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ear-worthy · 2 years ago

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On Air Fest Announces New Star Attendees at Podcast Party

Okay, so it's not Taylor Swift's Eras tour. But for podcast fans, it's pretty cool. On Air Fest in LA continues to add celebrities and activities to the festival for people who love audio. For example, On Air Fest has just announced Showcase of The Audible Original Third Eye with Felicia Day, Live Talk Easy Taping From Brit Marling & Sam Fragoso as Final Headliners For On Air LA Annex. Taking place November 1st-4th at multiple locations across the city, On Air Fest will now kick off with an exclusive showcase of Audible's Third Eye, live at KCRW's state-of-the-art Annenberg Performance Studio. Alongside a sneak preview of KCRW's soul-centric new season of Lost Notes, and an interactive rendition of CBC's Let's Make a Horror, Third Eye creator, acclaimed actress, voiceover artist and New York Times bestselling author Felicia Day (Dr. Horrible's Sing-Along Blog, Mystery Science Theatre: 3000, Supernatural, The Magicians) will dive deeper into the side-splitting fantasy adventure series, discussing the creation process behind the Audible Original, and the ways in which audio storytelling is able to enhance and enrich listeners' lives.

For the next night of On Air LA Annex, November 2nd, another vanguard of storytellers, audio creatives and inspired listeners return to KCRW's Santa Monica studio to further shape and celebrate the culture of sound. Beginning with a live performance from PRX and KQED's Spooked and its host Glynn Washington (Snap Judgment), the evening will also see Jason Derulo giving a behind-the-scenes look at Underwater, the new romantic thriller podcast from Warner Music Group's Interval Presents. Then, to close out the session, revered podcast host Sam Fragoso will now welcome actor, producer and director Brit Marling (The OA), for a special conversation previewing her highly-anticipated new FX series, A Murder at the End of the World, ahead of its premiere on November 14th.

Following its two nights of programming at KCRW, On Air LA Annex continues on Saturday, November 4th at dublab in University Park, for a gathering focused on exploring the future of podcasting, and revealing new answers to the question of "what's next?" (WIRED). From 2pm-8pm, On Air Open House will deliver an all-day immersive sound event that is free and open to the public.

Each session will feature sound and storytelling in immersive new ways, bringing everything from a Dolby Atmos immersive audio installation to foley performances, sculptures you can hear and listening booths, vibrating drinks and bass waves, live radio broadcasts, in-studio podcast tapings, DJ sets and more from Ear Hustle, ESPN 30 for 30, Joanna Fang, KamranV, LAist's How to LA and Imperfect Paradise, Radio Nopal, Tenderfoot TV's High Strange and Dear Alana, The Wind, Western Sound and others.

On the heels of debuting On Air: The Podcast Experience earlier this year, a multiroom installation that "transforms the podcast into an immersive experience", the On Air Open House will include an inaugural new exhibit, as guests move between different stations to interact with the first-ever collection of On Air Official Selects.

Launched as part of On Air LA Annex 2023, the open call for short-form audio stories invited global creatives to submit an original piece under 10 minutes in length, with an emphasis on experimentation and boundary-pushing approaches. A panel of leaders, tastemakers and judges – including Alejandro Cohen (Executive Director, dublab), Gina Delvac (Head of Podcast Audience Lab, KCRW), Marshall Lewy (Chief Content Officer, Wondery), Ben Adair (Founder and Executive Producer, Western Sound), Christy Gressman (Vice President, Podcasts, Topic Studios) – will soon award 10 works with an honorarium, as well as the opportunity to showcase their piece for all the attendees of On Air Open House.

Since 2017, On Air Fest has increasingly become the most important, influential event for storytellers, listeners and the audio community at large, having premiered dozens of award-winning podcasts, produced hundreds of live sessions, and convened thousands of fans each year.

TICKETS

#podcast #podcasting #festivals #los angeles

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ginaclyne · 6 years ago

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Ruth Reichl in Conversation with KCRW's Evan Kleiman

Ruth Reichl in Conversation with KCRW’s Evan Kleiman

Photos I shot of Ruth Reichl in conversation with 🎙KCRW’s Evan Kleiman🎙at Annenberg Performance Studio at KCRW HQ. It was a lovely evening with celebrated author, chef, and restaurant critic Ruth Reichl, who spoke candidly about her time as the Editor of Gourmet magazine (the subject of her new book Save Me the Plums: My Gourmet Memoir). It’s always a treat to get to document and sit in as people…

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fettkakao · 5 years ago

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Cliquey Bitches is a Los Angeles punky-pop supergroup brought to you by pals Seth Bogart (Hunx & His Punx, etc.), Alice Bag (The Bags, etc.), and Allison Wolfe (Bratmobile, etc.). In the summer of 2018, after filming a skit as a make-believe band for Seth Bogart’s World of Wonder TV series Feelin’ Fruity, the trio decided to create a project band for reals. Featuring Wolfe (Scorpio) on lead vocals, Bag (Scorpio) on keys and backing vocals, and Bogart (Pisces) on guitar and drum machine, Cliquey Bitches delivers melodic punky-pop narratives of lust gone wrong, game-playing big mouths, and straight-white-dude dominance in “alternative” music.

Cliquey Bitches played three shows under three different names: as Double Scorpio opening for Screaming Females and Kitten Forever at Los Angeles’ Bootleg Theater, as Scorpio Scorpio at the Ace Hotel for Palm Springs Pride, and finally as Cliquey Bitches sharing a bill with the Younger Lovers for Punky Reggae Party at La Cita, Los Angeles. In October and November 2018, the project band recorded six songs with Mark Rains at Station House Studio in Echo Park. These songs comprise Cliquey Bitches’ Scorpio Scorpio EP debut on vinyl for Fettkakao.

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Alice Bag (“Slice”) is a singer/songwriter, musician, author, artist, educator and feminist. Alice was the lead singer and co-founder of the Bags, one of the first bands to form during the initial wave of punk in Los Angeles. The Alice Bag Band was featured in the seminal punk rock documentary, The Decline of Western Civilization. Alice went on to perform in other groundbreaking bands, including Castration Squad, Cholita, and Las Tres. She is the author of the critically acclaimed memoirs Violence Girl and Pipe Bomb for the Soul. Her self-titled debut solo album received critical acclaim and was named one of the best albums of 2016 by AllMusic. Her second album, Blueprint, made Best of 2018 lists at NPR and the Los Angeles Times. Bag’s third album, Sister Dynamite, was released in April 2020.

Allison Wolfe (“Pebbletz”) co-founded the fanzine Girl Germs, all-girl band Bratmobile, third wave feminist punk movement riot grrrl, and non-profit music festival Ladyfest within the 1990s Olympia, Washington and Washington, DC indie music scenes. She also sang in Cold Cold Hearts, Deep Lust, Partyline, Cool Moms, Sex Stains, Ex Stains, and Cliquey Bitches. She lives in Los Angeles where she got a masters in specialized journalism in the arts from the USC Annenberg School for Communication and Journalism. Wolfe is a freelance music journalist and produces I’m in the Band podcast, teaches English, DJs, sings in Magic Witch Cookbox, and is slowly-but-surely working on an oral history of riot grrrl book and audio archive.

Seth Bogart (“Gluetz”) is a multidisciplinary artist and musician living in Los Angeles, California. His work has been shown at 356 Mission, Museum of Contemporary Art Detroit, Fierman Gallery, Soccer Club Club, Participant Inc, MoCA, One Archives, and more. Bogart’s art and music have been featured in publications such as the New York Times, Interview Magazine, The New Yorker, Pitchfork, and The Observer. His latest solo album, Men on the Verge of Nothing, was released in September 2020. Bogart is also a member of the band Hunx & His Punx (and formerly Gravy Train!!!!!) and runs the fashion/art/music shop Wacky Wacko.

#allison wolfe #seth bogart #alice bag #cliquey bitches #fett051 #scorpio scorpio #fettkakao

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gettingagriponthings · 5 years ago

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A.I. to Greenlight Movies: Is This How Cats Got Made?

Artificial intelligence decision making systems are now in place to make or suggest choices for us in nearly all parts of our lives. Questions big and small are answered or informed by computers. Questions like:

Who gets extra attention and resources from doctors and hospitals?

How long should this person’s sentence be for a parole violation?

What social media post should I look at first?

Which television show should I watch this evening?

And now the decision about which movies get made or distributed might be heavily influenced by AI algorithms, too.

Scrolling through Twitter earlier this week I came across this post from the film news aggregation site, Discussing Film:

@DiscussingFilm: Warner Bros has signed a deal for a AI-driven film management system which will help decision-making for greenlighting certain films. The AI system can assess an actor’s value in any territory and how much a film is expected to earn in theaters. (Source: Hollywood Reporter, Twitter, 1/8/20)

While this sounds like an intriguing and impressive piece of technology, it immediately jumped out to me as a bad idea. Unless developed with an extremely high level of care, and by an uncommonly diverse and thoughtful team, decision making algorithms often end up including the human bias of the people creating them, or reinforcing bias from the past.

Instinctively, I think that this 'AI-driven film management system’ would lean toward recommend the greenlighting and purchase of movies that aren’t particularly unique, that lack inclusion of female or minority leads, and would reinforce the less than perfect existing patterns in filmmaking.

From the Hollywood Reporter post about the algorithm:

Resistance is futile. Warner Bros. has become the latest studio to publicly embrace artificial intelligence. The movie division has signed a deal with Cinelytic to use the latter’s AI-driven project management system that was launched last year. Under the new deal, Warner will leverage the system’s comprehensive data and predictive analytics to guide decision-making at the greenlight stage. The integrated online platform can assess the value of a star in any territory and how much a film is expected to make in theaters and on other ancillary streams. [...] While the platform won’t necessarily predict what will be the next $1 billion surprise, like Warners’ hit Joker, it will reduce the amount of time executives spend on low-value, repetitive tasks and instead give them better dollar-figure parameters for packaging, marketing and distribution decisions, including release dates. The platform is particularly helpful in the festival setting, where studios get caught in bidding wars and plunk down massive sums after only hours of assessment (as happened with New Line’s $15 million acquisition of Blinded by the Light out of last year's Sundance Film Festival). The Cinelytic AI’s insight might also have altered decision-making on some of Warners’ misfires from 2019, such as The Kitchen, Shaft and Godzilla: King of the Monsters.

Diversity and representation in art don’t happen by accident or by looking at the past to predict the future. And the past would be present in every decision made by this artificial intelligence system. Sophisticated (in the technological sense) machine learning algorithms, like the one created by Cinelytic, are developed with the input of hundreds or thousands (or hundreds of thousands) of data points that teach it what to look for when making a decision.

Here are some numbers from the Cinelytics website indicating the data used to formulate its product, and what it promises to deliver:

95,000 + Films with Performance and Metadata

550,000 + Above-the-line* Talent Analysis profiles

85% + Box Office Forecasting Accuracy

20X Faster and More Efficient

*”Above-the-line” talent includes actors, producers, directors, etc.

The algorithm is not intended to be the final say on which movies get made, but rather to be an analytics tool used to give informed recommendations to the human decision makers. But unfortunately, algorithmic recommendations are often interpreted much more like firm, perfectly constructed, and infallible decisions by the people who use them.

Cinelytic’s (now WB’s) product would include the top movies from the last decade, and tens of thousands more, when recommending which movies to greenlight. And while I’m confident the algorithm includes weighting to pay some respect to the slow-growing trend of diversity on screen, I am skeptical that it would be done with all the care necessary. Cinelytics “Key Team” includes one woman, and not many ethnically diverse faces.

The movie industry has slowly been inching its way toward better diversity and inclusion among the characters portrayed on screen, but still has a long way to go. According to a report released last year by Dr. Stacy L Smith and the USC Annenberg Inclusion Initiative about the 1,200 top movies between 2007 and 2018, only 27 movies had leading or co-leading roles that featured racially/ethnically underrepresented actors. In 2017 33 of the top 100 films had a female lead or co-lead. Ten years before that, in 2007, only 20 films had a female lead or co-lead. These numbers are bad. But there has been some progress.

I worry that informing “your casting, greenlighting, financing, budgeting and release decisions in real-time with [Cinelytic’s] industry leading AI-powered predictive forecasting tool,” will effectively eliminate many surprise box-office hits from consideration. There were several successful movies released over the last few years with diverse casts like Get Out ($255 million at the box office, $4.5 million budget, The Farewell ($19.6mil, $3mil), and Hustlers ($156mil, $20.7mil). None of these movies were at the very top of the box office, but they each punched well above their weight and made serious, unexpected cash for their producers and studios.

Specifically, I’m clearly concerned that automating some of the systems used to choose which films get made and promoted could have a negative impact on diversity (of actors, directors, producers, etc). Generally, I fear that this step will erode overall risk-taking and creativity in film. In an era of film (especially within the big studios) that is already dialing back the level of artistic risk taking, the implementation of a tool designed to mitigate risk could completely eliminate it.

I’ll leave you with some words from one of today’s greatest filmmakers who even had a hard time getting his movie made the way he wanted to in 2019:

“In the past 20 years, as we all know, the movie business has changed on all fronts. But the most ominous change has happened stealthily and under cover of night: the gradual but steady elimination of risk. Many films today are perfect products manufactured for immediate consumption. Many of them are well made by teams of talented individuals. All the same, they lack something essential to cinema: the unifying vision of an individual artist. Because, of course, the individual artist is the riskiest factor of all.”

- Martin Scorsese

#AI #Artificial Intelligence #Algorithms #Movies #Film #Cinelytic

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blackinmotionpictures · 7 years ago

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The star of the upcoming film “Widows” needed to know what kind of wig or extensions she should wear to play Veronica Rawlins, the leader of an unlikely band of robbers scrambling to pull off a dangerous heist. Director Steve McQueen’s answer shocked the Emmy-, Tony- and Oscar-winning actress.

“I said, ‘Your own hair is beautiful — just wear it that way,’” recalls McQueen. “Veronica is a wash-and-go kind of girl.”

For Davis, the decision to appear on-screen in close-cropped, curly hair was liberating and represented an important social statement.

“You’re always taught as a person of color to not like your hair,” she says. “The kinkier it is, the so-called nappier it is, the uglier it is.”

McQueen stressed that he was interested in reflecting reality. More women looked like her, he told the actress, than like the artificial and idealized images of female beauty that Hollywood frequently projects.

“We’re into a zeitgeist where people are fighting for their space to be seen,” says Davis. “People have to know that there are different types of women of color. We’re not all Foxy Brown. We’re not all brown or light-skinned beauties with a big Afro. We have the girl next door. We have the older, dark-skinned, natural-haired woman.”

If “Widows” succeeds, it can help ensure funding for several Davis-led passion projects, ranging from a biopic about Texas congresswoman Barbara Jordan to a drama about an all-female military unit from the Kingdom of Dahomey. It will mean that an actress known for her volcanic intensity and commanding presence will finally get the roles she deserves. For too long, Tennon notes, his wife has had to make do with supporting turns, often playing maids or mothers, while ceding the limelight to white actresses. Davis may have scored raves and award nominations for “Doubt” and “Solaris,” but often she had only a few minutes of screen time to create a fully fleshed-out performance.

“She specialized in taking a piece of chicken and turning it into filet mignon,” says Tennon.

John Patrick Shanley, the writer and director of “Doubt,” the 2008 film that put Davis on the map after years of character work, knows firsthand about the paucity of roles available to African-Americans. He says every black actress of a certain age was up for Davis’ role because, though the part lasted only eight minutes, the aria of maternal love that the character was asked to deliver presented an important opportunity.

“This kind of role isn’t usually out there for a woman of color,” says Davis. “Widows” is a female-driven enterprise, offering up meaty roles for Michelle Rodriguez, Cynthia Erivo and Elizabeth Debicki, who play the other members of a gang of widows who must pull off a heist in order to pay their husbands’ debts to a drug dealer.

Women of color don’t get paid less than just male actors — their salaries pale in comparison with those of white women.

“There are no percentages to show the difference,” says Davis. “It’s vast. Hispanic women, Asian women, black women, we don’t get paid what Caucasian women get paid. We just don’t. … We have the talent. It’s the opportunity that we’re lacking.”

The movie business is outwardly liberal, but the mostly white men who run the major studios tend to cling to certain prejudices when greenlighting projects. In particular, there is a belief that films with people of color in the leads don’t do as well internationally.

That logic is being challenged. The blockbuster success of movies with women of color, such as “Crazy Rich Asians,” “Girls Trip” and “Breaking In,” may be softening old stigmas. Yet a recent survey by the USC Annenberg School for Communication and Journalism shows that the number of speaking roles for women has been virtually unchanged over the past decade. It gets worse when it comes to women of color. In 2017, 43 of the top 100 films lacked any black female characters, 65 were absent Asian or Asian-American female characters and 64 did not depict a single Latina character.

Davis doesn’t think change is possible unless executive suites across Los Angeles become more inclusive. “We’re not even invited to the table,” she says. “I go to a lot of women’s events here in Hollywood, and they’re filled with female CEOs, producers and executives, but I’m one of maybe five or six people of color in the room.”

“Widows” is a heist film anchored in grief. Unlike in “Ocean’s 11” or “The Thomas Crown Affair,” where the criminality is portrayed as a lark, Davis and her accomplices break the law because they have no choice and because they have troubled home lives.

“I have issues with stories of people who just get out of bed and start robbing banks,” she says. “As an actor, I needed to know what would drive a seemingly together woman to do this, and it always starts with someone reaching bottom.”

The film is as interested in painting a sprawling portrait of urban corruption as it is in laying the groundwork for the final caper. It touches on police shootings, political back-scratching, domestic violence and economic despair.

Davis says that wrestling with demons on-screen can be “torturous,” and she’s built a career by being able to radiate a kind of operatic fury and anguish. In “Fences,” for instance, her character Rose doubles over into a snot-dripping, tear-streaming state of indignation and regret after learning that her husband has cheated on her. And while her character in “Widows” is more tightly controlled, she has moments where her eyes reveal the deadness of a crippling depression. Yet those who work with Davis say she’s able to access this well of emotion without relying on a kind of Method acting intensity.

For Davis, film provided an important escape hatch at a key moment as she was growing up. At the age of 11 or 12, she remembers sitting around her family’s dilapidated television, which rested on top of another broken set and had an antenna caked in aluminum foil to get a stronger signal. She was watching “The Autobiography of Miss Jane Pittman.” Witnessing Cicely Tyson, an acclaimed black actress playing a defining role, age from 23 to 110 had an electrifying effect on the young woman from Central Falls.

“This beautiful, magical transformation happened in the midst of all that poverty,” recalls Davis. “It elevated me out of my situation and stimulated my imagination. I knew I needed to make a life doing this.”

A very condensed version of Viola’s interview with Variety. Try to check the full one if can.

#actress: viola davis #director: steve mcqueen #article

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hearttraceeellisross · 7 years ago

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3-4-18 : 2018 Vanity Fair Oscar Party hosted by Radhika Jones at Wallis Annenberg Center for the Performing Arts in Beverly Hills, California -- Mark Seliger Images From the 2018 Academy Awards Portrait Studio

#tracee ellis ross #fashion #style #events #red carpet events #red carpet arrivals #vanity fair #oscars #oscar awards #award shows #photography

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outfitandtrend · 3 years ago

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[ad_1] After the winners are announced is when the real fun begins at the Vanity Fair Oscar party, which will return bigger and better in 2022. Experience the red carpet exclusively on Vanity Fair’s Oscar Party: Live livestream, which will start immediately after the Academy Awards at 11 p.m. EST/8 p.m. PST. Watch live on VF.com and Twitter to see red-carpet arrivals, exclusive interviews, and all the best-dressed stars of the evening, with returning hosts Catt Sadler and Phoebe Robinson.This year’s party, hosted by V.F. editor in chief Radhika Jones, returns to the Wallis Annenberg Center for the Performing Arts in Beverly Hills for the seventh time. Famed photographer Mark Seliger will be back in his signature Oscar party studio, photographing guests, nominees, and winners throughout the night, with images rolling out in real time.For more than 25 years, Vanity Fair has invited Oscar winners and nominees to mingle with Hollywood’s best and brightest for an intimate affair immediately following the Academy Awards. It’s the kind of party where you’d catch Sharon Stone giving Leonardo DiCaprio bunny ears, Meryl Streep snagging a photo op with Kate Winslet’s Oscar, Kanye West congratulating Brad Pitt on his Oscar win, or Mindy Kaling and B.J. Novak reuniting in the photo booth. Take a photographic look back through the long history of the Vanity Fair Oscar party in preparation for this year’s big event, and revisit the 2020 Oscar party livestream for a preview of what might be to come this year. To stay in the know before the big night, sign up for the “HWD Daily” newsletter, and follow Vanity Fair on Instagram and Twitter. [ad_2] Source link

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ear-worthy · 2 years ago

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Podcast Festival -- On Air LA Annex -- Welcomes Jason DeRulo & Alexandra Shipp

On Air Fest has announced that Jason Derulo and Alexandra Shipp will be the Thursday night headliners at the upcoming On Air LA Annex, further expanding the event's vanguard of storytellers, audio creatives and inspired listeners who are shaping the culture of sound. The two talents will join each other on-stage for the very first time following the premiere of Underwater on October 31st, the new romantic thriller podcast from Warner Music Group's Interval Presents, which stars both the platinum-selling singer-songwriter alongside the breakout actress, singer and songwriter. Together with Allan Coye (SVP of Digital Strategy & Business Development, WMG + General Manager, Interval Presents), Rich Statter (GM, Clamor) and Alex Addison (Head of Digital and Strategic Initiatives, Temple Hill Entertainment), Derulo and Shipp will bring attendees further into the deep, dark and deceptive world of Underwater. An exclusive visual journey into the first episode will be augmented by a cast and creator talkback, and audience Q&A.

ON Air LA Annex is taking place Wednesday, November 1st and Thursday, November 2nd at KCRW's Annenberg Performance Studio in Santa Monica, as well as Saturday, November 4th at dublab in University Park, the annual West Coast edition of New York City's influential On Air Fest. In addition to Underwater, the first two nights of On Air LA Annex will feature a sneak preview of KCRW's highly-anticipated Lost Notes return, and an interactive rendition of CBC Podcasts' Let's Make a Horror on Nov 1st, then a live performance of Spooked from Snap Judgment, PRX and KQED, and a taping of Talk Easy with Sam Fragoso on Nov 2nd, hosted by actor Michael Greyeyes, with more to still be added.

Read more about each session in the schedule below,

and find tickets to On Air LA Annex: HERE

On top of the latest headliners, On Air has just announced details for On Air Open House, an all-day immersive sound event on Saturday, November 4th. Hosted at dublab, the event is free and open to the public. On Air Open House will focus on exploring sound and storytelling in immersive new ways, bringing everything from a Dolby Atmos immersive audio installation to foley performances, sculptures you can hear and listening booths, vibrating drinks and bass waves, live radio broadcasts, in-studio podcast tapings, DJ sets and more from Ear Hustle, ESPN 30 for 30, Joanna Fang, KamranV, LAist's How to LA and Imperfect Paradise, Radio Nopal, Tenderfoot TV's High Strange and Dear Alana, The Wind, Western Sound and others detailed in the lineup below. RSVP here.

Furthermore, on the heels of the inaugural On Air: The Podcast Experience earlier this year, a multi-room installation that "transformed the podcast into a groundbreaking immersive experience" (Associated Press), the On Air Open House will include the debut of a new exhibit. Guests will move between different stations to interact with the first-ever collection of On Air Official Selects.

Launching as part of On Air LA Annex 2023, On Air Official Selects is an open, global call for short-form audio stories. Between now and October 4th, any creative can submit an original piece under 10 minutes in length, with an emphasis on experimentation and boundary-pushing approaches. A panel of leaders, tastemakers and judges – including Alejandro Cohen (Executive Director, dublab), Gina Delvac (Head of Podcast Audience Lab, KCRW), Marshall Lewy (Chief Content Officer, Wondery), Ben Adair (Founder and Executive Producer, Western Sound), Christy Gressman (Vice President, Podcasts, Topic Studios) – will award 10 works with an honorarium, as well as the opportunity to showcase their piece for all the attendees of On Air Open House.

Learn more about On Air Official Selects and apply here:

ON AIR LA ANNEX - 2023 SCHEDULE

#podcast #podcasting #festivals #los angeles

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architectnews · 4 years ago

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Camila Cabello, Hollywood Hills Home

Camila Cabello’s Home, Hollywood Hills Real Estate, Californian Residence, USA House Photos

Camila Cabello’s Home in Hollywood Hills – For Sale!

Nov 23, 2021

Camila Cabello’s Beautiful Hollywood Hills Home Is For Sale – Priced at $3.95 million

Location: Beverly Hills, Southern California, USA

Camila Cabello’s Home

Source: TopTenRealEstateDeals

Her heart might be in Havana, but the exotic pop singer Camila Cabello has been living a big, bold, beautiful life with her best friend and now ex-partner, Canadian singer Shawn Mendes, in Hollywood Hills in a home that has everything, including a recording studio. She has recently put her home on the market priced at $3.95 million.

Though together for two years, the couple has separated but are still each other’s best friends, according to USA Today. Was the split the decision-maker to put her house up for sale? Only clairvoyants know the answer. In anticipation of all the new changes in her personal life, selling her charming Hollywood Hills home is a major next step.

Perched above Sunset Strip, the 3,579-square-foot home brings a taste of the Mediterranean with its walled garden and wrought-iron gate, arches and brightly tiled fireplace surrounds.

The four-bedroom, four-bath home was built in 1977 with all 21st-century updates while still retaining its original charm. With complete privacy in mind, the wall that encloses the rear yard and saltwater pool welcomes indoor/outdoor living. Kitchen and baths are sleekly modern with loads of character in the public rooms.

Glass doors stack out of the way to create a vanishing threshold between the family room and outdoor terrace and greenery. Ideal for performers or wannabes, the house has a complete recording studio with professional equipment and a vocal booth.

The split-level house has distressed wood floors and tile throughout. The master suite has its own dreamy fireplace. In addition to the pool there is an outdoor fireplace, grilling and dining area. There is also an attached two-car garage and laundry room.

Born in Cuba but raised in Miami, Cabello’s career was kick-started when she appeared on The X Factor in 2016 and became part of the group Fifth Harmony, created by Simon Cowell, where she stood out from the group. From there she branched out on her own with her mega-hits “Havana” and “Senorita,” winning almost 100 industry awards, including two Latin Grammy and four American Music Awards. At only 24, Cabello is likely just warming up for a wildly, successful future.

Hollywood Hills is the ideal location for easy access to the studios, a magnet for star-seeking tour buses and as the backdrop location for many films. Celebrities who have lived and do live there include Katy Perry, Ben Affleck, Kevin Costner, Britney Spears, Bryan Austin Green and Justin Timberlake.

Denise Rosner of Compass, Beverly Hills, holds the listing.

Source: www.compass.com

Photography: Neue Focus

Camila Cabello, Hollywood Hills Home – For Sale! images / information received 231121

Oakpass Residence, Beverly Hills Design: Heusch Inc Architecture Oakpass Residence

Location: Beverly Hills, California, USA

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Oak Pass House Architects: Walker Workshop photograph : Joe Fletcher Oak Pass House in Beverly Hills

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Comments / photos for the Camila Cabello, Hollywood Hills Home page welcome

The post Camila Cabello, Hollywood Hills Home appeared first on e-architect.

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eaglesfan34 · 4 years ago

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Allow Me To Re-Introduce Myself

One artist that I would like to discuss who has had a large cultural impact on society is Jay-Z, also popularly known as Hov. Jay-Z was born Shawn Carter in New York City. Jay-Z turned hip-hop and rap artist into a businessman and media mogul is widely considered one of the most influential people not only in the industry but in society as well. Jay-Z co-founded the record label Roc-A-Fella records when he was just 26 years old and released his first studio album just a year later. He is also the former CEO of Def Jam Records who has represented artists like Kanye West (another influential individual, but we will save that for another day), Rihanna (another influence), and J.Cole who is probably in my top five artists.

Jay-Z’s success as a businessman should not go unnoticed either. In 1999, he founded the clothing line Rocawear. In 2003, he also founded a luxury sports bar chain called 40/40 Club. Both of these businesses turned out to be multi-million dollar corporations. This allowed Jay-Z to start an entertainment business. I’m sure you are all familiar with Roc Nation. After Jay-Z started Roc-Nation, he acquired the tech company Aspiro in which he took charge of their media streaming service, Tidal. Just last year, Jay-Z also launched a business called Monogram which is his line of cannabis products.

Jay-Z has achieved pretty significant success over the years and has brought him a lot of media attention which has given Jay-Z a platform. It has given Jay-Z a big enough platform to get involved in the community philanthropically and politically. Jay-Z has the Shawn Carter Foundation in which he founded with his mother. The mission of Jay-Z’s foundation is to help individuals facing socio-economic hardships further their education. Jay-Z uses his music as well to voice his concerns. In his song “Minority Report,” Jay-Z addresses the government response in regards to the disaster in New Orleans after Hurricane Katrina. Let’s just say, the government’s response was inefficient and inadequate. A paragraph I pulled from an article in regards to the government’s response details the response. “The federal government did not have adequate information concerning the true devastation that the hurricane had caused (White House). Despite the quantity of government workers in the area, the effects of the hurricane continued to wreak havoc on the city with people still stranded in New Orleans and looters robbing stores left and right. Firefighters from around the country were called to the region to help with the federal government’s response. Many of these firefighters were not able to put their skills to use in rescue operations, but instead had to spend time handing out flyers for FEMA to residents of New Orleans (USC Annenberg 2005). The organizations in charge of search and rescue, the Urban Search and Rescue and the Civil Search and Rescue, did not coordinate their efforts and lacked a strategy for their mission.” (http://web.mit.edu/12.000/www/m2010/finalwebsite/katrina/government/government-response.html)

Buses are on the way to take those people from New Orleans to Houston

They lyin'

People are dying at the convention center

Their government has failed them

George Bush doesn't care about black people

These were the last lines of Minority Report. Clearly calling out The White House.

https://youtu.be/fqpyYqU2BiQ

Jay-Z was also heavily involved in politics. In 2008, he was actively trying to increase voter participation and actually helped send voters to polling stations. Jay-Z was an active supporter of Obama and even performed for free in voter-drive concerts. Jay-Z also endorsed Obama in support of same-sex marriage. Obama spoke highly of Jay-Z by saying “Every time I talk to Jay-Z, who is a brilliant talent and a good guy, I enjoy how he thinks. That's somebody who is going to start branching out and can help shape attitudes in a real positive way.” (https://archive.ph/20130202033150/http://www.rollingstone.com/music/news/13511/73040#selection-853.339-853.344)

Recently, Jay-Z and Meek Mill launched a criminal justice reform program. Their mission is to “Speak for all people who don’t have a voice.” Meek Mill was actually in prison for violating his probation for a number of months. This sparked a conversation. Meek is signed to Hov’s label so they decided when Meek got out to do something about prison reform. They wanted to change outdated laws and give people hope for a change.

With that being said, three things are certain. Death, taxes, and haters. Not everyone is a fan of Jay-Z. Harry Belafonte, an artist, and civil rights activist have been critical of Hov for his “safe political stance,” and said that they have “turned their back on social responsibility” in an interview with Hollywood Reporter. Dr. Boyce Watkins, a finance professor at Syracuse University also voiced his displeasure with Mr. Jay-Z by saying “Jay-Z's only giving $6,000 to charity after making $63 million in 2012,” and “Likely would never have come out in support of gay marriage had President Obama not first taken the initiative.” (https://web.archive.org/web/20100610072712/http://myweb.whitman.syr.edu/bowatkin/)

However, in my humble opinion, there is no need to criticize Jay-Z. I think these shots taken at Jay-Z are just an opportunity for his haters to try and snag his spotlight. Jay-Z is trying to do more for communities than the people (the government) who are actually supposed to help communities. From the Katrina response to prison reform, Jay-Z is always looking for ways to use his platform and help. This is why Jay-Z is so well-loved in the industry and this is just one of the many reasons why Jay-Z was so influential and a cultural leader.

#JayZ Beyonce MeekMill Reform Hov NYC RocNation

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foryourart · 7 years ago

Photo

Image courtesy of the Hammer Museum.

PLAN ForYourArt: May 17–23

Thursday, May 17

Westwood Openings and Events

READINGS: Poetry: Jennifer Moxley, Hammer Museum (Westwood), 7:30pm.

DMA M.F.A. FINAL EXHIBITION, UCLA (Westwood), 5pm.

Century City Openings and Events

Iris Nights: The Restless Genius of Garry Winogrand: A Conversation with Geoff Dyer and Sasha Waters Freyer, Annenberg Space for Photography (Century City), 7pm.

West Hollywood Openings and Events

ART DE RUE, 5Art Gallery (West Hollywood), 6–9pm.

Alain Laboile: Quotidian and Deborah Anderson: Women of the White Buffalo, Leica Gallery (West Hollywood), 6–9pm.

Openings and Events on West Adams

Americus: The Past Speaks To The Present, William Grant Still Arts Center (West Adams).

Hollywood Openings and Events

LAND IS MOVING SALE, LAND (Hollywood), 2–8pm. Performance, 8pm.

Pippa Garner: Autonomy n' Stuff (Garnerhea), Redling Fine Art (Hollywood), 6–8pm.

Downtown Openings and Events

MOCA Music: THE MARIAS, Jarina De Marco, Sister Mantos, and Chulita Vinyl Club, The Geffen Contemporary at MOCA (Downtown), 6:30–9:30pm.

Screening and Panel: Far Out Black, California African American Museum (Downtown), 7–9pm.

Between a rock and a hard place, werkartz (Downtown), 7–10pm.

The Broad and X-TRA present Lynne Tillman + Kerry Tribe in Conversation, The first in a series of talks addressing the legacy of Joseph Beuys, The Broad (Downtown), 7:30pm. $15.

Nataki Garrett & Andrea LeBlanc: The Carolyn Bryant Project, REDCAT (Downtown), 8:30pm.

Chinatown Openings and Events

SUSAN SIMPSON: MACHINE FOR LIVING, Automata (Chinatown).

Openings and Events in Leimert Park

In Conversation: Taisha Paggett & Ashley Hunt, Art + Practice (Leimert Park), 7pm.

Openings and Events in Pasadena

Dibner Lecture - The Search for Perfection in an Imperfect World, The Huntington (San Marino), 7:30pm.

Openings and Events Beyond Los Angeles

AAMD Art Museum Day, Laguna Art Museum (Laguna Beach), 11am–9pm.

Book Signing with Michael Imperioli and Colin Gardner, Santa Barbara Museum of Art (Santa Barbara), 5:30–7pm.

Arts for Inclusion: BEST BUDDIES 5TH ANNUAL ART EXHIBITION, Museum of Latin American Art (Long Beach), 6–8:30pm.

Third Thursday Studio | Digital Sculpture, Museum of Contemporary Art Santa Barbara (Santa Barbara), 6pm.

Andy Coolquitt: …i need a hole in my head, Museum of Contemporary Art Santa Barbara (Santa Barbara), 6–8pm.

Factory Line with the Coachella Valley Art Scene, Palm Springs Art Museum (Palm Springs), 6:30–8pm.

Film Night: Dr. Strangelove, Laguna Art Museum (Laguna Beach), 7pm.

Friday, May 18

Openings and Events in Westwood

INSIGHT WACD SENIOR PROJECTS FESTIVAL 2018, UCLA (Westwood), 8pm. Continues May 19.

Miracle Mile Openings and Events

Film: Free Screening: American Animals, LACMA (Miracle Mile), 7:30pm.

Openings and Events in Hollywood

Kimiyo Mishima: Paintings and Shomei Tomatsu: Plastics, Nonaka-Hill (Hollywood), 7–9pm.

Openings and Events in Los Feliz

Odd Nights, Autry Museum of the American West (Los Feliz), 6–11pm.

Downtown Openings and Events

Movie Nights at the Museum: William Kunstler: Disturbing The Universe, Los Angeles Poverty Department (Downtown), 7pm.

THE PEOPLE’S HOME | Winston Street 1974, THESE DAYS (Downtown), 7–10pm.

Cal State LA Community Impact Media Documentaries Premiere, Hauser & Wirth (Downtown), 7:30pm.

Openings and Events in Chinatown

Susan Simpson: A Machine for Living, Automata (Chinatown), 8pm. $15–20.

Openings and Events in MacArthur Park

Lawrence Jordan's Three Ring Circus, Bob Baker Marionette Theater (MacArthur Park), 8pm.

Openings and Events Beyond Los Angeles

Rehearsal: The Bevy, Museum of Contemporary Art Santa Barbara (Santa Barbara), 7pm. $175.

Nour Mobarak & Bana Haffar: YOU ARE THE AUDIENCE, POTTS (Alhambra), 9pm.

Saturday, May 19

Openings and Events in the Pacific Palisades

Drawing from Antiquity: Birds, Getty Villa (Pacific Palisades), 11am–12:30pm.

Plato in America: Edward Hopper, Mark Rothko, Mike Kelley, Getty Villa (Pacific Palisades), 2pm.

Openings and Events in West L.A.

Joanne Greenbaum: Things We Said Today, Otis College of Art and Design (West L.A.), 4–6pm.

Openings and Events in Westwood

URBAN HUMANITIES ALUMNI SYMPOSIUM, UCLA (Westwood), 12pm.

Openings and Events in Venice

Frame Rate: We Eat Art Live Podcast Taping, Beyond Baroque Literary Arts Center (Venice), 1–2:30pm.

Chasing Ansel Adams, Arcane Space (Venice), 2–6pm.

La pérdida / perdido, DXIX (Venice), 3–6pm.

Openings and Events in Santa Monica

Pico Block Party: Empowering Youth Voices!, 18th Street Arts Center (Santa Monica), 3–6pm.

Openings and Events in Brentwood

Off the 405: Allah-Las, Getty Center (Brentwood), 6pm.

Openings and Events in Culver City

Sister Corita Kent's "International Signal Code Alphabet" Book Launch and Discussion, Arcana: Books on the Arts (Culver City), 4–6pm.

Michael Dopp: Shining Desert and Tragedy Plus Time, Roberts Projects (Culver City), 6–8pm.

Jamison Carter: Hallelujah Anyway, Klowden Mann (Culver City), 6–8pm.

Openings and Events in Beverly Hills

Beverly Hills Art Show, Beverly Gardens (Beverly Hills). Continues May 20.

Miracle Mile Openings and Events

Talk: Exhibition Tour: A Universal History of Infamy—Those of This America, LACMA (Miracle Mile), 1:30pm.

Carole Garland: Streaming Color, Tom Wheeler - Painted Light in Western Landscapes, Isabelle Hope Grahm - My Color Garden, TAG Gallery (Miracle Mile), 5–8pm.

CAMERON PLATTER: Teen Non_Fiction, 1301PE (Miracle Mile), 6–8pm.

Families: Teen Night: Middle School, LACMA (Miracle Mile), 7:30pm.

Openings and Events in Mid-City

Carla Issue 12 Launch Party, Karma International (Mid-City), 6–9pm.

Openings and Events in Koreatown

Yarn Bomb Gabba Arts District!, Gabba Gallery (Koreatown), 10am–5pm.

Middle Voice walkthrough, Visitor Welcome Center (Koreatown), 2–4pm.

Openings and Events in MacArthur Park

Express Yourself/ William Grant Still Birthday Celebration, William Grant Still Arts Center (West Adams).

Openings and Events in Atwater Village

Metafork, Thank You For Coming (Atwater Village), 11am–3pm.

Openings and Events in Frogtown

Plant Communication & Radical Communion: Spring Flower Essence Making, Women’s Center for Creative Work (Frogtown), 11am–1:30pm. $20–25.

Openings and Events in West Hollywood

In the Name of the Place by the GALA Committee, West Hollywood Public Library (West Hollywood), 3–5pm.

Nathaniel Mary Quinn: Soundtrack, M+B (West Hollywood), 6–8pm.

Openings and Events in Hollywood

Fay Ray in conversation, Shulamit Nazarian (Hollywood), 4pm.

Marilyn Minter, Regen Projects (Hollywood), 6–8pm.

Julie Curtiss: Altered States, Various Small Fires (Hollywood), 6–8pm.

Double Vision, Steve Turner (Hollywood), 6–8pm.

Patrick Braden Woody: Cloth Mother, Wire Mother, there-there (Hollywood), 7–9pm.

Openings and Events in MacArthur Park

Bailey Scieszka: Soul Dolphin, Park View (MacArthur Park), 6–8pm.

Downtown Openings and Events

Bug Fair, Natural History Museum (Downtown), 9:30am–5pm. Continues May 20.

Artist Talk: Matthew Day Jackson in Conversation with Hamza Walker, Hauser & Wirth (Downtown), 2pm.

ARTIST WALKTHROUGH with Folkert de Jong and Nathan Redwood, DENK Gallery (Downtown), 2–3pm.

Bounty, Grice Bench (Downtown), 6–9pm.

Undisrememberable Curios, PØST (Downtown), 7–10pm.

Soft Bytes Feminist Animation Festival, Tiger Strikes Asteroid Los Angeles (Downtown), 7:30pm.

Anne Guro: Rule of a High Priest Vol. I, JACE (Downtown), 8–11pm.

Openings and Events in Lincoln Heights

Workshop: The Dancing Spine: Freedom, Power & Pain Relief with the Alexander Technique with Sharon Jakubecy Klehm, Pieter (Lincoln Heights), 1–3pm.

Openings and Events in Glendale

ONE-DAY NEON ART IMMERSIVE WITH DAVID SVENSON, Museum of Neon Art (Glendale), 10am–4pm.

Openings and Events in Pasadena

Taste of Art: English Tea Time, The Huntington (San Marino), 9am.

Out of the Woods: Celebrating Trees in Public Gardens, The Huntington (San Marino).

SkillShare: Veterans & Immigrants Oral History Recording, Side Street Projects (Pasadena), 1–4pm.

Openings and Events Beyond Los Angeles

Art+Feminism Wikipedia Edit-a-thon, Museum of Contemporary Art San Diego (San Diego), 11am–7pm.

MFA Thesis Exhibitions, Part II, CTSA Gallery (Irvine), 2–5pm.

Mona Kuhn: Selected Works, Porch Gallery (Ojai), 5–7pm.

2018 Old Bags & Baubles Luncheon, Long Beach Museum of Art (Long Beach).

Sunday, May 20

Openings and Events in Venice

Venice Art Walk, Google (Venice), 12–6pm.

Openings and Events in Santa Monica

8th Annual Beyond Baroque Awards Dinner, The Church in Ocean Park (Santa Monica), 6–9:30pm.

Openings and Events in Mar Vista

George Stoll: Spirograph Drawings (1995–2017), c.nichols project (Mar Vista), 5–8pm.

Openings and Events in Westwood

2018 K.A.M.P., Hammer Museum (Westwood), 10am–2pm. $100–150.

Openings and Events in Culver City

Promote-Tolerate-Ban: Art and Culture of Cold War Hungary and Socialist Flower Power: Soviet Hippie Culture, Wende Museum (Culver City), 12–5pm.

Miracle Mile Openings and Events

Talk: Gallery Course: European Art, 1750–1850—Neoclassicism and the Barbizon School, LACMA (Miracle Mile), 8:30am.

Mark Grotjahn: 50 Kitchens and Decoding Mimbres Painting: Ancient Ceramics of the American Southwest, LACMA (Miracle Mile), 10am–7pm.

Seeing Stars: A Bamboo Sculpture Workshop with Akio Hizume, Craft and Folk Art Museum (Miracle Mile), 1–3pm. $40–50.

Downtown Openings and Events

On The Wall! Street Art Youth Workshop, 356 Mission (Downtown), 1–4pm.

Place It Workshop with James Rojas, California African American Museum (Downtown), 1–3pm.

Listening Session #2 with Noah Copelin, MOCA Grand Avenue (Downtown), 3pm.

The World Is My Home, THE SPACE by ADVOCARTSY (Downtown), 4–7pm.

Openings and Events in Frogtown

Feminist Manifesto Writing Workshop, Women’s Center for Creative Work (Frogtown), 2–6pm. $12–15.

Openings and Events in Echo Park

Luca Francesconi: Eternal Digestion, 67 Steps (Echo Park), 7–9pm.

Openings and Events in MacArthur Park

The Circus, Bob Baker Marionette Theater (MacArthur Park), 5:30pm.

Openings and Events in Lincoln Heights

Orgasmic Yoga: Dr. Victoria Reuveni, Pieter (Lincoln Heights), 6–10pm. $30–40.

Openings and Events in Highland Park

Miller Robinson: Of this body; of this earth, Southwest Museum (Highland Park), 1–3pm.

Openings and Events in Pasadena

In Conversation with Susan Whitfield and Peter Sellars, The Huntington (San Marino), 2pm.

Openings and Events Beyond Los Angeles

Nam June Paik: TV Clock, Santa Barbara Museum of Art (Santa Barbara).

Artist talk: Scott Froschauer: Echo Enigma closing, Ark Gallery and Studios (Altadena), 3–5pm.

Rehearsal: The Harvest, Museum of Contemporary Art Santa Barbara (Santa Barbara), 6pm.

Monday, May 21

Openings and Events in Santa Monica

A Conversation with L.A. Artists Njideka Akunyili Crosby and Charles Gaines, Santa Monica College Performing Arts Center (Santa Monica), 6:30pm. $35.

Openings and Events in Westwood

BRETT STEELE, UCLA (Westwood), 6:30pm.

Openings and Events in Pasadena

Carnegie Astronomy Lecture - Astronomical Alchemy: The Origin of the Elements, The Huntington (San Marino), 7pm.

Openings and Events Beyond Los Angeles

Families: On-Site: North Hollywood—Comic-inspired Art Series, North Hollywood Amelia Earhart Regional Library (North Hollywood), 2pm.

High Desert Test Kitchen: may ingredient: cholla, Copper Mountain Mesa Community Center (Joshua Tree), 7pm

Tuesday, May 22

Openings and Events in Westwood

INA CONRADI + MARK CHAVEZ: MEDIA ART NEXUS NTU SINGAPORE, UCLA (Westwood), 6pm.

CONVERSATIONS: The Sex Ed with Liz Goldwyn, Nina Hartley, and Dita Von Teese, Hammer Museum (Westwood), 7:30pm.

Openings and Events in Brentwood

In Focus: Expressions, Getty Center (Brentwood), 10am–5:30pm.

Miracle Mile Openings and Events

Film: The Magician, LACMA (Miracle Mile), 1pm.

Downtown Openings and Events

Youth Now, California African American Museum (Downtown), 12–3pm.

Wednesday, May 23

Openings and Events in Westwood

FOWLER OUT LOUD: JOHNNIE YAJ, Fowler Museum (Westwood), 6pm.

Openings and Events in Brentwood

India and the World: A History in Nine Stories, Getty Center (Brentwood), 7pm.

Openings and Events in Mid-City

Back to the 80s, The Loft at Liz’s (Mid-City), 7–9pm.

Openings and Events Downtown

wasteLAnd premieres Wolfgang v. Schweinitz’s Cantata, or You are the star in God’s eye, REDCAT (Downtown), 8:30pm. $10–20.

Openings and Events in Pasadena

Curator Tour: Radiant Beauty, The Huntington (San Marino), 5pm.

Crotty Lecture - Remembering the Reformation, The Huntington (San Marino), 7:30pm.

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orbemnews · 4 years ago

Link

Netflix Productions Are More Diverse Than Studio Films, Study Shows Fifty-two percent of Netflix films and series in 2018 and 2019 had girls or women in starring roles. And 35.7 percent of all Netflix leads during that span came from underrepresented groups, compared with 28 percent in the top 100 grossing theatrical films. Those findings were released on Friday by the University of Southern California’s Annenberg Inclusion Initiative, which Netflix commissioned to look at its own U.S.-based scripted original films and series. The study analyzed 126 movies and 180 series released during 2018 and 2019. “Notably, across 19 of 22 indicators we included in this study, Netflix demonstrated improvement across films and series from 2018 to 2019,” said Stacy L. Smith, who is the head of the initiative and has been studying representation in film and television since 2005, during an online symposium the company held to discuss the survey. She said Netflix had also increased the percentage of women onscreen and working as directors, screenwriters and producers; for Black cast and crew; and for women of color in leading roles. Of the 130 directors of Netflix films in those two years, 25 percent were women in 2018 and 20.7 percent in 2019 — outpacing the feature films released theatrically by other studios over the same period. While Netflix reflects gender equality in its leading roles in television series and films, when every speaking character is evaluated, those roles did not match what the country looks like from a gender and race perspective. Only 19.9 percent of all stories met that mark. For instance, 96 percent of stories did not have any women onscreen who identify as American Indian/Native Alaskan, and 68.3 percent of the content evaluated did not include a speaking role for a Latina. That number rose to 85 percent when it came to speaking roles for Middle Eastern/North African women. Scott Stuber, Netflix’s film chief, acknowledged how crucial those kinds of small parts were to working actors. “The SAG card is everything,” he said, referring to the Screen Actors Guild membership that performers earn by having roles in various projects. “That is the beginning of the dream. We have to be very active with our filmmakers and our casting directors to fix that. That’s the next great artist. That’s the next Viola Davis.” According to the report, L.G.B.T.Q. characters at every level of film and television were marginalized, particularly transgender characters. And just 11.8 percent of L.G.B.T.Q. characters in leading roles were shown as parents. “I was shocked that we are not doing great there,” said Bela Bajaria, the head of global TV for Netflix. “I feel like we are so active in our story lines. But the lack of gay parents in our shows, that’s a clear takeaway.” According to Netflix’s chief executive Ted Sarandos, the company is committed to releasing a new report every two years through 2026. “Our hope is to create a benchmark for ourselves, and more broadly across the industry,” he wrote in a blog post that accompanied the report. The director and screenwriter Alan Yang said during the symposium that he was bullish on the future of inclusion in entertainment, especially at Netflix, which produced a series he created with Aziz Ansari, “Master of None,” and his feature film “Tigertail.” “It’s going to improve a lot if Bela and Scott buy all the shows and films I pitch them,” Mr. Yang said with a laugh. Source link Orbem News #Diverse #films #Netflix #Productions #Shows #Studio #Study

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