#Sunset Bronson Studios

[bkenber]

The Scene at the SAG/AFTRA and WGA Picket Line Outside of Netflix

After joining the union members of SAG/AFTRA and WGA, still on strike for a fair contract from producers, in front of Paramount Studios, I joined them again outside of Netflix, Sunset Bronson Studios and KTLA Channel 5 studios on July 27, 2023. It was a scorcher of a day as the temperature got up to ninety degrees, but the union members remained determined to march on, and the strike captains did…

[savethegrishaverse]

Greetings from the Grishaverse! 🌍💌 Join our NEW postcard campaign to convince Netflix to #SaveShadowAndBone and greenlight the #SixOfCrowsSpinoff. Wherever you are or wherever your travels take you this summer, send a postcard to Netflix.

You can also write a message to Netflix on our special Greetings from the Grishaverse postcard template: https://tinyurl.com/GrishaversePostcard

📬 Netflix Mailing Address:

Sunset Bronson Studios

ATTN: —

5800 W. Sunset Boulevard

Los Angeles, CA 90028

Choose one of the names below for ATTN:

Bela Bajaria: Chief Content Officer

Cole Galvin: Director of Original Series

Jinny Howe: VP, Original Series

Let's show Netflix the Third Army's global presence!

[dkaufmandevelopment]

Hollywood Office Tower ‘The Star’ On Sunset Unveils $1B Makeover Plan.

Plans have been submitted for a 22-story office tower that will now be punctuated by a spiraling design offering 360-degree views of downtown Los Angeles, the Hollywood sign and the Pacific Ocean with luscious garden terraces on each floor that rise from the street-level entrance to a rooftop restaurant.

The plans were devised by Norman Foster of Foster + Partners, a London-based architecture firm known for iconic buildings and structures around the world such as the Gherkin skyscraper in London, the JP Morgan Chase Headquarters Tower in New York, Apple Park, Hong Kong International Airport and the Millau Viaduct in France. It’s expected to attract suitors across entertainment and tech, possibly as a potential headquarters.

Foster said the office campus, which is situated on a on a two-acre lot at 6061 W. Sunset Boulevard, is a “true reflection of the workplace of the future, nurturing community, well-being and collaboration” meant to “encourage and enliven the city’s incredible creative industries.” The location for the building sits across the street from the Old Warner Brothers Studios, now known as the Sunset Bronson Studios, and its 14-story office tower, which currently hosts Netflix. The former Television Center, which is undergoing a $600 million redevelopment and will be rebranded as Echelon Television Center, is also roughly a mile away.

Developers are betting on an urban design encouraging natural light and ventilation that incorporates vast outdoor areas with generous landscaping, floor-to-ceiling windows offering sweeping views of the region and an enhanced pedestrian experience along the entrance, which is walking distance from a Metro station and the Hollywood Walk of Fame. In a post-COVID world, access to fresh air and an outdoor space has been an essential consideration, especially for those in the entertainment and tech industries, said a company spokesperson, who declined to comment on financing for the development.

The campus, which sits next to less ritzy building hosting an events company and the Hollywood Palms Inn & Suites motel, will also feature a theater, gallery, rooftop restaurant and an outdoor event space intended to become a new destination. The development will break ground in 2026, with initial occupancy slated for 2029.

The Star will become a Hollywood “landmark” representative of a “new age of office space,” envisions Patrick Campbell, an architect at Foster + Partners. Learn more by reading the full-article at: https://www.yahoo.com/entertainment/hollywood-office-tower-star-sunset-142557018.html

#realestateinvestor #realestate #realestatedevelopment #construction #architecture #losangelesrealestate #losangeles #investinginrealestate #design #danielkaufmanrealestate #commercialrealestate

[studdfeed]

Writers' strike freezes 'The Handmaid's Tale,' 'Game of Thrones' movie By Reuters

© Reuters. FILE PHOTO: Members and supporters of the Writers Guild of America picket outside Sunset Bronson and Netflix Studios, after union negotiators called a strike for film and television writers, in Los Angeles, California, US, on May 3, 2023. REUTERS/Mario Ann Written by Lisa Richwin and Don Chmielewski LOS ANGELES (Reuters) – Writing for new seasons of “The Handmaid’s Tale” and “Game of…

[7narrative]

Kicking off in January 2023 don’t miss the new original animated series “it’s the ANDY & JEAN Show -> exclusively streaming on the Worlds #1 premiere streaming network @Art Channel. We are proud to have this opportunity to executive produce this on behalf of the network with with an amazing team of professionals based in Los Angeles / Sunset Bronson Studios. We will keep ya posted :) (at Sunset Blvd, Hollywood CA) https://www.instagram.com/p/CmzLt_WJTHX/?igshid=NGJjMDIxMWI=

[ti-female]

11/24/22 Getting targeted from a gangstalker inside the Sunset Bronson Studio parking structure overlooking Van Ness for a free hours so far. You have to pass through security for access. This is just a few feet south of Sunset Blvd.

[historichollywoodphotographs]

Sunset Boulevard: More Than Just The Strip

Several galleries in our hollywoodphotographs.com collection depict sites located on Sunset Boulevard and for good reason: the street tells so many aspects of the Hollywood story - associations with the early film industry, entertainment venues, and key places where residents worked, shopped, and worshipped. Twenty-two miles in length, the winding and heavily trafficked thoroughfare includes portions of a centuries old cattle trail and sections which bridge several subdivisions of Los Angeles as it passes from downtown LA to the Pacific Ocean. The route runs through the neighborhoods of Echo Park, Silverlake, Los Feliz, Hollywood, West Hollywood, Beverly Hills, Holmby Hills, BelAir, Brentwood, and Pacific Palisades. The stretch from Hillhurst Avenue in Los Feliz on the east, to Sierra Drive in West Hollywood, has long been associated with the Golden Age of Hollywood. It’s so iconic, it even has its own movie: Sunset Boulevard, a classic made in 1950, directed by Billy Wilder, starring Gloria Swanson and William Holden.

Many early motion picture entrepreneurs set up shop along Sunset Boulevard’s eastern portion, one such studio survives at 4401 Sunset (now used by Scientology Media). While DW Griffith’s Intolerance set no longer towers over the intersection at Hillhurst Avenue, the Spanish Colonial Revival Vista Theater at 4473 Sunset (1923, Lewis A. Smith) with its delightful Egyptian interior remains. To the west, the first site of Warner Brothers in Hollywood (now known as Sunset Bronson) at 5800 Sunset still operates, as does the Columbia Studios complex (now called Sunset Gower). Across the street at 6121 Sunset, stands CBS Columbia Square (1938, William Lescaze and ET Heitschmidt, International Style), the brainchild of William Paley and epicenter of his West Coast radio empire. Paley built his complex on the site of the very first studio in Hollywood and a plaque commemorating that history still rests in the front courtyard.

Two entertainment venues - the Palladium (6215) and the Earl Carroll Theatre (6230) dominate the blocks east of Vine Street. Both are designated Historic Cultural Monuments (as is CBS) and associated with prominent architects and owners. At 6360, the modernist Cinerama Dome (1963, Welton Becket and Associates), was a slightly later addition to the street that continued the development pattern of restaurants, theater, and retail around Vine Street. The intersection of Sunset and Vine played a particularly prominent role in the radio and music industries from the 1930s through the 1960s.

As Sunset crosses Cahuenga, several institutions –  the Hollywood Athletic Club (6525, Beaux Arts), Blessed Sacrament Church (6657, Spanish Colonial Revival), Crossroads of the World (6671, Robert Derrah, Streamline Moderne), and the Hollywood Reporter (6715, Hollywood Regency) – are just a few examples of early 20th century styles that made Hollywood famous for its architectural and cultural diversity within the community.

Located at Sunset and Highland, Hollywood High School was founded in 1903; its lovely Streamline campus designed by architects Marsh, Smith, and Powell dates from 1935. One block west, the corner of Sunset and La Brea was once home to the famous Tiny Naylor’s Drive-In. Further west through the historic neighborhoods of Spaulding Square and Sunset Square (designated Historic Preservation Overlay Zones), are the Director’s Guild at 7920, the former locations of Schwab’s Pharmacy at 8024, and the Garden of Allah Hotel at 8150 (soon to be a new development designed by Frank Gehry). The Garden was headquarters for transplanted writers during their stays in Hollywood, including Robert Benchley, Dorothy Parker (of New York Algonquin Hotel fame), and novelist F. Scott Fitzgerald.

The Chateau Marmont at 8221 (1928, Arnold Weitzman, Norman Style), just west of Crescent Heights, is the gateway to the “Sunset Strip”, the most famous/infamous section of the boulevard. Located in the city of West Hollywood, this part of Sunset was, and still is, a major hub of Los Angeles nightlife, known for its trademark array of colorful billboards. The mile and a half stretch running from Harper Avenue passed Sunset Plaza to the boulevard’s western border with Beverly Hills, is densely populated with trendy boutiques, restaurants, nightclubs and venues that have been social gathering spots of the entertainment industry and its fans for over eight decades.  

Historically outside of the Los Angeles city limits, in an unincorporated area of the county of Los Angeles, these blocks of Sunset were policed by the less vigilant Sheriff’s Department rather than the heavy hand of the LAPD, thus the area was perceived to be more permissive of public behavior. It was illegal to gamble in the city, but legal in the county. This fostered the building of a wilder concentration of nightlife than Los Angeles proper would tolerate in the 1920s. As a consequence, a number of nightclubs and casinos moved in along The Strip, attracting celebrities and other more liberal-minded locals, as the alcohol continued to flow in back rooms during Prohibition.  

Glamour and glitz especially defined The Strip in the 1930s and 40s, as its renowned restaurants and nightclubs became playgrounds for the rich and famous. Movie legends, power brokers and everyone who was anyone danced at such legendary clubs as Ciro’s (8433), Mocambo (8588), and the Trocadero (8610). Some of its more expensive clubs and restaurants were said to be owned by gangsters like Mickey Cohen, earning the Strip a mention in Raymond Chandler’s Philip Marlowe novel The Little Sister. Most were owned by Hollywood insiders, such as Billy Wilkerson (publisher of the Hollywood Reporter) and director Preston Sturges. The publicity machine of the studios required their stars to be visible to the public, so gossip columnists like Hedda Hopper and Louella Parsons were also regularly in attendance to report on the events and star sightings at these high profile venues.

By the early 1960s, The Strip seemingly lost favor with movie people, but the restaurants, bars and clubs continued to attract out of town visitors and locals. In the mid-60s and 70s, the area became a major hang out for the counterculture and rock music scenes, as well as the epicenter of the Sunset Strip curfew riots in the summer of 1966, which inspired the Buffalo Springfield song For What It’s Worth. Go-Go dancers performed nightly at such hotspots as the Whisky-a-Go-Go (8901), while bands such as The Doors, The Byrds, Frank Zappa, Van Halen, Motley Crue, Guns ’n Roses, and Whitesnake all played at the Roxy (9009), Pandora’s Box, London Fog, Rainbow Bar & Grill (9015), and Viper Room (8852).

As The Strip became a haven for musical artists in the 1970s and 80s, the Continental Hyatt House (8358), also referred to as the Riot House (now Andaz), became a second home for touring rock bands such as Led Zeppelin, The Rolling Stones, and The Who. Consequently, the hotel became associated with notoriously debaucherous behavior for a time, many of its most outrageous legends later retold in Hollywood movies and TV shows. The Chateau Marmont (8221) and Sunset Tower (at 8358; Leland Bryant, 1931 Art Deco/Streamline Moderne), also share a long history of housing transplant artists during their stays in Hollywood, serving as film sets, and receiving mentions in literature, music, and pop culture.  

The Comedy Store (8433), the former site of Ciro’s, gave many comics like Jim Carrey, Sam Kinison, David Letterman, and Jay Leno their starts, while bonafide comedians like Richard Pryor, Whoopi Goldberg, Eddie Murphy, Jerry Seinfeld, and Robin Williams would often try out their new acts in front of crowds.

Tales of Sunset’s history and significance are as long as the boulevard itself. We could easily go on. From the early 1900s to present, Sunset Blvd has been one of Hollywood’s favorite destinations to create, work, play, and shop; the variety of buildings and legends clearly reflect that. Regardless of your actual location, you too can take a trip down Sunset Blvd via hollywoodphotographs.com right now! Please enjoy exploring all the galleries we’ve linked to in this post and be sure to stay tuned for even more in-depth stories of other magnificent Hollywood locations soon to follow.

~ Christy McAvoy and Carly Caryn, Historic Hollywood Photographs

[citizenscreen]

Paramount Studios Bronson Gate entrance, filming SUNSET BOULEVARD (1950) https://www.instagram.com/p/B1dtebzHO5m/?igshid=1mbanbe8p8xub

[watching-pictures-move]

Movie Review | Cobra (Cosmatos, 1986)

This is easy enough to dismiss or enjoy as a typical meatheaded Stallone vehicle (I’m partial to these things, and I think this is a slick, stylish example), but I think it has some pretty interesting things going on. It follows a Dirty-Harry-style “rules are for suckers” cop played by Sylvester Stallone as he dispatches the members of a serial killing cult with cold-blooded efficiency. Conceptually, it’s a shoot ‘em up crossed with a slasher movie, and this extends to its Reagan-era worldview, as the movie endorses a hard-line approach to law enforcement (the hero declares crime a disease and appoints himself as the cure and usually shoots first and asks questions never) and the villains play into the moral panic at the time around violent horror movies and devil worship.

It's a Cannon Films production, but it feels less akin to the rougher-edged Chuck Norris and Charles Bronson vehicles I associate most with the studio than to the glossy, high-powered productions of Jerry Bruckheimer and Don Simpson, with a healthy dose of MTV and product placement thrown in to occasionally sublime results (a scene where Stallone kills a few baddies while basking in the glow of a neon Pepsi sign). How the movie’s conceptual dissonance manifests in its style is really the most interesting thing about it. One expects the shots of sunglasses and gun fetishism in an action movie, but when bathed in the hellish glow of almost perpetual sunset and juxtaposed with blood-drenched knives, these images have a different effect. And one expects stalkings and black-gloved killers in a slasher or even giallo, but placed in between the gunplay they add nuance to the typical suspense found in an actioner.

Compared to Rambo: First Blood Part II, the other collaboration between Stallone and George P. Cosmatos, Cobra is more stylistically accomplished, but the comparison also highlights its limitations. Both feature Stallone as instruments of righteous violence and espouse the politics of the era, but Rambo gives Stallone an actual character to play, while Cobra limits him to steely glares and the occasional deadpan quip. (Which to his credit he does quite well, modulating his charisma to match the rhythms of the movie’s colder, slicker style.) And one gets the sense that even the more excessive Rambo movies have actual ideals and compassion at their centre, exhibiting a thoughtfulness (however slight) that’s totally absent in Cobra, which is about killing people real good and not thinking too hard about it. It’s a purer aesthetic object, for better or worse.

[thelovelybrook]

#throwback pic Off to the taping of #HotBench #CourtShow . . . . . . . . #live and #happiness (at Sunset Bronson Studios Bronson Gate) https://www.instagram.com/p/By5KbHIBkIS/?igshid=1u5t6lbp1xnc1

[savethegrishaverse]

Dark academia or school of witchcraft? Both are an option with our new application letterheads, one for the Little Palace and one for Ketterdam University. Print one or both of them and persuade the academic instructors of your suitability as a new candidate, then send them to Netflix!

The streamer is sure to be reminded of how prestigious their portfolio can be if they #SaveShadowAndBone and greenlight the #SixOfCrowsSpinoff, the more letters they receive from us!

Send your letters to Netflix HQ at the following address:

Sunset Bronson Studios

ATTN: ___

5800 W. Sunset Boulevard

Los Angeles, CA 90028

Choose one of the names below for ATTN:

- Bela Bajaria: Chief Content Officer

- Cole Galvin: Director of Original Series

- Jinny Howe: VP, Original Series

[blackkudos]

Joe Brown

Joseph (Judge Joe) Brown (born July 5, 1947) is an American lawyer. He is a former Shelby County, Tennessee, Criminal Court judge and a former arbiter of the arbitration-based reality court show, Judge Joe Brown.

Early years

Raised in the Crenshaw District of Los Angeles, Brown graduated at the top of his class at Dorsey High School, then in 1969 earned a bachelor's degree in political science and in 1973 a Juris Doctor (J.D.) degree at UCLA. While attending law school, Brown worked as a substitute teacher. He is a member of Alpha Phi Alpha fraternity.

Career

Brown became the first African-American prosecutor in the city of Memphis. He would later open his own law practice before becoming a judge on the State Criminal Court of Shelby County, Tennessee.

Brown was thrust into the national spotlight while presiding over James Earl Ray's last appeal of Ray's conviction for the assassination of Martin Luther King, Jr. Brown was removed from the reopened investigation of King's murder due to alleged bias—former Congresswoman Cynthia McKinney of Georgia wrote that Brown told her and the Congressional Black Caucus, unequivocally, that the so-called murder rifle was not the weapon that killed Martin Luther King, Jr. It was during this time that Judge Brown caught the attention of the producers of Judge Judy.

In March 2014, Brown ran in the Democratic primary for the position of Shelby County district attorney general. He lost the election to Republican incumbent Amy Weirich by 65% to 35%.

Court show

Broadcast background

Judge Joe Brown is an American arbitration-based reality court show that premiered on September 14, 1998 and ran through the 2012–13 television season. The first-run syndication series entered its 15th and final season on September 10, 2012, also regularly airing in high-definition for the first time beginning in that same season as well.

The set of Judge Joe Brown was directly beside the set of Judge Judy within the same facility, Sunset Bronson Studios. After Judge Joe Brown's 2013 cancellation, however, the space was used for the courtroom series Paternity Court for a season (2013–present), followed by the court show Hot Bench (2014–present). As Judge Judy was and still is, Judge Joe Brown was both produced by Big Ticket Television and syndicated by CBS Television Distribution (CTD), the successor company to their previous distributors: Worldvision Enterprises, Paramount Domestic Television, and CBS Paramount Domestic Television.

The show was syndicated in the US, and aired during daytime hours. It aired on CTV in Canada and Fox8 in Australia. Like the majority of television court shows, Judge Joe Brown is a form of binding arbitration. The show's producers maintain the appearance of a civil courtroom.

FeatsDiversity

Joe Brown is the first African American male to preside over a courtroom television show and the first African American person to preside over a long-running courtroom series; however, former New York prosecutor Star Jones is the first African American person to preside over a court show (Jones and Jury 1994–95). Brown's entrance into the court show genre has been followed by other African American male arbiters, most notably Greg Mathis of the NAACP Image Award winning court show Judge Mathis.

Staying power

With all of its seasons having aired consecutively, solely under Brown, Joseph Brown was the second longest running television jurist for many years prior to his cancellation, just behind Judith Sheindlin. While there are court shows that outnumber both Judge Joe Brown and Judge Judy in seasons within the judicial arena, namely Divorce Court and The People's Court, they are also programs with multiple lives and multiple "judges" in their histories.

Ratings

As far as ratings in the legal/courtroom genre go, Brown's program ranked in second place during its entire run, typically just above The People's Court and significantly below Judge Judy. Consequently, Judge Joe was the highest rated male-arbitrated television series during its run. It should be noted, however, that Brown was paired with the highly rated Judge Judy series.

Adjudicating approach

For the most part, Brown has a languid and perfunctory nature about him, particularly while gathering all the facts and trying to figure out the case. Occasionally, however, once he's suspected a party of being guilty, Brown has become particularly cantankerous as shown in his irritated, quarrelsome communication. Brown has also subjected these litigants to harsh tirades and judgmental commentary. At several intervals throughout many of the cases, Brown has been seen up on his feet in the midst of a tirade, pacing and raging around the bench area. In these moments, he's also been known to sit atop the desktop of his bench to add emphasis to his long, angry tirades. The harshest of Brown's tirades have generally been delivered to men whose behavior he regards as particularly irresponsible or egregious. In these moments, Brown flings out his personal values and guidance at men, such as: grow up and be a man, you don't know nothing about manhood, quit acting like you haven't got any "home training", be a civilized human being and stop trying to be "cool", quit acting like a "thug", take responsibility, have a sense of class and decency, etc. Brown has been criticized for these behaviors as "lacking self-control."

Brown tends to allow "victimized" or "wronged" litigants ample opportunity to also berate "guilty" litigants, often delighting in this and listening in amusement; moreover, he allows audience applause and laughter at the guilty litigant's expense so that the whole courtroom is against the guilty party. With brasher litigants than other courtroom programs, however, perhaps due to the nature of the cases or at least Brown's approach, guilty litigants on Judge Joe Brown have been known to act out. On past episodes, many litigants who were perceived as guilty by Brown and treated accordingly have not hesitated to chuck items around the courtroom, such as water; disrespect the judge; threaten the other party or spectators, etc. In fact, in February 2010, Brown himself was sued by one of his former television show litigants for alleged slander and fraud, but won the case because of the waivers the court show has its litigants sign prior to the televised proceedings. On the series, Brown has typically responded to most of the aforementioned behaviors by telling the litigants they'll be receiving a ticket or demanding that the litigant be arrested and thrown in jail for violating statute that requires respectful decorum in arbitration proceedings.

Recurring roles

The program also featured a news reporter and bailiff. Holly Evans, was the bailiff from 1998 to 2006. Sonia Montejano replaced her for the rest of the run in 2006. Jacque Kessler was the show's news reporter from 1998 to 2010. Former FOX Sports and current MLB Network freelance reporter Jeanne Zelasko succeeded Kessler as the reporter in 2010. Ben Patrick Johnson was the show's announcer from 1998 to 2005. Rolonda Watts succeeded him as Announcer in 2005. Popular musicians Coolio, Ike Turner, and Rick James have all been litigants on the show.

Salary

It was reported in the summer of 2012 that Brown was the second highest paid daytime television personality, earning $20 million a year, only second to Judge Judy, who earns $45 million a year. In April 2013, however, following the show's cancellation, Brown disputed these reports claiming that CTD was only paying him $5 million a year.

Salary negotiation conflicts and series cancellation

As reported on February 27, 2013, by Broadcasting & Cable, CTD had told Brown that the salary amount they were paying him—of $20 million (though Brown disputes this, claiming that CTD has never given him a salary of any more than $5 million)—would be cut in the wake of his declining ratings, license fees, and advertising revenues.

Ratings for Judge Joe Brown were declining during its last several seasons on the air. In the 2013 February sweeps, the show was down 20% to a 2.4 live plus same day rating from a 3.0 last year according to Nielsen Media Research. Brown refused to do the show under the new terms. Rather, he shopped his program to other distributors. Station executives told Broadcasting & Cable they were less than happy to be learning about the dissension at the end of February 2013 when their options for replacing the show were limited.

CTD announced on March 26, 2013 that they would be cancelling the court show and cease distributing the series after its summer 2013 reruns. The final CTD-produced episodes were taped on March 14, 2013. Fox station owners (that had contracted to air the program) were reportedly not interested in a CTD-chosen replacement judge.

Brown later called out CTD for their treatment of him, claiming they had reneged on contract agreements, cheated him out of money, failed to give him sufficient advertising in favor of concentrating their advertisements in Judge Judy, and engaged in several other unjust, underhanded and unethical business practices.

Personal life

Judge Joe Brown is divorced and has two sons from his first marriage.

Legal issues

In March 2014, Brown was arrested in Memphis, Tennessee, and charged with five counts of contempt of court and getting "verbally abusive" during a child support case overseen by Magistrate Harold Horne. Brown, who retains his law license, was reviewing a child support matter as a favor to an acquaintance. According to press accounts, Brown became combative and irate after Horne refused to discuss details of the case that were not on the schedule. Brown was sentenced to five days in jail, but was later released on his own recognizance. Brown surrendered to the Shelby County Sheriff on August 27, 2015 to serve his five-day sentence at the Shelby County Corrections Facility in Memphis. He was released from the Shelby County Corrections Facility the morning of September 1, 2015.

Wikipedia

[marianajacqueline45]

Hannah Montana fue una serie original de Disney Channel. La serie, destinada al público juvenil e infantil que relata la doble vida de una mega estrella del pop juvenil y una chica común, fue nominada cuatro veces a los Emmy y dos a los BAFTA. Fue estrenada el 24 de marzo de 2006 y terminó con el último episodio el 16 de enero de 2011 en Estados Unidos, mientras que en Iberoamérica la serie se estrenó el 12 de noviembre de #2006 y terminó el 20 de febrero de 2011. Es una de las series más vistas del canal, junto con That's So Raven. La banda sonora fue una de las más vendidas en 2006. La serie ha sido producida por It's a Laugh Productions, Inc en asociación con Disney; y es filmada en Tribune Studios en Hollywood, California (para la primera temporada y segunda temporada) y en Sunset Bronson Studios igualmente en Hollywood, California (a partir de la tercera temporada). La serie rompió récords de audiencia para Disney Channel: 8.4 millones de televidentes en la fecha de estreno. Según el presidente de Disney Channel Entertainment, esa cantidad de personas «fue más allá de nuestros sueños más locos». El 10 de abril de #2009, en Estados Unidos y Canadá, se estrenó la adaptación cinematográfica de la serie, con el nombre: «Hannah Montana: The Movie», donde Miley Cyrus debe tomar la decisión más importante de su vida, revelar al mundo que ella es Hannah o dejar de serlo y vivir sin su secreto. La serie fue renovada para una cuarta y última temporada que fue estrenada el 11 de julio de 2010 en Estados Unidos. En Latinoamérica, su estreno fue el 13 de agosto de #2010. Comercializada como Hannah Montana Forever. Michael Poryes, que se acredita como cocreador, también cocreador de la serie de Disney Channel That's So Raven y Boy Meets World. El show es producido por It's a Laugh Productions y Michael Poryes Productions en asociación con Disney Channel. Se filmó en Sunset Bronson Studios en Hollywood, California. #Collage #ProgramaCollage #cine #historiadelcine #maganzie #RevistaCollage #programa #televisión (en Montevideo, Uruguay) https://www.instagram.com/p/CM7eoeYhhjw/?igshid=1xsjtvasqrdv6

[onestowatch]

Hollyy Dives Headfirst Into Heartache on ‘Miss The Feeling’ [Q&A]

Photo By: Tess Graham

Chicago alt-soul band Hollyy warms our hearts with their passionate vocals and retro-inspired grooves in their latest EP Miss The Feeling. The release is a skillful blend of something old and something new, embodying a vibrant Memphis soul sound full of heartache and visceral emotion that cannot help but transmit that feeling out into the world for others to see, hear, and feel. Although this isn't the band's first EP, Miss the Feeling is their unyielding introduction into a world that needs unapologetically honest music.

Formed in summer 2018, Hollyy consists of Tanner Bednar (vocals), Brandon Couture (guitar), Peter Giere (keyboard), Rafe Soto (drums), and Dominic Zeier (bass). Ones To Watch was able to chat with the band about Miss The Feeling's creation process amid a global pandemic.

Ones to Watch: With this being the first EP the band has released since your debut "Letters From Lawndale," what are some things you all have learned about the production and creative process that made this an easier release?

Tanner: I think we've mostly just all grown as musicians and songwriters during that span between projects, which is great. We've also changed our process quite a bit for the better. Rafe has really souped-up our basement studio into a magic music-making space, which we love and hold super dear to us. This EP was also the first time we worked with a producer, and it was truly the most incredible experience. We owe a lot to our friend/producer Nick Boyd for this work.

Brandon: This EP was a much more collaborative songwriting process than our first EP as Holly,. We all contributed songs and helped shape each other's ideas. Once someone brings an idea forward, it becomes all of ours, and we all put in a lot of care to make each song the best we can make it. It takes a willingness to feel exposed and accepting of how someone else is going to hear what you write.

Rafael: I think we've all learned a thing or two about collaboration and how we can change certain aspects of a song and get something brand new out of it that plays to our strengths.

This EP is full of retro, warm tones that still touch on themes and feelings of loneliness, lost love, and more. To you, what is this EP about?

Brandon: It's a reflection on times past that you once longed for and trying to find your way forward.

Tanner: Miss the Feeling is kind of a perfect literary send-off for acknowledging you've been stuck in a rut for a while as well as just not feeling yourself and getting back to that point of being internally content again. It could translate to human relationships or emotional struggles not involving human relationships, and I like that.

Rafael: I agree with Brandon. It's about being able to let go of moments in your life.

What was your favorite song from the EP? Why?

Tanner: I love all my children equally hehe. But I have found that rocking out to the end of Turn it Around has been rather therapeutic during quarantine. So I guess that??

Brandon: Beach is one of my favorites to play live, we've been playing it back to back with Miss the Feeling, and it's really fun.

Rafe: I also enjoy the miss the feeling/beach medley because it's super fun to play.

Pete: Like anything, it depends on the mood. The ending of "Beach" has a very dreamy/jazzy vibe and has been fun to expand and jam on musical ideas.

How do you feel Hollyy has evolved not only as a band during the pandemic, not only in regards to your sound but overall?

Brandon: This time has really affected my writing for sure. This year has been challenging on many people, and the future is so uncertain for so many. People need something to look forward to, and I've found myself trying to write about that pain and confusion of not knowing which way forward is.

Rafael: I think it's helped us really streamline our process and figure out what we absolutely have to do in person and the things we can collaborate remotely on. Our writing process usually takes place in person but it has found its way to a million different messaging and document apps, I think this gives us the chance to reflect multiple on what we're writing.

What have been the biggest struggles of trying to record this EP during a pandemic?

Brandon: Luckily, we finished a lot of the recording for this project before the lockdown, but it's forced us to find other ways to push our new music while not having the ability to promote it live. It's also changed how we've had to work on our next project, moving to virtual meetings and writing from our respective homes.

Tanner: Yeah, it's honestly been super cool to see how we've adapted to essentially being a virtual rock band these past seven months while still being very efficient and productive with our tunes, writing, and releases. Personally, I have really enjoyed the challenge of needing to get creative to find different outlets of marketing and content pushing during the Covid-era, and we have a super supportive and talented team that helps us out along the way as well, so that's been great.

What would be a dream collab or feature for a future Hollyy track?

Tanner: We're ready to get down in the writing trenches with Stevie Wonder or Anderson .Paak at ANY point!

Brandon: Kevin Parker from Tame Impala would be incredible, as would the Delvon Lamarr Organ Trio.

Rafael: Probably Gwenno or Dex Romweber.

Pete: I think we've talked about having a rapper put down a verse on a song before. I've been listening to a lot of Action Bronson lately, so I would have to put him.

The EP not only goes on a sonic journey but a visually artistic one as well. In all the music videos, fans have seen a mysterious driver in a vintage car driving into the sunset and towards an unknown destination. Who is the artist, and how did this concept come to be? Is there a deeper meaning, or was it just something the band thought looked cool?

Brandon: The artwork is meant to elude themes of escapism and finding your own way forward, which I think are some of the more subtle themes in our music. When I drive alone, I often find myself having intense internal conversations with myself, often to reflect on something that might be bothering me.

Tanner: Yeah, the artwork is definitely super purposeful with some underlying meanings and symbolism, and that's something that I'm glad came together for us in the end, and people are catching on to and deriving their own ideas of what it may mean. We had talked about using the car and the geographic locations to help depict escaping and longing for new and better days. We played with the concept of colors and backdrop settings to allude to what lyric meanings may be included in that single as well. All in all, our friends Lucas and Ariel from Brazil (two super talented artists, by the way) helped us out with these images, and we're super happy we got to use our friends' work for these.

In a time when touring and live shows are on pause, what does Hollyy plan to do from here? Live stream concerts? Do y'all plan on pulling a Flaming Lips move and encourage people to go to shows in bubbles?

Brandon: Giant bubbles would be incredibly fun! We've been finding ways to get together, make some videos and live stream, and certainly plan on continuing, but our big focus now has been writing and working on the next project. The one benefit to the pandemic is it's given us a lot more time to write, and we have a good number of songs that have piled up now. It's helped give us something to look forward to and work towards.

Tanner: Yes, I think nothing says giant bubble mosh pit quite like the intro to Miss the Feeling. I would love to try that out one day. But to piggyback off of Brandon, we're absolutely just enjoying the writing process right now, staying safe + healthy, and looking forward to creating more and more music with each other while we're stuck in the dystopian universe. One day we'll play a normal, carefree live show again :)

Who are some "Ones To Watch" you would recommend people to check out?

Brandon: Chicago is an incredible hub for local bands. Ratboys, Divino Nino, and Sen Morimoto are some really incredible artists that have been crushing it lately.

Tanner: I think some of these artists are going to start/continue to make some noise over the next year: Neal Francis, Fat Night, MICHELLE, and Qari.

Rafael: Lately, I've just been listening to a ton of roots reggae, so checkout Desmond Dekker. I am stoked about the new Fuzz album though.

Pete: I think right now, everyone should check out Wyatt Waddell. He has an absolutely incredible mix of RnB, soul, and hip-hop to his sound. He's also from Chicago, so that helps too!

[grandprogression]

Prince Hit And Run Tour UK Volume 2

21st February 2014 ° Manchester Academy 1, Manchester

9th February 2014 O2 Shepherd's Bush Empire, London

4th March 2014 (The Arsenio Hall Show) Sunset Bronson Studios - Stage 19, Los Angeles

Silverline (039-040)