where word of mouth gets confirmed.

Photo Courtesy: Curious Fortune Media

A Good Website Isn’t the Same as a Findable One

Search engines don’t see a site the way visitors do. They read page titles, headings, and text to decide what each page is about. A homepage that crams every service into one paragraph tells Google very little, and without a dedicated page for each service, there is nothing specific to match against a specific search.

Details outside the website matter just as much. A Google Business Profile, directory listings, and review sites all carry the company’s name, address, and phone number. When those don’t match, search systems have less reason to trust any of them. A verified listing makes a business eligible to be found. It doesn’t make it findable.

“Most of the businesses I look at aren’t losing because they’re worse at what they do,” said Edmond Abramyan, founder of Curious Fortune Media. “They paid for a website that works like an expensive business card. It looks credible to a person, but it gives search engines almost nothing to read.”

The pattern is common at reputable firms, whose owners got a site that looked right and reasonably assumed the job was done.

Why Local Markets Reward Specificity

Google’s own guidance on local rankings names three factors: relevance, distance, and prominence. Relevance is how well a business matches the search, and distance is how far it sits from the searcher. Prominence, Google notes, draws partly on links from other websites and on reviews.

Relevance is where broad positioning quietly fails. Someone searching “emergency dentist open Saturday” is close to a decision, and that high-intent search rewards a page built for that exact need. A page claiming to serve all of Los Angeles with every service tends to draw broad, low-intent traffic that rarely calls.

Culver City shows how sharp that effect can be. Entertainment studios, tech companies, and direct-to-consumer brands compete for the same local attention in a compact area, and Curious Fortune Media points to it as a market where a clearly focused page tends to beat a general one in local search rankings.

Photo Courtesy: Curious Fortune Media

Search Now Answers Before It Lists

Google now answers many questions before showing links. AI Overviews are the summaries at the top of results; AI Mode is a conversational version of search. Both build answers from web sources and cite some of them.

A 2025 Pew Research Center analysis found people clicked a traditional result in 8% of visits when an AI summary appeared, versus 15% without one. That leaves many owners asking whether SEO is still worth it.

“People assume AI made search obsolete, but the AI still has to find its answers somewhere,” Abramyan said. “It pulls from sources it can check. A business that’s clear about what it does, consistent everywhere it’s listed, and mentioned on other sites gives it something to trust.”

That is the logic behind what Google calls E-E-A-T: experience, expertise, authoritativeness, and trustworthiness. Credentials, a real track record, and independent mentions help a system decide a source is safe to repeat. None of it warrants a mention, but as clicks shrink, being named inside the answer matters more.

Found, Trusted, Chosen: Why the Three Can’t Be Separated

Showing up is only the first step. A visitor still needs visible proof, such as credentials and outside references, and a page that makes the next step obvious.

Those pieces are often bought separately. One vendor handles SEO, another builds the site, and nobody owns how they fit together. Results feel inconsistent because the work is. That split is what Abramyan set out to close with the Authority Engine, which he developed for Curious Fortune Media to combine visibility, authority, and conversion into one system.

Many owners have been burned by marketing before. The answer is not avoiding it but knowing what to ask: which searches a plan targets, and how progress is measured beyond traffic.

For the owner who searched and found nothing, the gap was never about the quality of the work. It was about what search systems could read and verify. Visibility built this way tends to compound over months rather than weeks, and no one can honestly promise a specific ranking by a specific date.

An owner who searches the business name, the main service, and the city, then compares the name, address, and phone number on every listing that appears, often sees exactly why the business isn’t showing up on Google.

As AI answers take up more of the results page, the businesses that get named will be the ones that are clear, consistent, and referenced by others. Invisibility is rarely a verdict on the business. It is a problem with a fix.

Javier Guzman’s Riptide Reveals the Rise and Fall of a Decorated Undercover Cop

NY Weekly Staff on October 12, 2026

By: Blake Daniels

Javier Guzman’s memoir, Riptide: Cartels, Cocaine, and an Undercover Cop’s Fall from Grace, follows a career that began with ambition, accelerated through high-risk police work, and ended in a public collapse.

Guzman was born in Puerto Rico and later grew up in the South Bronx, where poverty, crime, and the constant presence of law enforcement shaped his view of the world. He admired an uncle who served as a Puerto Rican State Police officer and also trained with two police officers who worked as boxing coaches.

“Being street-smart and bilingual were necessary assets to survive in that atmosphere and later transferred very well into police work,” Guzman said.

His path to the badge was not direct. A high school guidance counselor discouraged him from pursuing a career with the FBI. Years later in Florida, he answered a Tampa police recruiting advertisement. He began as a uniformed officer and expected to remain there, but after two years he was transferred to vice.

Plainclothes assignments put Guzman into street-level drug and prostitution investigations. He proved effective, earned a promotion to detective, and moved into larger narcotics cases. His Spanish fluency, cultural familiarity, and confidence made him valuable to federal investigators. Eventually, the Tampa Police Department assigned him to a DEA task force, where he was the only Hispanic agent in the office.

“Riptide traces my rapid rise from a rookie cop in Tampa in the mid-1980s to an undercover vice officer and, by 1991, a detective on loan to the DEA,” Guzman said.

His undercover role required him to appear convincing to cartel operatives and money launderers. During an investigation tied to the Cali Cartel, he traveled repeatedly to New York, Los Angeles, Houston, Miami, and San Juan, collecting millions of dollars in drug proceeds packed in duffel bags.

Success, however, came with a psychological cost. Guzman spent long periods with targets, informants, and their families. The people he was expected to deceive began to feel less like case subjects and more like friends or relatives. He recalls crying when one target was arrested and telling his wife, Elizabeth, that he wanted to stop.

“I had become too close to the target, and when it came time to arrest him, it was like watching a favorite uncle go down,” Guzman said.

He did not leave. As Operation PROMO became more dangerous and complicated, the pressure intensified. Guzman went absent without leave after being ordered to return to uniform duty during the expected Rodney King unrest. He feared that being seen in uniform could compromise the undercover investigation. A police psychologist initially recommended that he be removed from the operation, but he eventually returned.

Guzman now sees those moments as warnings he failed to follow. He ultimately accepted money from cartel associates, an act that destroyed his career and led to prison. He estimates the amount at $20,000 to $25,000 and insists his actions were not driven by greed. He stopped accepting payments and says guilt led him to give some of the money to homeless people.

“Ultimately, the responsibility is all on me,” Guzman said. “I made the decisions that landed me in prison, and I own that.”

That ownership is central to Riptide. The memoir does not separate the excitement of police work from the consequences of compromised judgment, asking readers to hold both realities at once. Guzman does not present himself only as a victim of pressure, inadequate oversight, or institutional mistakes. He acknowledges those forces while emphasizing that he crossed the line. The memoir asks readers to consider how identity, loyalty, danger, pride, and emotional isolation can change judgment over time.

Guzman began writing in prison for therapeutic reasons. After his release, he worried that publication could disrupt his family’s life. A later invitation to speak at a law enforcement conference in San Diego convinced him that sharing the story might help officers recognize warning signs before a crisis becomes irreversible.

“I truly hope that my readers see that our failures in life don’t have to define us,” Guzman said.

Riptide is therefore more than a crime memoir. It is a candid account of professional achievement, moral failure, and the possibility of redemption. Guzman’s fall was public, but his effort to rebuild was quieter: working, starting a business, serving his community, attending church, and becoming a pastor for five years. His story does not erase the betrayal of the badge. Instead, it asks whether accountability and sustained change can create a meaningful life after failure.

Riptide is available on Amazon.

The Invisible Membrane of Grief: Daniel Isenberg on What the Bereaved Really Need From Us

NY Weekly Staff on October 12, 2026

By Liam Walters

When someone we love is grieving, we want to help. It is an almost irresistible instinct. We search for the right words. We offer reassurance. We bring food, send messages, make phone calls, and remind them that we are there. Sometimes, without meaning to, we begin looking for evidence that they are getting better. But what if helping isn’t really the point?

Daniel Isenberg came to that question through an experience he never wanted to understand: the death of his wife, Carla, after her battle with cancer, and the grief that followed. His memoir, This Book Is Not for You: My Loss, My Grief, My Healing, is an intensely personal account of that experience. Yet one of the most compelling ideas to emerge from it has less to do with how we grieve than with how the rest of us respond when someone else does.

Isenberg describes something that can exist between a grieving person and the people around them as an “invisible membrane.” It is difficult to imagine a better description. On one side is a person whose world has fundamentally changed. On the other are friends, relatives and colleagues whose world, despite their love and concern, largely continues as it did before. They can see each other, speak and sit in the same room, and still there can be an enormous distance between them.

For Isenberg, that distance revealed something about grief he hadn’t fully understood before experiencing it himself: profound loss can be extraordinarily lonely even when you are not alone. The loneliness isn’t necessarily created because other people don’t care. Often, they care deeply. The problem is that caring about someone’s pain and understanding the reality of that pain are not the same thing.

Isenberg is notably reluctant to tell people how to bridge that divide. “I don’t really have any good advice for people who are experiencing someone else’s grief,” he says. It is a surprising statement from the author of a memoir about grief. It may also be one of the wisest.

We live in a culture filled with instructions for difficult experiences. There are stages, strategies, steps, and roadmaps. There is an enormous market built around telling people how to heal and telling everyone around them how to help. Isenberg resists that impulse. He believes every loss is unique, and therefore every experience of grief is unique. The journey he took after Carla’s death could not have been mapped out for him by someone else. He had to discover it himself.

Perhaps the same is true for those standing beside the grieving. There may be no perfect thing to say, no sentence capable of reaching through that membrane and making another person’s pain understandable. And perhaps that is precisely where meaningful support begins, not with answers, but with recognition.

Isenberg believes that understanding how fundamental, transformative, and overwhelming grief can be may help people turn their good intentions into genuine connection. That distinction matters because good intentions are rarely the problem. The problem is what we sometimes do with them. We reassure. We explain. We compare one loss with another. We search for silver linings. We try to move the conversation toward tomorrow because remaining in someone else’s pain today can make us profoundly uncomfortable.

We want to make things better. Some things cannot be made better. They can only be witnessed.

That idea runs quietly through This Book Is Not for You. Isenberg did not initially sit down to write a memoir. He had been keeping what he describes as a diary of sorts, recording reflections, dreams, and conversations with what he eventually called “the Carla in me.” Then, one day in May 2025, he began writing. The words kept coming. He would sit down in the morning intending to write briefly and discover two hours had passed. At night, he would decide to record a few thoughts and find himself still writing hours later.

Only much later did he begin to consider that what he was creating might become a book. Underlying that decision was something deeply human: the need to be known. Isenberg came to recognize in himself a powerful desire for another person to understand his internal experience, to have, as he describes it, a window into what was happening inside his head and heart.

That may explain why candor became so important to the book. Isenberg does not describe his approach as bravery. He calls it “radical candor.” When writing about himself, he saw little reason to soften or censor what he had experienced because doing so would have defeated the purpose. If the need was to be known, then he had to allow himself to be seen.

There is an important lesson there for those of us on the other side of grief. Maybe supporting someone after devastating loss isn’t primarily about finding a way into their experience. Maybe it begins by allowing them to show it to us, without editing it, without hurrying it, and without demanding that it become hopeful, inspirational, or easier to hear.

Since publishing the book, Isenberg has discovered that readers often recognize their own experiences in something he originally wrote to understand his. That is the beautiful contradiction at the center of This Book Is Not for You. A book written for himself became meaningful to other people precisely because it wasn’t written to instruct them. It simply told the truth of one person’s experience.

And that may be the closest we ever come to crossing the invisible membrane. We cannot fully enter another person’s grief. We cannot know exactly what it feels like to wake up inside their loss, carry it through the day, and go to sleep knowing it will still be there in the morning. But we can resist the urge to stand safely outside it, offering solutions.

We can listen. We can allow grief to be uncomfortable. We can let another person’s experience exist without trying to turn it into something more manageable for ourselves. And when there is nothing useful left to say, perhaps we can simply remain.

The membrane may still be there. But the person on the other side doesn’t have to stand there alone.

To learn more about Daniel Isenberg, his work, and the story behind This Book Is Not for You: My Loss, My Grief, My Healing, visit his website. The book is available for purchase on Amazon.

Matthew Eck Brings a Concierge Approach to a Changing Advertising Industry

NY Weekly Staff on October 12, 2026

By: Sara Wolde

Matthew Eck’s path to the advertising industry did not begin in an agency conference room. It began with fine art and moved through events, hospitality and, eventually, media and advertising. That unconventional route helped shape his belief that successful advertising involves more than simply purchasing space or identifying an audience. It also requires understanding context, presentation and the people behind a campaign.

Those ideas ultimately led Eck to create The Ad Concierge,T an advertising company built around a more personal approach to planning and placing media.

“I think all of those experiences connect more than they might seem to on paper,” Eck said. “Fine art taught me how to think visually, how to communicate an idea, and how important context is.”

Events added another dimension, teaching him how to manage numerous moving parts while making the final experience appear seamless. Hospitality, meanwhile, left him with a lesson he has carried into advertising: people often remember how they were treated as clearly as they remember what they purchased.

When Eck entered advertising, those experiences influenced how he viewed campaigns. Rather than looking at media placement in isolation, he found himself considering the environment surrounding an advertisement, the creative material, the intended audience and the overall experience.

“Advertising brought all of that together for me,” he said.

The approach became the foundation for The Ad Concierge. Eck wanted to apply some of the principles associated with hospitality and design “attention, accessibility and service” to an industry that he believes can sometimes become unnecessarily complicated.

A client working with a traditional agency may interact with account executives, planners, buyers, vendors, creative departments and reporting teams before a campaign reaches the public. Eck saw an opportunity to simplify that process.

At The Ad Concierge, clients have a central point of contact who can help identify objectives, evaluate markets and media, develop a campaign, coordinate placement and manage reporting.

“For me, white glove does not mean making advertising feel expensive or exclusive,” Eck said. “It means being accessible, paying attention, answering the phone, and taking ownership of the campaign.”

That emphasis on personal service comes at a time when much of advertising is moving in another direction technologically. Programmatic media buying, sophisticated audience data, automation and artificial intelligence are increasingly part of the industry’s toolkit.

Eck is not resistant to those developments. He sees technology as valuable and uses it where appropriate. But he also believes greater access to technology makes human judgment more important rather than less.

“Technology doesn’t know a client the way a person does,” he said.

Understanding that client, Eck argues, means looking beyond whether an audience can technically be reached. It requires understanding why a company is advertising, what it wants to accomplish, what it can realistically spend and which form of advertising makes sense for its particular goals.

The answer can vary dramatically.

For one campaign, it might be a Times Square billboard. Another could call for Connected TV, streaming audio, digital display, local out-of-home advertising or a combination of several channels. In some cases, Eck said, good judgment means advising a client not to spend money on a particular opportunity.

“That judgment comes from experience and from actually listening,” he said.

Eck has worked across formats ranging from Times Square and digital out-of-home advertising to Connected TV, streaming audio, display and experiential campaigns. That range has reinforced another lesson: visibility alone does not ensure that an advertisement will be remembered.

“You cannot force people to care about an advertisement,” Eck said.

Even in Times Square, where some of the world’s most recognizable advertising screens surround millions of visitors, scale is only one part of the equation. A large logo on a large screen may attract attention, but Eck believes memorable campaigns depend on a combination of message, timing, placement and creative execution.

Different media also perform different jobs. Connected TV can provide room for storytelling. Streaming audio can reach consumers in another environment. Digital advertising can reinforce a message after an initial exposure. Out-of-home advertising can create visibility and scale, while experiential campaigns allow audiences to participate directly.

“The best campaigns understand what each medium is good at and make those pieces work together,” Eck said.

That philosophy reflects Eck’s fine-art roots as much as his advertising experience. He describes media as something more than inventory, with composition, environment and context playing roles in how a message is received.

As The Ad Concierge grows, Eck says his challenge will be maintaining the personal approach that inspired the company while expanding its capabilities. His vision is eventually to have multiple “Concierges” who can provide clients with access to a broad range of media while preserving the direct relationships associated with a boutique business.

Whether someone wants national exposure, a presence in Times Square or advertising focused on a single neighborhood, Eck wants the process to begin with the same question: What is actually worth doing?

“There are plenty of companies that can sell advertising,” he said. “I want The Ad Concierge to be the company people trust to help them figure out what is actually worth doing.”

About Matthew Eck and The Ad Concierge

Matthew Eck is the founder of The Ad Concierge, an advertising company working across out-of-home and digital media, including Times Square placements, Connected TV, streaming audio, digital display and experiential advertising. More information about Matthew Eck and The Ad Concierge can be found at The Ad Concierge website.

Be Free Craft Ice Cream Ranked #1 in Virginia Beach for 2026 

NY Weekly Staff 2 on October 12, 2026

Be Free Craft Ice Cream ranks first among ice cream shops in Virginia Beach. The café holds the number one spot on Yelp’s September 2026 list of the best ice cream in the city. On Google, customers give the shop an average of 4.9 stars across more than 400 reviews. A former Navy SEAL started the business with recipes he first tested in his garage.

 

A Café in Red Mill Commons

Several dessert shops operate along Atlantic Avenue near the oceanfront. Be Free chose a location farther from the beach. The café sits in the Red Mill Commons area on Elson Green Avenue, where it opened in 2024.

The team describes the shop as a café run for the neighborhood. According to the company, regulars act as taste testers. Their feedback decides which flavors stay in the case.

 

A Navy SEAL With an Ice Cream Machine 

Chris Fettes founded Be Free after 13 years as a Navy SEAL. He served with SEAL Team 10 and the Naval Special Warfare Development Group, with deployments to Iraq, Afghanistan, and Somalia. The café’s website credits him with more than 200 missions.

His interest in ice cream started long before the military. Fettes first cranked an ice cream machine at age eight in his grandmother’s kitchen. Years later, he packed an Italian ice cream machine, the Lello Musso 5030, for his deployments.

Overseas, Fettes made ice cream for his teammates and for local children. On a couple of occasions in remote locations, he pasteurized camel’s milk to make a batch. Pasteurizing is the process of heating milk to kill harmful bacteria. Few ice cream makers can list camel’s milk on their résumé.

After leaving the Navy in 2016, Fettes enrolled in the weeklong Ice Cream Short Course at Penn State’s Berkey Creamery. The course dates back to 1892. Penn State believes it is the country’s oldest continuing education course.

Back in Virginia Beach, Fettes started making ice cream in his garage. He launched Be Free Craft Ice Cream as a brand in 2022. WVEC 13News later featured the shop in its February 2025 Friday Flavor segment.

 

Where the Name Comes From 

The brand takes its name from a line by William Faulkner. The line holds that people must be free because they practice freedom, not because they claim it. The quote appears in Faulkner’s collected Essays, Speeches and Public Letters. The company’s Facebook page displays it beside the Be Free name.

The company website carries a related theme. It says every scoop, every shot of espresso, and every pastry is crafted with gratitude. A banner across the bottom of the site reads Crafted With Gratitude, Built With Courage, Made To Be Shared.

The business also gives back to military families. Every sale supports Gold Star families. Gold Star families are the relatives of service members who died while serving.

 

What Is in the Case 

Every scoop at Be Free starts with a recipe the shop wrote itself. The team makes its ice cream and gelato in house in small batches. The company’s commercial formula contains no artificial flavors, canola oil, or food dyes such as Red 40.

The recipes use guar gum, a plant based stabilizer that also works as a prebiotic fiber. Prebiotics are fibers that feed the helpful bacteria in the gut. Fettes plans to share more about the ingredient and why it differs from the fillers found in many commercial ice creams.

The case carries 11 flavors, always available. They include Sea Salt Assault, Milli Mint Cookie Chip, Blackout Cherry Chip, Cookie Commandough, Dark Matter, and Banana Stracciatella. Stracciatella refers to thin shavings of chocolate folded through the base. Three special flavors also rotate through the case, and the current lineup includes Oh my Gourd, Cake After Dark, and 24 Carrot Gold. The new 24 Carrot Gold is a carrot cake flavor made for fall.

Many flavor names nod to military language. Cookie Commandough even has a mascot that wears night vision goggles. The shop colors the flavor bright blue with blue spirulina, a natural color made from algae, instead of artificial dye. Past specials have included a flavor called Hive Recon.

 

The Flavors Customers Talk About 

Sea Salt Assault pairs sea salt ice cream with pralined pecans. The flavor draws frequent praise in reviews. One customer wrote that nothing else compares and recommended adding an espresso shot to make an affogato. An affogato is a scoop of ice cream with hot espresso poured over the top, and the café offers it on the menu.

Seasonal flavors rotate through the case during the year. Around Valentine’s Day, the shop served a raspberry white chocolate cheesecake flavor. A regular who tried it called the Valentine’s themed flavors off the charts. The same regular wrote about missing a past favorite called Pointman Pistachio. A point man is the soldier who walks at the front of a patrol.

Older specials still come up in reviews. A Tripadvisor visitor described a flavor called Hazelnutela as a dream come true.

 

Options for Guests Who Avoid Dairy 

Guests who avoid dairy have four vegan staples to choose from. The lineup includes Vanilla, Dark Matter, Coconut, and a Sorbet Special.

One vegan reviewer on HappyCow noted the pieces of chocolate inside the dairy free chocolate flavor. Another counted three vegan flavors and a sorbet on the day of the visit. The vegan scoops share the case with the dairy flavors. A family with mixed diets can order everything at one counter.

 

Service at the Counter 

Reviewers frequently mention the staff. Employees invite guests to taste flavors before ordering. One Tripadvisor reviewer wrote that visitors may try as many flavors as they like.

Sampling matters at a shop with an unusual menu. A new guest may not know what Blackout Cherry Chip tastes like. A small taste answers the question in seconds, and the café also sells a sampler of three mini scoops.

A family who visited after dinner described the room as relaxing. They also called Be Free their favorite ice cream shop.

 

A Café From Morning to Night 

Be Free Craft Ice Cream Ranked #1 in Virginia Beach for 2026

A barista pulls espresso at the Be Free coffee bar, which opens at seven in the morning on weekdays. Photo courtesy of Be Free Craft Ice Cream.

Be Free also operates as a full café. The coffee bar opens at seven in the morning on weekdays and serves lattes, cold brew, chai, and matcha. A pastry chef bakes the pastries in house.

The pastry case includes laminated pastries such as butter croissants and chocolate croissants. Laminated dough is folded again and again with thin sheets of butter, which creates flaky layers. Many bakeries now buy frozen pastries rather than laminate dough themselves. Mays, a longtime local bakery, recently named Be Free one of only six shops in the area that laminate pastries from scratch.

The menu also lists warm cinnamon buns, brown butter sea salt chocolate chip cookies, and oatmeal crème pies. Brioche donuts appear on weekends.

Morning regulars have their own favorites. The reviewer who praised Sea Salt Assault also called the morning protein coffee fabulous. The café offers free WiFi and outdoor seating.

Parking is free on site. Dogs are welcome on the patio during the warmer months.

 

Prices at the Counter 

Be Free Craft Ice Cream Ranked #1 in Virginia Beach for 2026

Founder Chris Fettes packs house-baked pastries for a to-go order at the counter. Photo courtesy of Be Free Craft Ice Cream.

The café menu lists a classic single scoop at $5.95 and a vegan single scoop at $6.95. The three-scoop sampler costs $9. A warm cinnamon bun costs $7, and a box of six pastries costs $29.

 

What the Ratings Show 

Be Free has more than 400 Google reviews and 90 on Yelp. Its Google average is 4.9 stars, while its Yelp average is 4.8. The café earned those ratings within about two years of opening.

 

Pints Headed to Grocery Stores 

Be Free plans to sell its ice cream beyond Virginia Beach. The brand is preparing seven pint flavors for grocery store freezers. Retail partners have not been announced yet.

Each grocery pint will use whole dairy and real ingredients, with no food dyes or artificial flavors. The company states that every pint is made in America. Until the grocery launch, guests can enjoy Be Free ice cream by the scoop at the café.

 

Visiting Be Free Craft Ice Cream 

Be Free Craft Ice Cream is located at 2336 Elson Green Ave, Suite 107, in Virginia Beach. The café is open seven days a week. From Monday through Thursday, the café opens at seven in the morning and closes at eight in the evening. On Friday, it stays open until nine in the evening.

Weekend hours start later. On Saturday, the café opens at eight in the morning and closes at nine in the evening. On Sunday, it opens at eight in the morning and closes at eight in the evening.

Guests can visit during any of those hours without a reservation. You can reach the café at (757) 301-2578, and it also offers gift cards and a rewards program.

Moiz S. Varind Joins Agentic Global Systems as Vice President

NY Weekly Staff on October 12, 2026

Texas-headquartered agentic AI company adds senior commercial leadership to lead global growth.

Rosenberg, Texas – Moiz S. Varind, former Head of Global Marketing at Devsinc, has joined Agentic Global Systems (AGS) as Vice President, Growth – Global. AGS, headquartered in Rosenberg, Texas, with delivery centers in Karachi, Lahore, and Islamabad, builds autonomous AI agents that plan, execute, and verify work inside enterprise systems. The appointment puts a revenue and marketing leader with senior experience at Systems Limited and Devsinc in charge of AGS’s commercial growth.

Agentic Global Systems characterizes itself as an AI-native technology company building intelligent solutions for modern enterprises. Its work spans agent orchestration, business applications on Microsoft Dynamics 365, Salesforce, and Odoo, data and analytics, generative AI, cloud, DevOps, and cybersecurity. The company reports more than 60 enterprise projects delivered and more than 10,000 agent runs a month, with clients in the United States, the United Arab Emirates, Qatar, the United Kingdom, Denmark, Singapore, and Australia.

At AGS, Varind will lead Growth, with responsibility for Global Growth functions across the organization. He joins from Devsinc, where he served as Head of Global Marketing from March 2025 to August 2026, having joined as Senior Director of Global Marketing in 2024. At Devsinc, he led go-to-market strategy, outbound operations, and revenue ownership across the company’s markets in the United States, the United Kingdom, Saudi Arabia, the United Arab Emirates, and Pakistan.

Before Devsinc, he spent nearly two years at Systems Limited, Pakistan’s largest IT company, as Marketing Manager, first leading the company brand and then the Pakistani market, with a remit covering brand development and lead generation. His career spans 15 years in B2B technology, FMCG, media, and consumer industries, with prior roles at Unilever, Siemens, and ADR Group.

“After 15 years of building go-to-market strategies and revenue teams across global markets, I wanted to be inside a company at the moment it decides what it will become. Enterprises have moved past asking whether AI agents work. They are now asking who will run them, measure them, and stand behind them a year after go-live. That is the conversation I intend for AGS to lead, and I am grateful for the trust the leadership has bestowed on me to take the numbers ahead,” said Varind.

AGS works with clients through three engagement models: a dedicated agent pod embedded in the client’s technology stack, managed operations with service-level agreements and round-the-clock oversight, and fixed-scope engagements that run from discovery to go-live. The company lists Microsoft, AWS, Google Cloud, and Salesforce among its technology partners.

About Agentic Global Systems

Agentic Global Systems is an AI-native technology company headquartered in Rosenberg, Texas, with delivery centers in Karachi, Lahore, and Islamabad, Pakistan. Founded in 2026, the company builds autonomous agents that operate enterprise software, alongside services in business applications, data and analytics, generative AI, cloud, DevOps, and cybersecurity. More information is available at Agentic Global Systems.

Media Contact:

Global.sales@agenticsysltd.com

Arshia Tariq

Arshia.Tariq@agenticsysltd.com

+1-415-691-0320

Why Leadership Training Fades by Monday and Steve Nolan of Ariel Group on Changing the Company, Not Just the Leader

NY Weekly Staff on October 12, 2026

By: Eva Keller

The program ends well. Participants rate it highly, say they learned something about themselves, and head back to work. Then Monday arrives. Steve Nolan, CEO of Ariel Group, who spent 18 years in media before moving into EdTech and then leadership development, argues that this is one of the main places leadership development fails. Changing the leader is not enough if the company around them stays the same.

The Survey Is Not the Result

Picture the participant who returns to work. They leave the session understanding their colleagues better and knowing where they need help. For example, they might need to develop listening skills or executive presence. Then the work resumes. “I go back on Monday, and the business snaps back, and I’m back to where I was in response mode,” Steve says, speaking as that participant.

The program then gets judged by a survey that shows everyone thought it was great, and the company runs it again. Steve calls that response one of the big problems with leadership development. A survey measures how people felt about the program. It does not show whether anything changed in the business.

Why Behavior Snaps Back

The reason is structural. “If the company structure isn’t changing, the behavior change is not going to last,” Steve says. Leaders in these programs need to change the things in the company that need changing, not just themselves.

People also watch the leaders above them for signals about what matters. A direct report who returns from training to a manager who carries on unchanged is reading exactly those signals. Steve names leadership alignment as a related problem: leaders who are not aligned cannot deliver the business impact their boards, investors, bosses, and customers expect.

What Changes the Outcome

Ariel Group’s approach starts before any curriculum is chosen. When a client wants to put a group through something as fast as possible, the first job is to test the diagnosis: “Let’s make sure it’s a problem and not a symptom.” Facilitators sometimes join before the program is designed, because the work may span multiple languages and locations.

Attendance matters as much as content. Training leaders in one room and their direct reports in another, on something completely different, limits what a program can achieve. The better design puts both groups on a shared business problem.

Delivery matters too. Ariel Group’s training business was started by people in the performing arts, so participants get up and do the work instead of sitting and scribbling notes in a conference room. Storytelling is one of its core programs. The company also partners with an AI company on a tool that lets leaders rehearse difficult conversations, such as reporting to executives. Steve calls the tool objective, discreet, and private. A leader can fail in front of it without anyone knowing and get instant feedback.

Ariel Group works mostly with very large enterprises. According to Steve, the company reports strong Net Promoter Scores and long-term client relationships, some lasting more than a decade.

The Case for the Program Anyway

When behavior change can’t be proven, there’s still a case for the program. Steve agrees. Being chosen for a program can lift retention, and participants gain time in front of their bosses. “You’re always going to come out better than you went in,” he says.

But a retention bump and a change in how the business operates are different results. A company that wants the first can enroll people in a program. A company that wants the second has to be willing to change its own structure alongside its leaders.

That makes the question for any company about to fund a program simple. It is not how many people will attend. It is what tangible effects the program will have for the organization on the following Monday.

How NuriEdge’s Founders Are Making Personalized Development Scalable

NY Weekly Staff on October 12, 2026

By: Natalie Johnson

“This is just who I am. I just blow up, and then I apologize.”

Mariana Merritt, CSO and co-founder of NuriEdge, uses that line to describe how people talk about habits they assume are fixed. Her answer: “You don’t have to.”

The harder question is when someone gets the chance to hear that. Many organizations wait to offer serious coaching until a person reaches the executive level, after years of handling conflict, feedback, and pressure in whatever way they worked out on their own.

Merritt’s co-founder, Lacey Mathews, NuriEdge’s CEO, has spent more than 18 years building products across three ventures, and she sees that timing as backward. Coaching has historically been too expensive to offer people at earlier stages of their careers, she notes, so companies reserve it for executives who have already spent years building habits, some of them bad ones. The easier window for building positive habits comes much earlier, before the bad ones become a problem.

For learning and development leaders, that timing has a cost. A new manager facing a first difficult performance conversation, or an individual contributor learning to push back on an unrealistic deadline, is forming patterns they may carry for years, often without anyone to rehearse with. Workshops and leadership programs reach those people, but they happen at a fixed point in time and compete with the workday the moment they end. “You get back to your desk, and you’re like, OK, now I’m back to my job,” Mathews says.

Their AI coaching platform is designed to give those people the kind of practice once reserved for executives, available to every member of a team, leaders and individual contributors alike, at the moment they need it.

Photo Courtesy: NuriEdge

Turning a Program Into Daily Practice

NuriEdge draws on a broad library of coaching strategies and methodologies, including approaches from behavioral psychology. Organizations and coaches can also upload their own material, so sessions reference the frameworks a team is already learning.

“If you have your team working on something, you can load that into the system, and the coach will keep that content and that concept going,” Mathews says.

The second piece is structure. A leader, program administrator, or coach can schedule practice sessions directly into a person’s calendar, along with a short description of what to work on. When the person starts the session, the platform opens the conversation around that assignment. Mathews describes how a coach might map out a sequence: “week one, practice this, Week two, practice that.” Each session ends with a summary of key insights, takeaways, and action items to carry into the next conversation.

For an L&D team, that changes what a program can look like. A workshop on giving feedback no longer has to end when the room empties. It can continue as a series of short, individual practice sessions, each shaped by the organization’s own material and by what that particular person is working on. Some coaches are exploring the platform for the same purpose, giving clients a place to practice between sessions instead of waiting two weeks to pick up where they left off.

Personal Means Remembering the Person

Scale usually forces sameness. A module delivered to an entire workforce has to work for everyone, which means it cannot account for the manager who avoids conflict or the one who escalates too quickly. The platform keeps a memory of past sessions, which lets it point out patterns over time, the kind of insight people often associate with working alongside an executive coach.

Merritt, a social worker by training, has spent more than 15 years observing how leaders, individual contributors, and organizations navigate the gap between theories of change and the realities of changing behavior. She sees awareness as the starting point for meaningful growth. “Nuri helps bring awareness, which then I think gives people the opportunity to work on things that are otherwise unexamined,” she says. The patterns people carry on autopilot are exactly the ones a single workshop rarely reaches.

The guidance is grounded in the science of nervous system regulation, which Merritt describes as what separates NuriEdge’s coaching from good ideas or common sayings. In practice, much of it is brief. People can talk or type, and the platform leans on short micro-practices that help someone settle and refocus before the next meeting, since few people have room for a long exploration in the middle of a workday. Merritt wants support that is “not only on demand, but immediately empowering and immediately actionable.”

Why Privacy Is a Condition for Scale

Once development reaches an entire workforce, organizations naturally want to measure it, and measurement can quietly undermine the honesty that makes coaching work. If people believe their manager is reading along, they rehearse the version of themselves they want the company to see.

NuriEdge addresses that by keeping sessions private by design. Leaders and administrators see progress, such as the goals people are working toward and how often they practice, so a manager might see that a goal of staying calm in conflict was practiced five times. They never see what was said in the sessions themselves.

Mathews explains the reasoning in terms of what happens without that protection. “It will just be a front if they’re trying to remain impressive, which could be the whole reason they need Nuri in the first place,” she says. Merritt puts the principle more directly: on the platform, “your growth will never be weaponized against you.”

For L&D leaders, that design choice may matter as much as any feature, because progress data means little if people were performing for it.

Why Coaching Should Start Sooner

Timing and privacy turn out to be connected. Someone early in a career, still working out how they handle a hard conversation, needs a place to practice that will not follow them into a performance review. That is the kind of space NuriEdge has built: personal enough to change a habit, and private enough that people will practice honestly.

The real test of any development program is what people do weeks later, in a conversation no facilitator will see, and the habits that shape that conversation are easiest to build early. If the support once reserved for executives can reach people at every level, shaped by an organization’s own content and available in the minutes before that conversation, the question for L&D leaders becomes how quickly they can put it in everyone’s hands.

More information about the platform is available at nuriedge.ai.

“30 Rock” Cast Reunites at Radio City for 20th Anniversary Show Benefiting Boys & Girls Club of Harlem

NY Weekly Staff 2 on October 12, 2026

The cast of “30 Rock” reunited at Radio City Music Hall on Sunday, October 11, 2026, for a one-night-only, never-to-be-televised 20th anniversary celebration. All net proceeds from the sold-out show go to The Boys and Girls Club of Harlem, which serves more than 2,000 young people each year.

Key Takeaways

  • The reunion was held on October 11, 2026, exactly 20 years after “30 Rock” premiered on NBC on October 11, 2006.
  • All net proceeds benefit The Boys and Girls Club of Harlem’s after-school, academic, and career programs.
  • The event will not be broadcast or streamed, so the only way to see it was to be in the room.
  • Tickets went on general sale August 27 and sold out ahead of the show.
  • “30 Rock” ran seven seasons and 138 episodes, earning 16 Emmy Awards from 103 nominations.
  • The venue sits steps from 30 Rockefeller Plaza, the NBC headquarters that gave the series its name.

A Rockefeller Center Homecoming Twenty Years in the Making

The “30 Rock” anniversary celebration was a short walk from where the show’s story was set. The series took its name from 30 Rockefeller Plaza, home of NBC Studios and “Saturday Night Live.” Tina Fey drew on her years as that show’s head writer to build a sitcom about the backstage chaos of a fictional sketch program called “TGS.” Placing the reunion at Radio City Music Hall, inside the same Rockefeller Center complex, turned the night into a homecoming rather than a standard fan event.

The timing was deliberate. “30 Rock” premiered on NBC on October 11, 2006, and the reunion landed on that same date two decades later. The lineup included Tina Fey, Alec Baldwin, Tracy Morgan, Jane Krakowski, and Jack McBrayer, along with members of the extended ensemble and unannounced special guests. Organizers promised games, surprises, and what the official announcement called “nonsense,” a fitting description for a show built on rapid-fire absurdity.

Tina Fey set the tone in the announcement with a line pulled straight from the show’s sensibility: “Listen up tens, a five is speaking!” She followed it by quoting an early critical pan of the series. That kind of self-deprecation was central to how “30 Rock” treated its own network, its corporate parents, and the entertainment industry for seven seasons.

The Boys and Girls Club of Harlem Receives All Net Proceeds

The charitable partner gives the evening a weight that goes beyond nostalgia. The Boys and Girls Club of Harlem has served young people in Upper Manhattan since 1980, and its programs now reach more than 2,000 Harlem youth each year. Every dollar of net proceeds from the Radio City show goes to the organization’s after-school, academic, and career programming.

“We’re honored to be named the charitable partner for this celebration,” said Shaba R. Keys, president and CEO of The Boys and Girls Club of Harlem. Keys framed the funding around helping Harlem young people chart their own paths forward. For a neighborhood organization, a sold-out night at a venue with nearly 6,000 seats represents a meaningful, unrestricted infusion of support.

The choice also fits a pattern in New York’s entertainment economy. Large-scale, one-night celebrity events have become a reliable way to move money directly from fan enthusiasm into local community programs. The model works best when the cause has a clear neighborhood tie. Here the link is a Manhattan-made comedy sending its anniversary proceeds uptown to Manhattan kids.

Why the Show Stayed Off Television

The decision to keep the “30 Rock” reunion off the air is the most unusual part of the event. Most cast reunions today are designed as content, packaged for streaming platforms and sliced into social clips. This one was built only for the audience inside Radio City Music Hall, which made each ticket the sole point of access.

That scarcity likely drove demand. Presales opened August 26, the general sale followed August 27, and the show sold out well before Sunday night. The format works more like a theatrical benefit than a television special, and it rewards the New Yorkers who showed up in person.

The approach mirrors a broader trend of comedy events across the city leaning into live, unrepeatable experiences. A recent example was a one-night-only comedy show aboard a decommissioned Staten Island Ferry at Pier 17. Both events show New York audiences responding to performances that exist only in the moment and only in the city.

A New York Production From Start to Finish

“30 Rock” was a New York show in practice as well as in premise. Interior scenes were filmed mostly at Silvercup Studios in Long Island City, Queens, and the series was produced by Broadway Video and Little Stranger, Inc. Across its run from 2006 to 2013, the show collected 16 Emmy Awards from 103 nominations, plus six Golden Globe Awards from 17 nominations.

The anniversary celebration closes that loop. A comedy written, filmed, and set in New York marked its 20th year on a Midtown stage and sent the proceeds to a Harlem youth organization. For the city’s cultural calendar, the night offered a rare mix of entertainment history, local philanthropy, and an event that will stay unrecorded.

FAQs

When did the “30 Rock” 20th anniversary reunion take place?

The reunion took place on Sunday, October 11, 2026, at Radio City Music Hall in Midtown Manhattan. The date marked exactly 20 years since the series premiered on NBC on October 11, 2006.

Will the “30 Rock” reunion be televised or streamed?

No. Organizers announced the event as never-to-be-televised, so it was available only to the audience at Radio City Music Hall.

Who benefits from the “30 Rock” reunion proceeds?

All net proceeds go to The Boys and Girls Club of Harlem. The organization funds after-school, academic, and career programs for more than 2,000 Harlem young people each year.

How many episodes and awards did “30 Rock” have?

“30 Rock” ran for seven seasons and 138 episodes from 2006 to 2013. It won 16 Emmy Awards from 103 nominations and six Golden Globe Awards from 17 nominations.

Where was “30 Rock” filmed?

Interior scenes were filmed mostly at Silvercup Studios in Long Island City, Queens. The show’s title refers to 30 Rockefeller Plaza, home of NBC Studios in Manhattan.

How to Choose Gymnastics Leotards for Training and Competitions

NY Weekly Staff on October 12, 2026

By: Jay Kt

Understanding the Fundamental Differences Between Training and Competition Attire

Selecting the right gymnastics attire is a nuanced process that balances technical requirements with personal expression. The needs of a gymnast during a grueling four hour training session differ significantly from the requirements of a three minute floor routine under bright arena lights. Training leotards, often referred to as practice or tank leotards, prioritize comfort, breathability, and ease of movement above all else. These garments must withstand repetitive friction against bars, beams, and mats without causing skin irritation or losing their shape.

Competition leotards, on the other hand, are high performance garments designed to make a visual impact. They often feature intricate designs, crystals, and specialized fabrics like mystique or hologram foils that catch the light. While they must still allow for a full range of motion, they are often constructed with more compression to provide a sleek, professional silhouette. Families comparing high quality options can browse the range of gymnastics leotards and gymwear at Gymnastics Express to weigh aesthetic appeal against functional durability.

Training Leotards for Daily Rigor

For daily practice, the focus should be on soft, stretchy fabrics like nylon spandex blends or brushed polyester. These materials move with the body and manage moisture effectively. Because gymnasts spend hundreds of hours in these garments, the seams must be flat locked to prevent chafing. High necklines and wide shoulder straps are preferred for training as they provide better coverage and support during complex aerial maneuvers.

Competition Leotards for the Big Stage

In a competitive environment, the leotard serves as part of the performance. Judges look for clean lines and a professional appearance. Long sleeves are traditional for artistic gymnastics competitions, as they elongate the look of the arms and provide a more formal aesthetic. The fabrics used in competition wear are often thicker and less breathable than training gear, which is why they are typically reserved for the actual event and podium training rather than everyday use.

Material Science and Fabric Selection for Maximum Performance

The evolution of fabric technology has changed how gymnastics leotards are manufactured. Modern textiles are engineered to provide four way stretch, meaning they expand both horizontally and vertically. This is crucial for a sport that requires extreme flexibility and explosive power.

Nylon Spandex: This is the industry standard for both practice and competitive wear. It offers excellent stretch recovery, meaning the garment returns to its original shape even after being stretched to its limit.

Velvet and Velour: Once the staple of the gymnastics world, these fabrics are now primarily used for training leotards in colder climates. They provide warmth and a high level of grip, which can be helpful for beginners learning to stay on the wooden balance beam.

Mystique and Foil: These are coated fabrics that give off a metallic shimmer. While they look stunning, they require more delicate care and have slightly less stretch than matte fabrics.

Sublimated Fabrics: This process involves dyeing the design directly into the fibers of the fabric. It allows for incredibly detailed, multi colored patterns without adding the weight or stiffness of traditional screen printing.

Choosing the right material is not just about looks. It is about how the fabric interacts with the skin and the equipment. A leotard that is too slippery might make it difficult for a coach to provide a secure spot during a new skill. Conversely, a fabric with too much friction could cause uncomfortable dragging on the bars.

Finding the Perfect Fit to Ensure Safety and Precision

A poorly fitting leotard is more than just a distraction; it can be a safety hazard. If a leotard is too loose, it can snag on equipment or obscure the gymnast’s form, making it difficult for coaches to correct body alignment. If it is too tight, it can restrict breathing and limit the range of motion in the shoulders and hips.

The Importance of the Girth Measurement

The most critical measurement for a gymnastics leotard is the girth. This is measured by taking a tape measure from the top of the shoulder, down through the crotch, and back up to the same shoulder. This vertical loop determines how the leotard will sit on the torso. Many parents make the mistake of buying a size up to allow for growth, but in gymnastics, a sagging leotard can lead to accidents. It is better to have a snug fit that acts like a second skin.

Evaluating Leg Cut and Shoulder Room

The leg opening should sit comfortably in the crease of the hip. If it rides up too high, it may violate competition modesty rules; if it sits too low, it can restrict the movement of the legs during leaps and splits. Similarly, the shoulder straps should be tight enough to stay in place during a tumble but not so tight that they dig into the skin or pull the neckline down. Gymnastics Express publishes detailed sizing guides on its product pages, which help reduce the guesswork involved in online shopping.

Design Aesthetics and Psychological Impact on Performance

There is a significant psychological component to what a gymnast wears. The phrase look good, feel good, play good applies heavily to this sport. A gymnast who feels confident in her appearance is more likely to perform with the necessary assertiveness and grace.

Color Psychology in Competition

Bright, bold colors like royal blue, deep red, or vibrant purple can project confidence and energy to the judges. Lighter pastels often convey elegance and fluidity. Many clubs choose a specific color palette to create a sense of unity and team identity. When selecting a competition leotard, consider how the color complements the athlete’s skin tone and hair color under the harsh fluorescent lights of a gymnasium.

The Role of Embellishments

Crystals and sequins are not just for show. They highlight the movement of the body and can emphasize the sharpness of a pose. However, the placement of these embellishments is key. They should be concentrated on the chest and arms rather than the stomach or back to avoid discomfort when the gymnast is rolling or landing. High quality crystals are heat set so they do not fall off during a routine, which could result in a deduction if debris is left on the floor.

Durability and Maintenance for Long Term Use

Gymnastics leotards are an investment, and proper care is essential to maintain their elasticity and shine. The harsh chemicals in sweat and the chalk used on hands can break down synthetic fibers over time.

Hand Washing: Always hand wash leotards in cold water using a mild detergent. Never use bleach or fabric softeners, as these can destroy the spandex fibers and dull the metallic finish of foil fabrics.

Drying: Never put a leotard in a dryer. The high heat will melt the elastic components and cause the fabric to lose its stretch. Instead, lay the garment flat on a towel to air dry away from direct sunlight.

Salt Water Soak: For new leotards with vibrant dyes, some experts recommend a quick soak in cold water with a tablespoon of salt to help set the color and prevent bleeding during future washes.

Proper storage is also vital. Leotards should be hung up or folded neatly rather than being left crumpled at the bottom of a gym bag. This prevents permanent creasing in foiled fabrics and keeps the garment smelling fresh.

Budgeting for Growth and Skill Advancement

The cost of gymnastics can add up quickly, and apparel is a significant portion of that expense. For younger gymnasts who are growing rapidly, it is wise to focus the budget on high quality training gear that will be used daily. A few well made pieces from Gymnastics Express can serve as the backbone of a training wardrobe for repetitive daily use.

As a gymnast moves into higher competitive levels, the cost of competition leotards increases due to the complexity of the designs and the number of crystals used. To manage these costs, many families look for club trade-ins or end of season sales. It is also worth remembering that a competition leotard is typically worn only a handful of times per year, so while it is a larger upfront cost, it does not suffer the same wear and tear as practice gear.

Competition Attire Rules Every Gymnast Should Know

Each gymnastics federation, such as USA Gymnastics or British Gymnastics, has specific rules regarding competition attire. Failure to adhere to these rules can result in score deductions or even disqualification.

Modesty and Coverage Rules

Rules generally dictate that leotards must be non transparent and the leg cut must not be above the hip bone. In some levels of competition, the use of gymnastics shorts or leggings over a leotard is permitted, but they must be skin tight and match the color of the leotard, the athlete’s skin tone, or be solid black.

Branding and Logo Restrictions

There are often strict limits on the size and placement of manufacturer logos on competition attire. Usually, a small logo on the hip or back of the neck is allowed, but large branding across the chest is prohibited. Understanding these technicalities before making a purchase is essential for any competitive athlete. Suppliers such as Gymnastics Express stock ranges from manufacturers that design with these competitive standards in mind.

The Role of Personal Style in Building Athlete Confidence

While technical specifications and rules are paramount, the personal preference of the gymnast should not be overlooked. Gymnastics is a form of artistic expression, and the leotard is the costume for that art. Allowing a gymnast to have a say in the color or pattern of their training gear can increase their enthusiasm for practice.

In the modern era, we see a wide variety of styles, from traditional high neck designs to modern open back styles with intricate strap work. Some gymnasts prefer the compression of a heavy mystique fabric, while others feel more agile in a lightweight sublimated lycra. By experimenting with different styles in training, an athlete can discover what makes them feel most powerful.

Mastering the Art of the Perfect Selection

Ultimately, choosing gymnastics leotards for training and competitions requires a blend of practical knowledge and aesthetic sensibility. By prioritizing the vertical girth measurement, selecting fabrics appropriate for the intensity of the activity, and adhering to the specific rules of the competitive arena, you give the athlete a solid foundation for competition day. Whether you are searching for a simple tank leotard for a toddler’s first class or a crystal encrusted masterpiece for a national championship, quality and fit remain the most dependable things to focus on. A supplier such as Gymnastics Express carries the range of training and competition options these choices call for. When a gymnast steps onto the floor, their attire should be the last thing on their mind, allowing them to focus entirely on their technique, their strength, and the joy of the sport.

Menu

Explore New York Weekly™

Legal & Support

  • Get published in New York Weekly™

Founders, executives, and brands ready to build credibility through publication.

Contact

Follow Us

Facebook Instagram Linkedin

New York Weekly™ is not responsible for the content of external websites.

Copyright ©2026 Matrix Global, LLC. All Rights Reserved.

Use of any part of this site implies acceptance of our Terms of Use and Privacy Policy. The content on this site may not be reproduced, distributed, transmitted, cached, or used in any way without the prior written permission of New York Weekly.

Explore New York Weekly™

Legal

Explore New York Weekly

Legal

A Matrix Global Publication

New York Weekly™ is not responsible for the content of external websites.

Copyright ©2025 Matrix Global, LLC. All Rights Reserved.