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Oct. 16 (UPI) — With less than three weeks before New Yorkers head to the polls to select the city’s 111th mayor, candidates Democratic nominee Zohran Mamdani, Republican nominee Curtis Sliwa and independent Andrew Cuomo squared off for a heated debate Thursday night in Manhattan.

Though a trio of candidates stood before lecterns at WNBC’s 30 Rockefeller Center studios, the debate was mainly a fight between Mamdani, the New York City assemblyman leading in the polls, and Cuomo, the former governor of New York State, leaving Sliwa, founder of the nonprofit crime prevention Guardian Angels organization, trying to enter the fray.

Leadership

Cuomo, who left the New York governor’s mansion in August 2021 amid sexual harassment allegations, was quick to attack Mamdani, saying the New York assemblyman’s inexperience makes him unfit to oversee a 300,000-employee city workforce and a multi-billion-dollar budget.

“This is no job for on-the-job training,” he said. “And if you look at the failed mayors they’re ones that have no management experience. Don’t do it again.”

Mamdani, in rebuttal, attempted to frame Cuomo as an out-of-touch politician backed by wealthy donors, while pointing to his successes in the state’s assembly as proof of his own experience.

The former governor said Mamdani’s answer was proof of his lack of experience — and a lack of experience in leading New York could have deadly consequences.

“This is not a job for a first timer,” Cuomo said. “Any day you could have a hurricane, God forbid, a 9/11, a health pandemic. If you don’t know what you’re doing people will die.”

“If we have a health pandemic, then why would New Yorkers turn back to the governor who sent seniors to their deaths in nursing homes?” Mamdani replied, referring to a public scandal over how Cuomo’s administration handled COVID-19 in nursing homes and other elder-care facilities.

Sliwa, who has taken a tough-on-crime stance, attempted to interject into the conversation, at one point telling the moderators that he was being “marginalized.”

He then attempted to set himself apart from the two men who have held political seats, by emphasizing that he is not a politican, and referring to Cuomo as the “architect” and Mamdani the “apprentice.”

“Thank God I’m not a professional politician because they have helped create this crime crisis in the city that we face and I will resolve [it],” he said.

President Donald Trump

President Donald Trump’s presence and ongoing immigration crackdown have loomed large over the race and ahve put a greater spotlight on Mamdani, who was recently little known outside of the city, as the American leader has called him and his left-leaning policies out on social media.

Asked what he would say to Trump in their first phone call, Mamdani said he would tell the American leader that he is willing to work with him to help raise the living standards of New Yorkers, but if that he seeks to cut funds to the city “he’s going to have to get through me as the next mayor.”

Cuomo similarly offered that he’d like to work with Trump “but Number One, I will fight you every step of the way if you try to hurt New York.”

Sliwa criticized both candidates for trying to act “tough” when doing so would only end up hurting New Yorkers.

“They want to take on Donald Trump. Look, you can be tough, but you can’t be tough if its going to cost people desperately needed federal funds,” he said, stating he would sit down with the president and negotiate.

“But if you try to get tough with Trump, the only people who are going to suffer from that are the people of New York City.”

Israel-Hamas

With the first phase of the Israel-Hamas cease-fire deal underway, moderators called on Mamdani to clarify previous statements he has made about the Palestinian militant group specifically about whether it should disarm.

In response, Mamdani said he was “proud” to be among the first New York elected officials to call for a cease-fire, which he defined as meaning “all parties have to cease fire and put down their weapons.”

Sliwa then jumped in to chastise Cuomo and Mamdani for neither applauding Trump for securing the cease-fire deal.

Cuomo then rebutted that he did applaud Trump and his administration, using the topic to accuse Mamdani and his stance against Israel’s occupation of the West Bank as coded language meaning “Israel does not have a right to exist as a Jewish state.”

Mamdani then clapped back that “occupation” is an international legal term that “Mr. Cuomo has no regard for” as he has joined the legal defense team of Prime Minister Benjamin Netanyahu in their fight against arrest warrants at the International Criminal Court.

He was then pressed on his previous reluctance to condemn the use of the phrase “globalize the intifada,” which to some is a pro-Palestinian slogan of resistance against oppression and to others as encouragement of violence against Jews.

Sliwa also lashed out at Mamdani, stating “Jews don’t trust you’re going to be there for them when they are victims of anti-Semitic attacks.”

The second mayoral debate is scheduled for Oct. 22.

Early voting opens Oct. 25. The election is to be held Nov. 4.

I am sitting in a tent placed inside the parlor of a Victorian-era house. Before me lies a spirit board, a lone tarot card and a black scrying mirror. I am here to commune with the dead.

There is no medium. It is only myself and eight other attendees— our guide has left the tent. Though earlier we could hear tension-rattling music setting a cryptic mood, now there is nothing. Lights? Off. The tent has gone pitch black. At this particular moment, there’s only the sound of our breaths, our thoughts and perhaps some new guests.

Welcome to “Phasmagorica,” what composer-turned-magician-turned-spiritual explorer BC Smith describes as “a séance reimagined as art.” It’s running this month at the Heritage Square Museum, itself a location imbued with history and mystery, the site of the homes of Los Angeles as they existed a century ago.

I’ll get right to the point: I did not have an encounter with the dead. And yet I left “Phasmagorica” deeply curious. That’s because Smith sets up the evening as an exploration of the modern Western history of communing with the deceased, attempting to conjure the feeling of a séance as it occurred in late 1880s America, albeit with a better sound system and all the Death in the Afternoon cocktails you can consume (note: you should not consume very many).

The “experiment” — Smith shirks at the word performance — is designed, he says, for believers and nonbelievers. He himself falls somewhere in the middle.

“I’m a hopeful skeptic,” Smith says. “If I were a 100% believer, ‘Phasmagorica’ would be a church. I just wanted to create a space that started a conversation for people.”

It is relevant to point out that Smith is also a magician, a member of the Magic Castle, home itself to a popular séance. While Smith has not conducted a Magic Castle séance, he has — and will — orchestrate what he refers to as a “theatrical séance,” for which he is present as a storyteller. “Phasmagorica” is different, Smith says, and was born out of those more dramatic performances, in part because he kept encountering the unaccountable.

“It’s highly curated,” Smith says of a core difference between a theatrical séance and “Phasmagorica,” as the former will be tailored specifically to guest needs and requests. “But people were experiencing a lot in those séances that I could not explain,” Smith says. He recites a story that opens “Phasmagorica” of a shadow reaching out and touching someone on a shoulder. Smith says he witnessed this phenomena, and at that point decided to create an event that focused on realism and dispensed with the notion that there could be any illusions or magic.

BC Smith’s “Phasmagorica” is not a theatrical or magic performance. The event aims to recreate the feel of a vintage séance.

(Roger Kisby / For The Times)

I was surprised, for instance, when Smith left the room. At that point, we were with only a television, which narrates a short history of séances in America before instructing us to hold a pendulum over a spirit board. Knowing Smith’s past, I went in expecting more of a show. Instead, we are prodded to examine a tarot card, peer into the scrying mirror and ask questions to our spirit board.

“It becomes more personal,” Smith says. “Even in my theatrical séances, I’ve had people want to cut me off mid-sentence and say, ‘This just happened to me.’ And they want to spend the next five minutes talking about it. At the end of the day, I think what people like is that this is all about them.”

And still, Smith says, audiences are looking for wizardry. But there’s no tricks of the light, no hidden fans. He stresses multiple times in this interview and at the start of “Phasmagorica” that this is “not theater, not a performance, not a show.”

“I’ve had people walk out of the room and swear there was a magnet in the pendulum board,” he says. “Or swear there was some effect that made them see a person standing. People still have an explanation that I had something to do with it. Whatever helps you sleep with the light off.”

While numerous cultures and spiritual movements have throughout history long attempted to commune with the dead, a séance, says Lisa Morton, author of “Calling the Spirits: A History of Séances,” is a relatively recent occurrence. She and Smith trace their popularity to the Fox sisters, Kate and Maggie, who performed to packed crowds in the late 1880s in New York, attempting to demonstrate that spirits could speak via a series of raps on the walls.

BC Smith calls “Phasmagorica” an “experiment,” shirking at the word performance. (Roger Kisby / For The Times)

Prior to the Fox sisters, Morton says, attempts to commune with the beyond, broadly speaking, were a more personal and ritualistic affair. “The Greeks believed that sleeping on a grave might give you dreams in which you communed with a spirit,” she says. Popular myths, too, would portray the practice as borderline arcane. In Homer’s “The Odyssey,” for instance, a bridge to the spirit world is reached only after a complex series of sacrifices and offerings — a potent mix of sweet wine and the blood of a lamb.

“The séance comes along, and not only is it a group activity, but it suggests that anyone can communicate with the spirits of the dead,” Morton says. “You just need a medium — someone who can enter a trance state and open themselves to receiving spirit communications. It was done with a group, and in the comfort of someone’s home. Those were startlingly new ideas.”

Morton has taken part in Smith’s “Phasmagorica.” She, too, appreciated the historical emphasis, specifically the way a musician performs after the séance as guests mingle with one another and share their experience. Music was a big part of early séances, Morton says.

“People would sit around a table and the lights would be lowered and they would sing,” Morton says “Now, singing did have a scammy double purpose, as they allowed the medium to start doing things in the dark unheard. But these evenings were wondrous for people, and I thought that was what BC Smith captured really well.”

“Phasmagorica” has been running on select weekends at Heritage Square since the late summer. Smith intends to continue adding events throughout the fall as his schedule allows, announcing them on Instagram. Though intimate, they do typically sell out. It’s traveling via word of mouth, theorizes Smith, because people today are increasingly searching for “connection and meaning.”

Heritage Square Museum is itself a location imbued with history and mystery, the site of the homes of Los Angeles as they existed a century ago.

(Marcus Ubungen / Los Angeles Times)

“The experience is really up to you,” he says. “I think we’re all searching for something. This is a safe space to explore.”

Late in life, Maggie Fox denounced the spiritualism movement that she and her sister Kate had helped start, demonstrating the ways in which they had fooled their audiences. Smith again stresses that he himself is a “hopeful skeptic,” and purposefully stays out of the experience so that guests aren’t trying to figure out if he’s holding onto any secrets.

And yet he says, “Phasmagorica” has permanently changed him. He notes that his wife is a commercial airline pilot and must travel often.

“When she’s away, I sleep with a night-light,” he says. “Maybe that’s the answer to the question whether I believe or not.”

Aug. 9 (UPI) — Three people were injured and one person was arrested after an early-morning shooting in New York City’s Times Square Saturday.

An 18-year-old woman, 19-year-old man and 65-year-old man were all taken to a hospital with non-life threatening injuries, the New York Times reported.

Police arrested a 17-year-old youth following the shooting, which took place around 1:20 a.m. EDT near 7th Avenue and West 44th Street, the New York Post reported, citing sources within the New York Police Department.

Police have not publicly confirmed the identity of the suspect.

Gunshots reportedly broke out after a confrontation between two groups.

The incident happened near the Hard Rock Cafe in Times Square. The iconic tourist area of Manhattan is visited by some 50 million people annually.

The incident took place less than a month after a shooting at a New York City high-rise on Park Avenue that left four people dead, including an NYPD officer.

New York City Mayor Eric Adams had not commented publicly on the latest violence, as of 1 p.m. EDT Saturday.

Adams, who is in the thick of a re-election campaign posted on X Friday about an NYPD public safety initiative.

“We can keep New Yorker[s] safe by having police officers and community members working together. I know it from walking the beat,” he wrote.

This week, New York City’s Campaign Finance Board rejected a request for more than $3 million in matching campaign funds from Adams. The board cited “incomplete and misleading information” as the reason for its decision.