#live streaming production new york

[djinnewyorkcity]

How to Choose the Perfect Event Production Companies for Your Next Event

Are you planning a special event and want it to be an unforgettable success? You’ve come to the right place! Choosing the right event production company can make all the difference between a lackluster event and a memorable extravaganza. In this blog post, we’ll guide you through the process of selecting the perfect event production company that aligns with your vision, budget, and objectives. So, let’s get started!

1. Understand Your Event Needs and Objectives

The first step is to clearly define your event’s purpose, theme, and objectives. Ask yourself questions like: What is the main goal of the event? Who is the target audience? What type of atmosphere do you want to create? Understanding your needs and objectives will help you communicate effectively with potential event production companies.

2. Research and Shortlist Potential Companies

Time to hit the search engines! Look for event production companies in your area and make a shortlist of potential candidates. Check their websites, portfolios, and client reviews to get a sense of their expertise and reputation. Don’t forget to look for testimonials from previous clients to gauge their level of satisfaction.

3. Experience and Expertise Matters

An experienced event production company is worth its weight in gold. Look for a team that has successfully organized events similar to yours. A well-established company with a proven track record can handle any challenges that may arise during the event planning and execution process.

4. Budget Considerations

It’s essential to have a clear idea of your budget before you start contacting event production companies. Communicate your budget to the shortlisted companies and see if they can work within your financial constraints. Keep in mind that the cheapest option might not always be the best, as quality matters.

5. Creative and Innovative Approach

You want your event to stand out and leave a lasting impression on attendees. Seek an event production company that brings a creative and innovative approach to the table. Look for fresh ideas and unique concepts that align with your vision.

6. Excellent Communication Skills

Effective communication is the backbone of successful event planning. Choose a company that listens to your ideas, provides valuable input, and communicates clearly throughout the planning process. This ensures that everyone is on the same page and avoids misunderstandings.

7. Flexibility and Adaptability

Events can be unpredictable, and last-minute changes are not uncommon. Look for an event production company that is flexible and adaptable, capable of adjusting to unexpected situations without compromising the quality of the event.

8. Quality of Equipment and Resources

A top-notch event production company should have access to state-of-the-art equipment and a wide network of reliable vendors and suppliers. This ensures that your event is equipped with the latest technology and resources.

9. Check for Insurance and Permits

Event planning involves various risks, and it’s crucial to choose a company that has proper insurance coverage. Additionally, they should be well-versed in obtaining the necessary permits for your event, ensuring legal compliance.

10. Evaluate Their Team and Crew

The success of your event relies on the expertise and professionalism of the event production team and crew. Ensure that the company has skilled personnel who can handle different aspects of the event efficiently.

11. Social Media and Online Presence

In today’s digital age, social media and online presence play a significant role in event promotion and engagement. Look for an event production company that is well-versed in leveraging digital platforms to maximize event visibility.

12. Client References

Don’t hesitate to ask for references from past clients. Talking to previous clients will give you valuable insights into the company’s performance, work ethic, and overall satisfaction levels.

13. Sustainable Practices

If sustainability is important to you, inquire about the event production company’s green practices. Many companies are adopting eco-friendly approaches to event planning, which can align with your values and make a positive impact.

14. Compare Proposals and Quotes

Once you’ve gathered proposals from different event production companies, take the time to compare them. Look beyond the numbers and consider the overall value they offer, the level of service, and the extent to which they can meet your specific needs.

15. Trust Your Instincts

Last but not least, trust your instincts. If you feel a strong connection with a particular event production company and believe they truly understand your vision, it’s likely the right choice for your event.

In conclusion, choosing the perfect event production company is a critical step in ensuring the success of your special event. By understanding your needs, researching thoroughly, and considering factors like experience, creativity, and communication, you can find the ideal partner to bring your vision to life. Remember, your event is a reflection of your aspirations, so don’t settle for anything less than excellence!

Frequently Asked Questions (FAQs):

    1. Q: How do I find event production companies near me?

A: You can start by searching online or asking for recommendations from friends, colleagues, or other event organizers.

    2. Q: What should I look for in a company’s portfolio?

 A: Look for events they have organized that are similar in scale and style to your own event.

    3. Q: How can I ensure my event stays within budget?

A: Communicate your budget clearly with the event production company and prioritize essential elements.

    4. Q: Can event production companies handle both small and large-scale events?

A: Yes, many event production companies are equipped to handle events of various sizes.

    5. Q: What if I need to make last-minute changes to the event plan?

A: Choose a company known for its flexibility and ability to adapt to unexpected changes.

    6. Q: Do event production companies provide event promotion services?

A: Some companies offer event promotion as part of their services, while others may collaborate with marketing agencies.

    7. Q: How can I assess the quality of equipment used by an event production company?

 A: Ask about the brands and technology they use and inquire about equipment maintenance practices.

    8. Q: What permits are typically required for events?

A: The permits needed depend on the type and location of the event. Common permits include those for venue usage, food service, and alcohol if applicable.

    9. Q: Can event production companies handle virtual or hybrid events?

 A: Yes, many event production companies have adapted to handle virtual and hybrid event formats.

    10. Q: How soon should I book an event production company for my event?

 A: It’s advisable to book as early as possible, especially for popular event production companies with limited availability.

[macrolit]

By Elisabeth Egan May 18, 2024

“You’d be shocked by how many books have women chained in basements,” Reese Witherspoon said. “I know it happens in the world. I don’t want to read a book about it.”

Nor does she want to read an academic treatise, or a 700-page novel about a tree.

Sitting in her office in Nashville, occasionally dipping into a box of takeout nachos, Witherspoon talked about what she does like to read — and what she looks for in a selection for Reese’s Book Club, which she referred to in a crisp third person.

“It needs to be optimistic,” Witherspoon said. “It needs to be shareable. Do you close this book and say, ‘I know exactly who I want to give it to?’”

But, first and foremost, she wants books by women, with women at the center of the action who save themselves. “Because that’s what women do,” she said. “No one’s coming to save us.”

Witherspoon, 48, has now been a presence in the book world for a decade. Her productions of novels like “Big Little Lies,” “Little Fires Everywhere” and “The Last Thing He Told Me” are foundations of the binge-watching canon. Her book club picks reliably land on the best-seller list for weeks, months or, in the case of “Where the Crawdads Sing,” years. In 2023, print sales for the club’s selections outpaced those of Oprah’s Book Club and Read With Jenna, according to Circana Bookscan, adding up to 2.3 million copies sold.

So how did an actor who dropped out of college (fine, Stanford) become one of the most influential people in an industry known for being intractable and slightly tweedy?

It started with Witherspoon’s frustration over the film industry’s skimpy representation of women onscreen — especially seasoned, strong, smart, brave, mysterious, complicated and, yes, dangerous women.

“When I was about 34, I stopped reading interesting scripts,” she said.

Witherspoon had already made a name for herself with “Election,” “Legally Blonde” and “Walk the Line.” But, by 2010, Hollywood was in flux: Streaming services were gaining traction. DVDs were following VHS tapes to the land of forgotten technology.

“When there’s a big economic shift in the media business, it’s not the superhero movies or independent films we lose out on,” Witherspoon said. “It’s the middle, which is usually where women live. The family drama. The romantic comedy. So I decided to fund a company to make those kinds of movies.”

In 2012, she started the production company Pacific Standard with Bruna Papandrea. Its first projects were film adaptations of books: “Gone Girl” and “Wild,” which both opened in theaters in 2014.

Growing up in Nashville, Witherspoon knew the value of a library card. She caught the bug early, she said, from her grandmother, Dorothea Draper Witherspoon, who taught first grade and devoured Danielle Steel novels in a “big cozy lounger” while sipping iced tea from a glass “with a little paper towel wrapped around it.”

This attention to detail is a smoke signal of sorts: Witherspoon is a person of words.

When she was in high school, Witherspoon stayed after class to badger her English teacher — Margaret Renkl, now a contributing opinion writer for The New York Times — about books that weren’t part of the curriculum. When Witherspoon first moved to Los Angeles, books helped prepare her for the “chaos” of filmmaking; “The Making of the African Queen” by Katharine Hepburn was a particular favorite.

So it made sense that, as soon as Witherspoon joined Instagram, she started sharing book recommendations. Authors were tickled and readers shopped accordingly. In 2017, Witherspoon made it official: Reese’s Book Club became a part of her new company, Hello Sunshine.

The timing was fortuitous, according to Pamela Dorman, senior vice president and publisher of Pamela Dorman Books/Viking, who edited the club’s inaugural pick, “Eleanor Oliphant is Completely Fine.” “The book world needed something to help boost sales in a new way,” she said.

Reese’s Book Club was that something: “Eleanor Oliphant” spent 85 weeks on the paperback best-seller list. The club’s second pick, “The Alice Network,” spent nearly four months on the weekly best-seller lists and two months on the audio list. Its third, “The Lying Game,” spent 18 weeks on the weekly lists.

“There’s nothing better than getting that phone call,” added Dorman, who has now edited two more Reese’s Book Club selections.

Kiley Reid’s debut novel, “Such a Fun Age,” got the nod in January 2020. She said, “When I was on book tour, a lot of women would tell me, ‘I haven’t read a book in four years, but I trust Reese.’” Four years later, on tour for her second novel, “Come and Get It,” Reid met women who were reading 100 books a year.

Witherspoon tapped into a sweet spot between literary and commercial fiction, with a few essay collections and memoirs sprinkled in. She turned out to be the literary equivalent of a fit model — a reliable bellwether for readers in search of intelligent, discussion-worthy fare, hold the Proust. She wanted to help narrow down the choices for busy readers, she said, “to bring the book club out of your grandma’s living room and online.”

She added: “The unexpected piece of it all was the economic impact on these authors’ lives.”

One writer became the first person in her family to own a home. “She texted me a picture of the key,” Witherspoon said. “I burst into tears.”

Witherspoon considers a handful of books each month. Submissions from publishers are culled by a small group that includes Sarah Harden, chief executive of Hello Sunshine; Gretchen Schreiber, manager of books (her original title was “bookworm”); and Jon Baker, whose team at Baker Literary Scouting scours the market for promising manuscripts.

Not only is Witherspoon focused on stories by women — “the Bechdel test writ large,” Baker said — but also, “Nothing makes her happier than getting something out in the world that you might not see otherwise.”

When transgender rights were in the headlines in 2018, the club chose “This Is How It Always Is,” Laurie Frankel’s novel about a family grappling with related issues in the petri dish of their own home. “We track the long tail of our book club picks and this one, without fail, continues to sell,” Baker said.

Witherspoon’s early readers look for a balance of voices, backgrounds and experiences. They also pay attention to the calendar. “Everyone knows December and May are the busiest months for women,” Harden said, referring to the mad rush of the holidays and the end of the school year. “You don’t want to read a literary doorstop then. What do you want to read on summer break? What do you want to read in January?”

Occasionally the group chooses a book that isn’t brand-new, as with the club’s April pick, “The Most Fun We Ever Had,” from 2019. When Claire Lombardo learned that her almost-five-year-old novel had been anointed, she thought there had been a mistake; after all, her new book, “Same As it Ever Was,” is coming out next month. “It’s wild,” Lombardo said. “It’s not something that I was expecting.”

Sales of “The Most Fun We Ever Had” increased by 10,000 percent after the announcement, according to Doubleday. Within the first two weeks, 27,000 copies were sold. The book has been optioned by Hello Sunshine.

Witherspoon preferred not to elaborate on a few subjects: competition with other top-shelf book clubs (“We try not to pick the same books”); the lone author who declined to be part of hers (“I have a lot of respect for her clarity”); and the 2025 book she’s already called dibs on (“You can’t imagine that Edith Wharton or Graham Greene didn’t write it”).

But she was eager to set the record straight on two fronts. Her team doesn’t get the rights to every book — “It’s just how the cookie crumbles,” she said — and, Reese’s Book Club doesn’t make money off sales of its picks. Earnings come from brand collaborations and affiliate revenue.

This is true of all celebrity book clubs. An endorsement from one of them is a free shot of publicity, but one might argue that Reese’s Book Club does a bit more for its books and authors than most. Not only does it promote each book from hardcover to paperback, it supports authors in subsequent phases of their careers.

Take Reid, for instance. More than three years after Reese’s Book Club picked her first novel, it hosted a cover reveal for “Come and Get It,” which came out in January. This isn’t the same as a yellow seal on the cover, but it’s still a spotlight with the potential to be seen by the club’s 2.9 million Instagram followers.

“I definitely felt like I was joining a very large community,” Reid said.

“Alum” writers tend to stay connected with one another via social media, swapping woot woots and advice. They’re also invited to participate in Hello Sunshine events and Lit Up, a mentorship program for underrepresented writers. Participants get editing and coaching from Reese’s Book Club authors, plus a marketing commitment from the club when their manuscripts are submitted to agents and editors.

“I describe publishing and where we sit in terms of being on a river,” Schreiber said. “We’re downstream; we’re looking at what they’re picking. Lit Up gave us the ability to look upstream and say, ‘We’d like to make a change here.’”

The first Lit Up-incubated novel, “Time and Time Again” by Chatham Greenfield, is coming out from Bloomsbury YA in July. Five more fellows have announced the sales of their books.

As Reese’s Book Club approaches a milestone — the 100th pick, to be announced in September — it continues to adapt to changes in the market. Print sales for club selections peaked at five million in 2020, and they’ve softened since then, according to Circana Bookscan. In 2021, Candle Media, a Blackstone-backed media company, bought Hello Sunshine for $900 million. Witherspoon is a member of Candle Media’s board. She is currently co-producing a “Legally Blonde” prequel series for Amazon Prime Video.

This month, Reese’s Book Club will unveil an exclusive audio partnership with Apple, allowing readers to find all the picks in one place on the Apple Books app. “I want people to stop saying, ‘I didn’t really read it, I just listened,’” Witherspoon said. “Stop that. If you listened, you read it. There’s no right way to absorb a book.”

She feels that Hollywood has changed over the years: “Consumers are more discerning about wanting to hear stories that are generated by a woman.”

Even as she’s looking forward, Witherspoon remembers her grandmother, the one who set her on this path.

“Somebody came up to me at the gym the other day and he said” — here she put on a gentle Southern drawl — “‘I’m going to tell you something I bet you didn’t hear today.’ And he goes, ‘Your grandma taught me how to read.’”

Another smoke signal, and a reminder of what lives on.

[lgihtspeed]

SONG OF THE SUMMER — THE DEBUT EP

SONG OF THE SUMMER is the debut EP of fictional pop group LIGHTSPEED. It was released physically and digitally on JUNE 20, 2024 by C ENTERTAINMENT. The group promoted title track LEFT RIGHT for four weeks: two weeks on Korean music shows and two weeks on American television. Their American promotions were followed by live shows in a few of the cities the members are from, including Los Angeles, New York City, and Calgary.

The album covers were designed by ASH. The physical release comes in three versions: SUN, MOON, and STAR. 

They also released six member versions of CD-only jewel cases. Shortly after the album’s initial print, they released a limited-edition vinyl, all of which were signed by one or more members.

TRACKLIST

TRACK 001. LEFT RIGHT Written by Ash Jang, Constance Im, Ev Sharpe, LABYRYNTH Composed by LABYRYNTH Arranged by LABYRYNTH

TRACK 002. GOT IT LIKE THAT Written by Ash Jang, Seo Sejun, LABYRYNTH Composed by LABYRYNTH Arranged by LABYRYNTH

TRACK 003. HAMSTERBOY Written by Constance Im, RHYTHMAGIC Composed by RHYTHMAGIC Arranged by RHYTHMAGIC

TRACK 004. BUZZING MELODIES Written by Seo Sejun, Constance Im, Ash Jang Composed by RHYTHMAGIC Arranged by RHYTHMAGIC

With lyrics entirely in English, most of the songwriting is done by the group members rather than their Korean producers. CONSTANCE and ASH quickly emerged as the group's most prolific songwriters. Production was done by C Entertainment’s new in-house producer duo RHYTHMAGIC and by elusive producer LABYRYNTH, best known for his work with Lightspeed’s label mate, SEJUN. To fans’ surprise, Sejun also made a few appearances as a lyricist, keeping with his tendencies to write songs for everyone except himself.

STATS

13:01 — TOTAL RUNTIME

20M — MV VIEWS IN 24 HOURS

90 — BILLBOARD HOT 100 PEAK

8 — THEMED DANCE PRACTICES

LOOK BOOK

The era’s styling was entirely in shades of black and white and gray. The outfits were inspired by TECHWEAR—coincidentally one of the many themed dance practices—as well as the CYBERCORE and Y2K FUTURISM aesthetics.

HIGHLIGHTS

They were clowned to hell and back for the album title. They also made a disgusting number of “Did I just write the song of the summer?” TikToks, which did not help their case. The only one that went viral was the one of Ev deadpanning the script alongside his signature stiff peace sign ending fairy pose.

The music was well-received and that made the title slightly less egregious. Then Tyler and Mia went on the record and said they didn’t like it and everyone went back to clowning it.

The division between the people with more media training (Violet and Mia) and the people with less media training (everyone else) became obvious very early on.

There were three not-quite-but-almost-there PR disasters. The first happened not long after their debut: Tyler finally deactivated his controversial Twitter account. He probably should have stopped tweeting after he passed the first IGNITE! audition but he didn’t. The fan response was split between those who supported this decision, because idols shouldn’t be tweeting shit about their peers, and those who thought maybe it’s time an idol got to talk his shit. Three days after his account was deactivated, it was reactivated again, causing, in the nicest way possible, a shitstorm on Luminosity Twitter. C Entertainment finally did a bit of damage control by releasing a statement saying that multiple people had access to the account, which no one believed.

The second one occurred during a DIY karaoke livestream where Constance was taking song suggestions from the audience and someone asked for a boy group song. She singled out the commenter, and took a leaf out of Violet’s book by responding she “couldn’t care less about boy groups” and anyway, the people in her stream should just “listen to Lightspeed instead of men.” Never mind that there are men in Lightspeed. 

The third and final close call happened in an off-handed comment Ash made. While they were discussing their favorite and least favorite moments from IGNITE!, he remarked about how poor of a representation their profile pictures were. Having recently re-edited and posted his pictures to Instagram, he had to keep going and mention that ever since he graduated from college, he doesn’t have access to legal Adobe products. Everyone else sat in silence after he revealed that until Violet forced the conversation to move along.

They filmed a dorm tour that went viral because their dorm is a house. With six bedrooms and two kitchens and a second floor. In Seoul.

Between the two centers, Mia was clearly the favored one. She was the center of every chorus and the center of every OT6 photo and styled slightly differently from the rest of the group. 

Ev’s songwriting credit on “Left Right” came from a competition the group members minus Ash and Constance held to write the second verse of the song. To almost everyone’s surprise, Ev won. He was the only person unsurprised, revealing that his university major prior to IGNITE! was English Literature.

The “Left Right” line distribution was surprisingly bad. Constance, Mia, and Tyler sang most of the song, and the rest of them were left with crumbs. #LetEvSing trended on Twitter after their album release, especially because he wrote part of the song.

SHIP RANKINGS

ASH X TYLER (ASHLER) — One of the most popular ships from IGNITE! for their past friendship. Every single publicly available pre-IGNITE! interaction—all five of them—are also subject to intense scrutinization. Haters will say they can't possibly be dating because they dap each other up too much.

MIA X TYLER (MYLER) — The two centers! They were paired together for everything. Their shared dance break in a “Left Right” special performance had a ridiculous amount of chemistry, and then they covered Trouble Maker’s “Trouble Maker.” Absolutely no moving on from that.

CONSTANCE X MIA (CONIA) — According to their shippers, Constance doesn’t look at the Mia in the same way she looks at everyone else. The evidence is in clips of the two of them making eye contact slowed down to 0.5x speed. Also, they were roommates for the entire last half of IGNITE! (Oh my god, they were roommates.)

ASH X CONSTANCE (ASHSTANCE) — They wrote almost every song together, but more importantly, in vlogs showing off the time they spent in New York, the two of them sat next to each other in every restaurant they ate at. Their alternate ship name is Cash.

TYLER X VIOLET (TYLET) — Similar to the above pairing, Tyler acts in a noticeably different way with Violet than everyone else. He’s usually easygoing and quick to laugh with everyone else—especially Mia—but he froze up in all of the one solo conversation he had on camera with Violet. Which is clearly enough to make a ship.

[fans4wga]

SAG-AFTRA Strike Update From President & Chief Negotiator

August 9, 2023

'This week marks the fourth week of our TV/Theatrical/Streaming strike.

We are living in a historic hour, as we fight to achieve a seminal contract, the likes of which we haven’t seen in over 60 years. It was 1960 when we last went on strike alongside the WGA and achieved pension and health plans and residuals. Our futures depend on not accepting anything less transformative in this negotiation.

With the advent of subscription and advertising-supported streaming video on demand and AI, once again we must stand strong in solidarity and demand an equitable contract that reflects the value of our work in those new business models and protects our members from digital exploitation.

When we called the strike — authorized by you, our members, with 98% approval — we did so knowing that we had done everything possible to avoid it, including extending negotiations for 12 days, the longest in our union’s history. The AMPTP — the organization that bargains on behalf of the studios, networks and streamers — refused to negotiate with us fairly, and have not contacted us to resume talks.

We find ourselves on the front lines of a global labor movement. We are not alone. There are millions of workers across the nation and around the world fighting similar battles against corporate greed who are standing with us in solidarity. It is clear from your show of force on the picket lines, your social media posts and the many interviews we have seen, that our cause is righteous. Your determination will carry us to victory. 

A key element in our strike strategy is our Interim Agreement, which is being granted to certain vetted and truly independent productions. Along with the many other nonstruck contracts our members can currently work, these agreements give journeymen performers and crew the opportunity to pay their bills and put food on the table by working on these indie projects — projects which are not only agreeing to all the terms in our last offer to the AMPTP, but all the righteous proposals our members deserve that the studios rejected.

Our interim agreements are quite literally the opposite of “waivers.” There are no passes, exceptions or exemptions being given to anyone. Productions must agree to all our terms or that work is struck.

These agreements are also designed to undermine the production slates and timing of the AMPTP companies and ensure that they come back to the table. Until they do, they will not be able to distribute content made under our Interim Agreement without paying our members in those projects higher residuals and revenue share. This approach maintains our strength, solidarity and upper hand with the AMPTP until they yield to our deal.

These interim agreements demonstrate that the terms we proposed to the AMPTP are not “unrealistic.” They are fair. And if these independent productions are able to agree to them, then the billion- and trillion-dollar companies should be able to as well!

From L.A. to New York and all of the locals across the country, we want to thank you for showing your #SAGAFTRAstrong solidarity over the past four weeks! And to the strike captains leading the pickets every day, you are truly rock stars! Be sure to visit sagaftrastrike.org for the latest news, picket lines and events near you. 

Our strike can become the catalyst for a historic culture change in all industries, whereby making money and doing the right thing on behalf of workers are no longer mutually exclusive of each other but go hand in hand, redefining the meaning of success!

#Power2Performers'

[kirain]

Saw your comment on a post about Sound of Freedom and I came here to say.....shame on you. Shame. On. You. Since when is child trafficking a political issue? Since when is calling pedophilia bad a political issue? If you have a problem with this movie then maybe YOU'RE the problem. No better than the big Disney fat cats who tried to suppress this movie and keep it shelved. Or theaters messing with the ac and saying seats are sold out when they're empty. Shame on you! God's children are not for sale!

I wish people would do a little more research on this topic. If Hollywood and the "powers that be" didn't want this movie being seen, it wouldn't have been released in over 3000 theatres countrywide. It's being shown in major and minor locations all across America and Canada, and the vast majority of those locations aren't having any problems.

Case and point, my own mother and her friend went to see it last week and everything was fine. No issues whatsoever and the seats were packed. The movie isn't being "suppressed". This is all a marketing gimmick from the production company Angel Studios, a Christian streaming service. The movie is jam-packed with lies and only serves to glorify Tim Ballard, the man the movie is based on, and Christianity as a whole. I truly wish this wasn't political, but it is. They made it political.

Tim Ballard has provably exaggerated or fabricated many, if not most of his "rescues", and his organisation, Operation Underground Railroad, has been widely criticised by professional anti-sex trafficking organizations (including other Christian-based ones) for years. He has accumulated millions of dollars for his so-called "non-profit" organisation, and he runs several for profit organisations on the side. Most of this money is presumably pocketed by Ballard and his cohorts, as millions is unaccounted for and only a sliver goes to OUR. It's not about "saving children", it's about money and spreading Ballard's religious ideology.

This is compounded by the fact that Ballard, before he left the CIA, was almost always the last officer to arrive on any scene where child sex trafficking was involved, yet he somehow has hundreds of stories where he's singlehandedly rescued children. In fact, the "true story" the film is based on, where Ballard apparently saved a five year old boy—who, by Ballard's own account, ran up to him, hugged him, and begged to be taken away—didn't even happen. According to court receipts from the arrest and trial of Earl Venton Buchanan (the pedophile in possession of the little boy), Ballard arrived at the scene long after the boy was rescued and taken into custody, and he was barely involved. The documents can easily be found online under the San Diego incident reports.

Ballard was also caught lying about saving one particular girl named Liliana, the literal poster child for OUR. As it turns out, Liliana rescued herself by escaping her captors when she was seventeen and being trafficked in New York. Even more egregious, every time Ballard told her story, he would lower her age to garner more sympathy ... as if her being seventeen wasn't sad enough. In one instance, he claimed she was 14. In another, he claimed she was 11. Ballard also exploited Liliana's story as a reason for needing stricter border patrols and a better wall, despite the fact that she was being abused in America. There is no evidence to suggest OUR had anything to do with her rescue.

Ballard and his "organisation" have even ruined entire legitimate rescue operations in other countries and put children at risk, like in the Dominican Republic, where he endangered the lives of 26 girls by playing vigilante, being followed around by a camera crew, and causing a shootout that effectively traumatised the children he used as a prop to lure in buyers. His response to the mishap and rightful criticism by the Dominican police was basically, "Well ... you win some, you lose some."

The children were released without receiving any therapy or rehabilitative care, and Anne Gallagher, the leading global expert on the international law on human trafficking, said that OUR has an "alarming lack of understanding about how sophisticated criminal trafficking networks must be approached and dismantled" and went on to call the work of OUR "arrogant, unethical, and illegal". Those children easily could've been shot and killed. This occurred in 2014, but Ballard still insists that his "rescues" be filmed, and he even pitched it as a reality TV show. His reasoning for this, he says, is to "spread awareness", but we all know it's because he loves the spotlight.

Entire law enforcement agencies have actually cut ties with or even condemned OUR, such as Washington State Law Enforcement, as a result of Ballard's proclivity to conflate child sex trafficking with consensual adult sex work. Ballard and OUR regularly set up sting operations and lambasted the men who showed up for kink play, publicly branding them as pedophiles, even though the men in question were under the impression that they were meeting for sex with consenting, adult women. This led to several lawsuits against OUR, all of which they rightfully lost.

Ballard's means of gathering intelligence is also questionable, as he, by his own admission, sometimes consults psychic mediums for information on missing children and asks where they're being held captive. I genuinely wish I was joking about that.

The main actor in Sound of Freedom, Jim Caviezel, also has ties to the Qanon movement, and Caviezel himself is a hardcore conspiracy theorist. He believes that Donald Trump is "the new Moses" and that "liberals [literally] drink the blood of children". This is ironic, considering Caviezel and Ballard both met Trump several times, yet never pressed him for information regarding Epstein's client list. Moreover, Caviezel and Ballard both donate to the Catholic Church, which funds the largest child sex trafficking ring on the southern border and has a history of rampant sexual abuse of children. Even more insane, Caviezel admitted to watching child porn, to apparently "get in character" for the movie. He claimed that if Ballard had to watch it, it only "made sense" that he'd have to watch it, too. To "motivate" him to fight child trafficking.

...Alright, bud.

Surprise, surprise, both men are also outspokenly anti-LGBTQ+, despite the fact that children/teens in that community are statistically more likely to be trafficked. The majority of child trafficking is not the result of random kidnappings, as the movie would have you believe. The majority of children are actually recruited into sexual exploitation by a family member or friend/boss. The majority of those children are also not generally passed around in Mexico, like this racist, white savior-oriented movie would have you believe, but they actually either stay in or end up in America. America is, in fact, the largest consumer of child porn and child sex slaves this side of the globe (and nearly the largest producer), yet the movie depicts almost every pedophile as Mexican or some other non-white race.

At the end of the movie, Ballard comes on screen and asks people to donate/buy tickets for others, so that the movie can spread awareness. This is why so many seats in certain theatres are empty, despite websites saying the seats are sold out. Whether or not Angel Studios is also shadow purchasing tickets to boost sales can't be proven, obviously, but I wouldn't put it past them. These "conspiracies" have all served to market the movie and boost ticket sales.

As for Disney trying to keep the movie shelved, that's also a lie. Yes, Disney did technically shelve the movie when they bought Fox, since it didn't exactly correspond with its family-friendly brand, but they had no problem with the movie being released under a different studio. The actual reason Sound of Freedom was in "production hell" for five years was because Tim Ballard kept trying to milk donations. Despite the fact that filming wrapped up in 2018, he kept asking for more and more and more. He used people's faith and understandably emotional response to something as wicked as pedophilia to rake in millions. That's what Ballard is really about, money and stardom. In the movie, there's even a post-credit message where Jim Caviezel says the movie was held back to "maximize its distribution and raise awareness about child sex trafficking".

Translation: Ballard greedy.

Ballard himself admitted the accuracy of this movie "isn't important", and that he just wanted to get the movie out to "spread the word". By that, he of course means the Christian word—but why should fighting child sex trafficking be tied to religion? At the end of the day, Sound of Freedom is a vanity project, and it spreads incredibly dangerous misinformation. Stranger still, Ballard left the OUR just prior to the debut of Sound of Freedom, a fact he's neglected to mention in every interview regarding the movie. It's not clear why he left, but it seems that he fled after an internal investigation into the organisation began. That's not too suspicious or anything. My guess is authorities are trying to find out were all that missing money went, and Ballard doesn't want to be there when they figure it out.

By the way, that final line you hit me with; "God's children are not for sale", the line from the movie that Ballard claims a fellow agent whispered to him while on a case, as well as the title of the movie, which another agent supposedly said to Ballard after a giant rescue operation—those were lies, too. No agents ever said that to him. The police reports for those cases, as well as the agents Ballard supposedly quoted, all said he was the last to arrive on the scene and those conversations never happened.

Ballard cannot be trusted and Sound of Freedom is based on a lie. It's a scam. Everything he does is a scam. All he cares about is spreading his ideology, making money, and looking like a superhero. And this is only the tip of the iceberg. Look into his other companies, and into the ex-military soldiers and police officers who left OUR because of how poorly trained their people are when it comes to rescue operations.

Every sane person knows pedophilia and human trafficking is wrong, but giving your money to Qanon-adjacent, right-wing leaning, LGBTQ+-hating, Catholic Church-sympathising, fame-chasing, money-hungry, perpetual liar Tim Ballard isn't going to help.

The best way to help out is learning about the signs of child trafficking. Keep an eye out for any children that might be getting abused. If you suspect something, report it, don't be a silent bystander. Volunteer within your community to make sure the children in your area have food and resources, support LGBTQ+ youth, and watch the other adults around you to ensure they're not acting inappropriately. You can also donate to social programs that create safe spaces for children and even apply for jobs that specialise in these fields. Don't go to see a movie just because it aligns with your religious beliefs, feel sad for a little while, then sit on your ass and let Tim Ballard handle everything.

[jgroffdaily]

Jonathan Groff’s Star Turn in ‘Merrily We Roll Along’ Lands Him His First Tony

The gregarious performer who loves and is loved by Broadway picked up a trophy for best leading actor in a musical.

Jonathan Groff, a gregarious performer who loves and is loved by Broadway, finally won his first Tony Award on Sunday night, picking up a trophy for best leading actor in a musical for his star turn in a transformational revival of “Merrily We Roll Along.”

The award bestows industry recognition on a musical theater star who has also found success onscreen: He voices the characters Kristoff and Sven in Disney’s “Frozen” films, had a recurring role on the television series “Glee” and played King George in “Hamilton,” a performance that reached a wide audience through the live-capture film (as well as the popular cast album).

The Tony recognizes Groff’s empathetic portrayal of Franklin Shepard, a Juilliard-trained composer who jettisons his youthful idealism, his stage career and his co-writer to become a successful film producer. Groff uses his considerable charm to give the character, who can seem like a sellout, more depth, and in the process has helped make the musical, which was a notorious flop in 1981, into a huge hit this time around. (Another key factor: One of Groff’s co-stars is Daniel Radcliffe, of “Harry Potter” fame.)

Groff’s performance, which is the scaffolding on which the production is constructed, was widely praised by critics. Jesse Green, writing in The New York Times, described Groff as “thrillingly fierce,” and said “Groff, always a compelling actor, here steps up to an unmissable one.” And Charles McNulty, writing in The Los Angeles Times, said, “The key to making this work — which is to say making us care — is the performance of Groff, who humanizes Frank’s choices without sentimentalizing his arc.”

Groff, 39, arrived on Broadway as a swing in a short-lived 2005 flop, “In My Life.” He has been nominated for a Tony Award each time he has returned to Broadway since — in 2007 for his starring role as a rebellious adolescent in the original production of “Spring Awakening,” in 2016 for his peacockish performance in “Hamilton” and this year for “Merrily.”

The stretches between Broadway roles have been filled with screen work — he starred in the streaming series “Looking” and “Mindhunter,” as well as the “Frozen” films. He has also periodically worked Off Broadway, including as the first star of a 2019 “Little Shop of Horrors” revival that is still running, with a variety of well-known performers in leading roles, at the Westside Theater.

The “Merrily” revival, directed by Maria Friedman, began its New York life (there were earlier chapters, with different performers, in Britain and Boston) with a 2022 Off Broadway production at New York Theater Workshop. The Broadway run opened last October; the final performance is scheduled to be July 7.

[lokiondisneyplus]

Potential spoilers below the cut, but a super interesting article.

Some non-spoiler pull quotes:

Tom is my producing partner in a true sense. Before we had any writers or directors, it was Tom and I for months building this story out. We had a 30-page document that was like, This is what the show is: TVA, He Who Remains — even Victor Timely was in that first document years ago. And it’s just carried through. -- This is maybe — not maybe — this is the first Marvel series to never have any additional photography. The story that is on screen is the story we set out to make. -- We were casting, and “Everything Everywhere All at Once” was playing in L.A. and in New York, but it hadn’t gone nationwide yet. I think it was going the very next week. We had gotten a call from our casting director who said, “Hey, I’m about to put together a list for OB — just initial thoughts. But before I do that, I really think you guys should meet Ke, and I think it should be Ke. I think you guys should meet with him quick, because probably by Monday, he’s going to have a lot of offers for different things.”

Of the eight live-action TV shows that Marvel Studios has produced for Disney+ to date, only one has concluded with the explicit promise of a second season: That would be “Loki,” the outrageously entertaining series about Tom Hiddleston’s god of mischief and his metaphysical exploits in the Time Variance Authority.

It turns out, those plans were already in the works before a second of “Loki” had ever streamed. As executive producer Kevin Wright explains to Variety, he and Hiddleston began talking about Season 2 of the show while in production on the third episode of Season 1.

“As we were shooting the ‘Lamentis’ episode, Tom and I started having lots of conversations about how this world could build out, how we dive deeper into it,” he says. “A large part of what we wanted to do was not trying to repeat ourselves, and not try to play the hits.” At the same time, he adds, they also wanted to make sure didn’t start Season 2 by “fast-forwarding through the drama” of the Season 1 finale. 

And so much happened in that finale. To recap: Loki and his variant-turned-potential-soulmate Sylvie (Sophia Di Martino) arrive at the end of time, where they meet the creator of the TVA, He Who Remains (Jonathan Majors) — the variant of the supervillain Kang who won a massive multiversal war. To prevent future Kangs from emerging, He Who Remains has used the TVA to maintain a single, sacred timeline — pruning away trillions of potential lives in the process. He gives Sylvie and Loki an impossible choice: Replace him as the head of the TVA, or kill him and bring forth an infinite number of Kangs.

Loki wants the first option; Sylvie wants the second. She wins, kills He Who Remains, and boots Loki back to an alternate version of the TVA, where previous compatriots Mobius (Owen Wilson) and Hunter B-15 (Wunmi Mosaku) don’t remember ever meeting him.

Variety has screened the first four (of six) episodes of “Loki,” and without spoiling anything, Season 2 picks up pretty much exactly where the first season left off — before then charting its own storytelling path. The full cast has returned, including Gugu Mbatha-Raw as former TVA judge Ravonna Renslayer and Eugene Cordero as TVA functionary Casey. And Majors returns as well as He Who Remains, in addition to another Kang variant, a 19th century inventor named Victor Timely. They’re joined by new actors including Kate Dickie (“Game of Thrones”), Rafael Casal (“Blindspotting”) and recent Oscar-winner Ke Huy Quan as TVA technician Ouroboros, aka “OB.”

Behind the scenes, there have been some changes from Season 1. The series’ original director Kate Herron and head writer Michael Waldron both stepped back to focus on other projects. In their places, “Moon Knight’s” Justin Benson and Aaron Moorhead have stepped in as lead directors, and Season 1 writer Eric Martin stepped up as head writer for Season 2.

To delve into the second season of “Loki,” Wright talked with Variety about casting Quan just before his performance in the multiverse spectacular “Everything Everywhere All at Once” changed the actor’s life forever; what the future of “Loki” the show and Loki the character might be following Season 2; and how Majors’ arrest in March for assault did (or did not) affect their plans for Season 2.

What were the discussions like about how to approach Season 2?

I think we had to just keep reminding ourselves that the TVA is a great world, let’s live in the drama of what we’re creating there. Which means not fast-forwarding through the drama that they just decided to stop pruning timelines, but also staying in the emotional turmoil that Loki and Sylvie are coming into this season with.

Also, there were certain things in Season 1 that felt like they were maybe a risk, and we didn’t know how the audience would respond. Once we realized that they embraced it, it felt like a lot of freedom to go further.

What did you feel was a risk?

In a very early draft of the script that Michael Waldron had written, that first Time Theater conversation between Mobius and Loki was maybe a couple of pages. And then a lot of other big Marvel-y action things happened afterwards, and we all went, “That’s not the interesting stuff. This Time Theater conversation is interesting. That’s what the show could be.” If we are really diving into the character-driven philosophy and introspection of self, that’s quite different than the last 10 years of Marvel movies. Would the audience follow us along on that? 

Tom Hiddleston famously held seminars on the character of Loki for Season 1. Did he do anything like that for Season 2?

No, because we tried to bring back as much crew as we could from Season 1. It was largely the same team. Obviously, we went from Atlanta to London [for production], but a lot of our department heads carried over, so there was an institutional knowledge that was built in. And Tom is my producing partner in a true sense. Before we had any writers or directors, it was Tom and I for months building this story out. We had a 30-page document that was like, This is what the show is: TVA, He Who Remains — even Victor Timely was in that first document years ago. And it’s just carried through.

So even as Kate Herron kind of handed the reins over at the end of Season 1, there is an institutional knowledge that comes with us being the glue between the seasons.

You mentioned He Who Remains and Victor Timely. You finished shooting Season 2 in 2022, but did Jonathan Majors’ arrest for assault in March resulted in any changes to the show? 

No. This is maybe — not maybe — this is the first Marvel series to never have any additional photography. The story that is on screen is the story we set out to make. We went out there with a very specific idea of what we wanted this to be, and we found a way to tell it in that production period. It’s very much what’s on screen on Disney+.

It’s clear that Majors plays an integral role this season, and you just alluded that Marvel usually does additional photography on all its titles. So was there any discussion about making changes to the show, given the uncertainty about what was happening with Majors?

No. And that mainly came from — I know as much as you do at the moment. It felt hasty to do anything without knowing how all of this plays out.

How early into the writing of Season 2 did you decide to cast Ke Huy Quan as OB?

We were in London, so I had at least some version of our scripts. The way the process works, they’re always being rewritten, but OB was in there, and his introduction scene was almost exactly as originally written. I would like to say it was in early spring, which was maybe just two months before we started shooting. We were casting, and “Everything Everywhere All at Once” was playing in L.A. and in New York, but it hadn’t gone nationwide yet. I think it was going the very next week. We had gotten a call from our casting director who said, “Hey, I’m about to put together a list for OB — just initial thoughts. But before I do that, I really think you guys should meet Ke, and I think it should be Ke. I think you guys should meet with him quick, because probably by Monday, he’s going to have a lot of offers for different things.”

So that that Friday, myself, Justin and Aaron, two of our directors, had gotten on a Zoom with Ke. We pitched him the show and this character. We shared that introduction scene with him and maybe the full script. And then we called in the big guns that Monday; Kevin Feige got on the phone with him and said, “Ke, I know you read the script. I know you talked to the guys. We really think you should do this. I really want you to join the Marvel family.” And he had already made up his mind over the weekend. It was like, “I’m there. I’ve been a huge fan of this for a long time.”

In Season 1, the show explored several time periods and locations outside the TVA, but in the first four episodes of this season, you stick to just 1880s Chicago, 1970s London and 1980s in the Midwest. How did you come to that decision to focus more on the TVA and building out its history?

Because that felt like where so much of our core character conflict was going to come from. There was so much intersectionality of our characters and what they think of the TVA. Sylvie wants to burn it down because the apple is rotten, as she says. Loki sees it as potentially the only form of defense against whatever else is coming in a war with Kang. Mobius and B-15, they’ve dedicated their whole life to it. They’re not quite ready to give it up. Renslayer feels like she’s been keeping it together, and you get a real understanding of why she thinks she should be the one to get this thing back on track.

We want everybody to be in the gray area — they’re neither good nor bad. They might make bad choices or heroic choices, but they are trying to figure out who they are. The TVA felt like the place where we could maximize that storytelling and learn more about those characters through that. But also stay tuned, because we are going to more places [in Episodes 5 and 6].

Do you think the TVA could start to appear in other titles in the MCU?

I would love that. Look, I’ve been siloed in on “Loki” for almost five years now, by the time this show finishes, and with every filmmaker who has put their hands on the show, we’ve all had the same conversations: It feels like the TVA could really be this exciting connective tool for all of this storytelling. And we’ve only seen a fraction of it. We’re dealing very specifically with this one smaller department with Mobius and B-15 and Renslayer, but you look out at those vistas — this place is infinite. The exciting thing to us is there certainly are more stories to be told there. We’ve carved out our own little corner of the sandbox and built something cool. We’re hoping that other people want to come and play with it.

One of the things I’ve most enjoyed about “Loki” is how it’s telling its own story, but have you considered bringing more of the MCU into it?

Yes, in both seasons of writers’ rooms. It always felt wrong to go too far outside of the box of things that would directly contribute to Loki’s character arc in these two seasons. So that’s why we get [Jaimie Alexander as] Sif in there [in Season 1], we play with the variants in the void and various levels of Asgard-specific storytelling. But while we’ve had nearly 12 hours of storytelling, it never feels like we have enough time. Eventually, just handling the stories of our ensemble and not shortchanging them has always been priority number one.

Now, Season 1 and 2 were always built to be two chapters of the same book. The hope would be going forward, there are more books that we can tell these stories with. I certainly think that we could start doing that.

Would there be a Season 3 of “Loki”? Is the future of the show finite or more open-ended?

I think it’s open-ended. We certainly did not develop this season going, “We have to tee up Season 3” — in the way that we did with Season 1, where there was a very specific, “Hey, we’re coming back.” But I also think that where this show goes, there certainly can be many, many, many more stories told with Loki in the “Loki” world, and in other worlds connected to Loki, the character.

Do you think Loki would ever rejoin the larger world of the MCU? 

That’s the hope. I don’t want to — yeah. I think the the sun shining on Loki and Thor once again has always been the priority of the story we’re telling. But for that meeting to really be fulfilling, we have to get Loki to a certain place emotionally. I think that’s been the goal of these two seasons.

This interview has been edited and condensed.

[just-1-scorpio]

A look at the Wind of the New World garment line

So this post will be longer probably. But it will be defrent from the post I made about the Constructivism in Concept, or the One Moment of Aria garment line. Here there are less specific refrencess for the most part, or things elements of the remind me of. So this post posably will be a mess. And in the end there is a bonnus one.

This garment line has two themes. Dreams, and vehicles. The skin line was discribed as what the chracters would be doing if the "storm" didn't existed. A lot of the informations will be from the 1.9 Aniversery live stream.

Voyager - New Journey

In the life stream it was said that here she is a traveling poet.

In the splash art the background reminds me to German expressionisum. I don't know why, but it reminds me to it. But it could also be surealism based, from the realistic gaint rabbit.

So I looked up about ridding a rabbit as a horse, and such for posable inspiration. I found a Grimm tale where a girl almost get's married to a Hare. But I also found found an ilustration from the 50s by Hilda McGavin. It might not be an inspiration of elves and a rabbit, but it's a nice little ilustration that I found.

2. Regulus - Take Off To The Future

So this will be probably a short one.

So Regulus's vehicles, is a combination of a submarine, and a plane. A flying submarine is a thing that people tryd to make, but faild. Posible ilustration.

3. Desert Flannel - Call of the Wild

So in the live stream Australian art was mentiond, but for some reason I don't really see it. They posably were refering to the Emu's on the air ballon.

So she is now advebturing in the Australian wilderness.

4. Mesmer JR - A Day to Rest

Mesmer in her splash art she is ridding a penny farthing. The penny fathing was invented in 1871 by British engineer, James Starley. This bicycle got it's name from the two deffrent sized wheels. The front wheel was bigger and was likend to a penny, and the reat wheel that was small was compared to a farthing, whci was a quarter of a penny.

5. Jessica - Voyage From Your Bed

So she is dressed up as a sailer, who is sailing on her bed in a dream. A little fantasy.

Okey. I'm not saying that it's an inspiration, or a possible insiparation, or is based on it. But for some reason to me, one of the first things that come to my mind about this skin (especially the splash art) was Little Nemo in Slumberland. If someone doasn't know Little Nemo in Slumerland was originally a newspaper comuc strip was first published in the Sunday comics section of The New York Herald newspaper in 1905, and was made by Winsor McCay an American cartoonist and animator, who is also the creator of Gertie the Dinosaur, aka one of the first animation that was made with keyframs. In 1911 Winsor McCay made a few short animations about the comic.

Little Nemo in Slumberland is also called as a "unrealised Ghibli" movie. Well known Japanise anime producer Yutaka Fujioka wanted to creat a movie that was a Japanise American co-production. For a time Hayao Miyazaki worked on the project, but ended up leaving it among many staff members. Yutaka Fujioka also aproched George Lucas, Chuck Jones too. The movie had multiple defrent pilots, but a lot of them become lost media. Many animators and artists worked on they own Little Nemo project with no menegment, or direction, so because of this it's esstimated that 5-6 hours of footage got lost, and there is a really big chence that most, or at least many of it will never will be found.

I'm not saying that the skin is based on it. It just reminds me to this.

Bonuse 6. Sonetto - Overlapping Worlds

In the live stream it wa said that this skinns are what the characters would be doing if the "storm never happand". So it's safe to say from this skin that this is what Sonetto would be doing if the "strom" never happand. Posably be a poet, or a writer in Sicily.

[burlveneer-music]

ContaQt + Evan Ziporyn + Friends - Poppy 88 - Terry Riley's "Poppy Nogood and the Phantom Band" interpreted in real-time by "88 individuals, spread across 60 locations in 23 countries and 6 continents" for his 88th birthday last year

(And I hate that usage of 88 for purely numeric purposes requires an explanation/disclaimer)

On June 24th, 2023, to celebrate Terry Riley's 88th birthday, ContaQt and MIT Sounding presented a global telematic event that resonated – literally - worldwide. At the stroke of midnight EDT, a diverse community of 88 individuals, spread across 60 locations in 23 countries and 6 continents came together online to play music with one another, live and in real-time. With no pre-recorded material, no click tracks, no safety nets or contingency plans, together they performed Poppy 88, a collective composition arranged by Evan Ziporyn, inspired by - and based on - Riley's 1968 recording, Poppy Nogood and the Phantom Band The livestreamed concert pushed the boundaries of virtual telematic performance, showcasing the transformative power of artistic collaboration combined with smart technology to transcend structural and geographical barriers. While previous live telematic performances have involved larger ensembles, with groups of musicians clustered in 2-12 transmitting stations, this performance distinguished itself by originating from a significantly larger number of locations, 60 in all. This creative repurposing of technology is very much in the spirit of Terry Riley’s original piece. In the 1960’s, Riley utilized tape loops – originally a DIY ‘hack’ of reel-to-reel - to create distant canonic layers of melody: his ‘Phantom Band.’ For this performance, in 2023, the ensemble similarly repurposed the inherent limitations of streaming audio – i.e., physical distance and varying data rates – to conjure similarly complex layered textures. This global virtual event brought together musicians from Athens, Berlin, Brussels, Dublin, Istanbul, New York City, Pretoria, São Paulo, San Francisco, Tokyo, Toronto, Warsaw, and more. From Mallacoota, in southeast Australia, to Raufarhöfn, in northeast Iceland, and 58 other locations in between, musicians from a wide range of genres and backgrounds used Audiomovers’ ListenTo to stream their sound to Wawken, Saskatchewan, where Canadian composer/sound artist Jeff Morton mixed and retransmitted their sounds back to them – and the world – in real time. After watching the performance from Mito, Japan, Terry Riley himself joined the livestream to greet the musicians, expressing his profound appreciation: "It felt like the earth itself were singing. You are my community." Listening to the recording almost a year later, he added: “A year has gone by since I last heard it. It is an amazing journey through the sonic ethers of planet Earth. So many awesome musicians were involved. Also, the technical support was amazing without which it could never have happened.I am deeply honored and moved by the efforts of all my music brothers and sisters who contributed their efforts and artistry to make this almost impossible dream a success! ”  Directed by Evan Ziporyn and Jerry Pergolesi Technical Production by Jeff Morton, Wawken Studio Additional Technical Assistance by Andrew Noseworthy

[thehours2002]

cumulatively i've spent multiple hours of my life puzzling over the calculus of carmen cusack's career choices. on the list of the most perplexing items

released an album in 2022 which was reviewed in one (1) publication (broadwayworld, which...) and followed by zero (0) concert dates

has one tv credit and while it did star elizabeth olsen, it streamed on... wait for it... "facebook watch"

has two film credits, the most recent of which is an appearance with under three minutes of screen time (i guess some footage could have ended up on the cutting room floor?)

does adding another film credit to her resume suggest an interest in building up her screen presence? if so, is she not pursuing appearances on programs with the usual roster of theatre actors? could be because she's based in la and these shows are primarily filmed in new york. if she is pursuing these roles, why isn't she booking them? if she doesn't actually care about getting more screen credits, why did she just appear in american fiction in a tiny role? is she friends with someone working on the film's production and accepted a part because of that connection?

i want to understand her priorities in all of this

oh well. i hope she is living her best life with her ripped soap opera husband

[djinnewyorkcity]

The Role of a Wedding DJ in Making Your Reception Memorable

The wedding reception is the highlight of any wedding day. It's the time for the newlyweds and their guests to let loose, dance, and celebrate the joyous occasion. And while the wedding venue, décor, and food are all important elements in creating a memorable wedding reception, the role of a wedding DJ is equally crucial.

A wedding DJ is responsible for setting the tone and atmosphere of the wedding reception. They keep the energy high, create a fun and entertaining environment, and ensure that the dance floor stays full throughout the night. A professional wedding DJ has the ability to read the crowd and adjust the music selection accordingly to keep everyone engaged and entertained.

The wedding DJ typically plays a variety of music genres to cater to all guests. This includes current hits, classic wedding songs, and even traditional music for cultural or religious ceremonies. They also help the bride and groom choose the perfect first dance song and other special dances such as the father-daughter and mother-son dances.

The wedding DJ is also responsible for making announcements throughout the reception. They keep the guests informed of important events such as cake cutting, bouquet tossing, and garter removal. They also work closely with the wedding planner and other vendors to ensure that everything runs smoothly and according to schedule.

But the role of a wedding DJ goes beyond just playing music and making announcements. They are also responsible for creating a personalized and unique experience for the bride and groom and their guests. A skilled wedding DJ will take the time to get to know the couple's music tastes, personalities, and wedding theme, and incorporate these elements into the music selection and overall vibe of the reception.

One way that a wedding DJ can make a reception memorable is by creating a customized playlist. This means working with the couple to select songs that are meaningful to them, or have a special place in their relationship. This personalized playlist not only creates a unique atmosphere for the reception, but it also helps to create lasting memories for the couple and their guests.

Another way that a wedding DJ can make a reception memorable is by incorporating fun and interactive elements into the music selection. This could include playing games or having dance-offs to get everyone involved and having fun. A skilled DJ can also mix songs seamlessly, creating a continuous flow of music that keeps the dance floor packed all night long.

In addition, a wedding DJ can help to create a memorable reception by providing high-quality equipment and sound. A professional DJ will have top-of-the-line speakers, lighting, and other equipment to create a stunning visual and audio experience for guests. They will also have backup equipment in case of any technical difficulties.

When hiring a wedding DJ, it's important to choose a professional who has experience working with weddings. They should have a portfolio of previous events they have worked on, and be able to provide references from past clients. It's also important to have clear communication with the DJ leading up to the wedding day, so that they have a clear understanding of your expectations and preferences.

In conclusion, the role of a wedding DJ is integral to creating a memorable wedding reception. They set the tone and atmosphere of the event, create a personalized experience for the couple and their guests, and ensure that everyone has a great time on the dance floor. By working with a professional wedding DJ, couples can rest assured that their reception will be a fun, unforgettable celebration of their love.

FAQ

What does a wedding DJ do?

A wedding DJ is responsible for setting the tone and atmosphere of the wedding reception. They play music, make announcements, and create a fun and entertaining environment for the bride and groom and their guests.

   2. How does a wedding DJ make a reception memorable?

A skilled wedding DJ can make a reception memorable by creating a personalized and unique experience for the bride and groom and their guests. This can include a customized playlist, fun and interactive elements, and high-quality equipment and sound.

   3. How does a wedding DJ work with the bride and groom to select music?

A professional wedding DJ will take the time to get to know the couple's music tastes, personalities, and wedding theme, and incorporate these elements into the music selection and overall vibe of the reception. They may also ask the couple for specific songs that are meaningful to them.

   4. Why is it important to hire a professional wedding DJ?

A professional wedding DJ has the experience, equipment, and knowledge to create a memorable and enjoyable reception. They can read the crowd and adjust the music selection accordingly, and work closely with the wedding planner and other vendors to ensure that everything runs smoothly.

   5. How do you choose the right wedding DJ for your wedding?

When choosing a wedding DJ, it's important to consider their experience, portfolio, and references from past clients. It's also important to have clear communication with the DJ leading up to the wedding day, so that they have a clear understanding of your expectations and preferences.

[undrgrnd-nft]

Tezos Goes Big

I really didn’t want to write this, I swear. I have real work to do, podcasts to edit and my daughter is home sick; but, it’s like holding in a sneeze, when I have something to say it’s best to get it out.

This is not about the @tezos event at Art Basel Miami. It may be what is driving the conversation but this is not really about the displays in a lobby of a hotel.

This is the culmination of years of disrespect to a driving force of adoption and endemic of the crypto space (and society) at large.

Art rejuvenating dead space is not a novel concept. In fact, in Miami, there’s an entire area that could have been used as a template by all blockchains. It’s called Wynnewood, look it up and you’ll get the New York Times article I reference all the time.

What was once an industrial park became a hub for restaurants, music and entertainment: culture.

Why? Because some graffiti artists began painting on the cold gray walls of a concrete jungle.

Did those artists share any of the financial gain brought to the neighborhood? No, but think of the exposure!

Web3 was not built by nor built for creatives like us (yea, I’m putting myself in that group, shut up about it). It was built by boys and men that look, talk and act like me (white, male, presumable douchey based on appearance) but lack a moral and emotional foundation.

They use the right words, have picked up key phrases and platitudes, but at the core it’s not about the things many of us value. It’s not about art.

It’s not about a reorganization of institutions that were built to keep specific classes, races and sexes subservient.

It is not building a utopian-Marxist future where the moral and decent are rewarded financially for their collective effort.

Look at the state of streaming services: Netflix, Hulu, Paramount, Peacock, Max. What was once meant to disrupt the cable industry has now become Cable Networks 2.0.

The same is true in crypto. What started as a revolution has become a hype parade led by influencers masquerading as cultural relevance.

Remember the @TezosFoundation Permanent Collection drama? In a Twitter space shortly after things began to spiral downward, one of the leads made a comment on the criticisms, “if this is the response maybe we won’t do this again.”

We all knew it then.

But many of us came here to create something better. So we, many of them my friends, gave second chances, put a positive spin on it and took their opportunity when it was offered.

I was jealous.

Because I would have done the same.

UNDRGRND is just me: a stay at home dad, taking care of a toddler who disrupts the means of production constantly. I know how hard it is to put together something and share it with an audience.

But so does every artist I write about.

So when we watch people with large budgets, people who are able to make a living on crypto already, getting paid to present the work of others and the result is done with the level of care it takes to hang a Missing Cat poster on a telephone pole, it’s infuriating.

Many of the artists I’ve gotten to know over these past three years were creative directors in their web2 lives. Do you know what they could have done with a fraction the amount of money @tezos has in its war chest?

It’s disrespectful.

It always has been.

I’m going to push post on this in a few minutes and the anxiety is rising. I know others are going to criticize what I’m launching in the coming months.

I’m in a glass house throwing rocks.

The difference is I’m not deluded enough to think I have all the answers or have an ego like I’ve done anything yet.

I’m just a guy writing about the things I like while my four-year-old sleeps on me.

This was never about the display.

It was about the devaluation of creatives for years and the continuation of a broken social contract that promised an idealistic future.

So heed the lesson because we’re tired of this shit.

And I’m fucking coming…

- Founder of UNDRGRND, @NFTjoe

[dugdale100]

CBS is embracing the Piano Man.

Ahead the Super Bowl, the network announced it would stream Billy Joel’s 100th concert at Madison Square Garden on Sunday, April 14 at 9 pm ET/PT. The two hour special, titled The 100th: Billy Joel at Madison Square Garden — The Greatest Run Of All Time, marks the first time a Billy Joel concert will air on a broadcast network. It will be filmed at his March 28 show, and will also be available to stream live and on demand on Paramount+.

The news comes as Joel is set to end his MSG residency this July with his 150th career performance at the New York arena. His first came in late 1978, when Joel, who was touring on behalf of his 52nd Street album, headlined the venue for his first time. In early 2014, he began a monthly residency as MSG’s first “music franchise,” and has sold out every show since. He’s shrewdly changed up his set list from performance to performance, and recruited special guests like Tony Bennett, Bruce Springsteen and Olivia Rodrigo.

The final show of his residency is set for July. It will be his 104th show in the series, and his 150th performance there. “I’m kind of flabbergasted that it lasted as long as it did,” Joel said at a news conference last year. “My team tells me that we could continue to sell tickets, but 10 years, 150 shows — all right already!” All told, the record-setting residency is expected to gross more than $250 million, according to Pollstar. Joel has no plans to retire, however; in fact, he’s scheduled to criss-cross the country later this year, headlining baseball stadiums with opening acts like Stevie Nicks, Sting and Rod Stewart.

The televised concert announcement arrives a week after Joel premiered his new single, Turn the Lights Back On, live at the Grammy awards, also on CBS. The romantic ballad, produced by Freddy Wexler, was the 74-year-old singer’s first original song in 17 years. Sample line: “I’m late / But I’m here right now / And I’m trying to find the magic.” Despite prolific stage work, the last time Joel shared new music was way back in 2007, when he released the love song All My Life and protest tune, Christmas in Fallujah.

The CBS/Paramount concert special is a co-production of Sony Music Entertainment and Enliven Entertainment. Steve Cohen, Barry Ehrmann and Paul Dugdale will serve as executive producers, with Dugdale also set to direct. Sony Music Vision is the distributor. It follows other popular televised concert events, including those featuring Elton John, Adele and Taylor Swift.

[frogfrizz]

FreenBecky (BeckFreen) and WLW representation after Gap the Series

I’m once again pulled into the world of Gap the Series, but in particular, the rich, warm fandom that has become FreenBecky or on occasion, BeckFreen, in its wake. As we all grapple with Gap the Series finally ending, the fandom seems to have gravitated towards the main stars, namely Rebecca “Becky” Armstrong and Freen Sarocha. This is a thing unto itself and vastly different from the fan service that the Rich Man’s Daughter gave us.

(Source)

(Source)

Here, we find an army of fans translating nearly all content from the actors across Tiktok, Twitter, Instagram, and Weibo from the Thai language to others’:

(Source)

It’s a concerted effort among a web of individual to fan-club-run accounts that drum up enormous coverage, enthusiasm, admiration, funds for billboard ads or fan projects, and even gifts for the pair.

The fan community is self-sustaining in its growth; it is massive in Southeast Asia and South America, hashtags trending in one country or another, and even globally nearly every day. I have the impression that this fandom never sleeps and there is new content to traverse and giggle over every 12-hour cycle. It’s refreshing to see this level of self-sustained, growing adulation for actors of an LGBT show in countries that have traditionally been so conservative in their views and sorely underrepresented in mainstream media.

But it isn’t just the fans. There is consistent, honest regard in Freen and Becky’s interactions with each other, a world of memes and a language of their own that they share between themselves and with the fans (ex. “mami” and “honey” lines, the “phi-nong” interactions *wink-wink*).

(Source)

We have so little of this attention and enthusiasm for and in the LGBT community with mainstream actors, but these two! They demonstrate a commitment to the fans that is unwavering and unprecedented. They are clear and vocal about their acceptance of the LGBT community, which make up so much of their fan base, trumpeting their advocacy at every opportunity simply by showing up together.

(Source)

And oh! Do they have opportunity. They sell record amounts of product as the faces for a variety of brands on live streaming –from make-up, to magazines, to something as innocuous as seaweed chips.

Together or individually, they are constantly being promoted in magazines or on bright, LED billboards in Thailand and even so far as New York’s Times Square:

(Source)

A magazine seems to be released nearly every week, and it has left fans languishing with empty pockets as they faithfully try to collect every single one. Though these magazines aren’t distributed internationally, an informal network of locals purchase them for international fans (or interfans, as they’re called), and ship them out at the buyer’s expense, which interfans are more than willing to cover.

(Source)

Freen and Becky are adored, loved, and fiercely protected. It’s an amazing phenomenon to watch, and even more extraordinary to contemplate that their popularity has brought their relatively new promoters IdolFactory tremendous exposure and a mountain of ad cash. To an extent, because of such exponential growth, the company has been criticized for poor security and an inability to cater for a large fan base during events as it continues to hire woefully small, inadequate venues.

(Source)

(Source)

We deserve to be heard. LGBT content, specifically wlw content, is valuable, loved, adored. If it came to just the bottom line, it is also incredibly profitable. What a message to send to media creators, to brands! I want this to be heard loudly, and for media executives to realize that they are missing out by cancelling so many wlw-centred shows on their streaming services:

(Source)

I wish FreenBecky every success, good health, and happiness.

I want Gap the Series to have even more exposure and recognized as the phenomenon that it is –as the first wlw web series that has breached more than 17M collective views on YouTube. It is the singular show pushing very, very hard against the norm: whether against the persistent cancellations of many wlw shows, catering to a mainly Western audience, or the more Western narrative perpetuated in majority of famous LGBT media today.

[servants-hall]

‘The Gilded Age’ Season 2 Behind the Scenes: How Fashion Defines Each Character (PHOTOS)

by Kelli Boyle

Julian Fellowes, the creator of Downton Abbey (2011-2016) [mod note: on PBS in the US], set that upstairs-downstairs series at a palatial British estate on the eve of World War I. He moved his newest costume drama Stateside to the streets of New York City. Set in the late 1800s, The Gilded Age, which has its second-season premiere on Sunday, October 29 on HBO (streaming on Max), pits the new money of railroad barons against the old money of New York society. The powerful fight for control of the city and use their wealth to measure social success. And dressing for success was its own full-time occupation.

When researching women’s fashion in 1800s New York, the show’s costume designer Kasia Walicka-Maimone saw one thing clearly: “Their life was a catwalk. There was this enormous excitement” when the ladies trekked the bustling, dusty streets of Manhattan. Her job was to recreate that excitement for contemporary viewers of The Gilded Age.

Fashion as a Sign of Status

Who’s doing all this promenading? Marian Brook (Louisa Jacobson) arrived in NYC with no money and was taken in by her aunts Ada (Cynthia Nixon) and Agnes (Christine Baranski), both living off an inheritance. Then the newly affluent Russells—headed by railroad baron George (Morgan Spector) and wife Bertha (Carrie Coon), who is determined to break into polite society—moved in across the street.

Ada Brook (Cynthia Nixon) and Agnes van Rhijn (Christine Baranski) head to church on Easter morning in ‘The Gilded Age’ Season 2 premiere. Niece Marian Brook (Louisa Jacobson) follows close behind (Credit: Barbara Nitke/HBO)

The frill thrills continue in Season 2, especially in a pivotal garden party scene (pictured below) that TV Insider observed being filmed in September 2022 at New York’s lavish Old Westbury Gardens estate. (Westbury House was previously home to an heir of the Phipps family, real-life Gilded Age figures whose patriarch made his fortune alongside Andrew Carnegie at his steel company.) On set was Fellowes, whose smart black suit and tie were the only dark hues around.

Gladys Russell (Taissa Farmiga), George Russell (Morgan Spector), and Bertha Russell (Carrie Coon) step out for Easter mass in ‘The Gilded Age’ Season 2 premiere (Credit: Barbara Nitke/HBO)

Historically Accurate Costumes

It’s a testament to the wardrobe department that the stunning colors of the sprawling grounds nearly pale in comparison to the vibrancy of the women’s period garb. Despite the sepia-toned images in history books, Walicka-Maimone says, those bright tints are decidedly historically accurate. She has a library of more than 35,000 reference images to prove it.

“It’s shocking to our modern eye to see the explosion of color from that period,” she said. Production designer Bob Shaw (who won an Emmy for his work on Gilded Age) was present to share his creative process, which, just as Walicka-Maimone described of her own work, is “deeply steeped in history.”

Nicole Brydon Bloom joins the cast for Season 2, pictured here at the garden party with Blake Ritson’s Oscar van Rhijn (Credit: Barbara Nitke/HBO)

He does note that, when deciding between “what is correct and what feels correct,” the latter always wins. Creative liberties are taken to “build [character] histories into the costumes,” Walicka-Maimone added.

A Garden Party to Remember

Take Brit newcomers Dashiell Montgomery (David Furr) and his daughter, Frances (Matilda Lawler), for example. Nephew by marriage to Baranski’s Agnes, Dashiell requires more “toned-down” attire suitable for social outings, which contrasts with Season 1’s primarily business and formal menswear.

Aurora Fane (Kelli O’Hara) and husband Charles Fane (Ward Horton) attend the garden party in ‘The Gilded Age’ Season 2 (Credit: Barbara Nitke/HBO)

Dashiell must escort Frances through society in his late wife’s absence. One consideration for Walicka-Maimone: “This is a girl who doesn’t have a mother, so there’s probably extra care from all the other family members in [dressing her],” she said.

Meanwhile, Marian, who Jacobson said is “shining this season and sees herself in [younger] Frances,” will be more open to a strategic marriage. Marian’s “not necessarily cynical” after being jilted by Tom Raikes (Thomas Cocquerel) in last season’s finale, the actress continued, but the heartbreak gives her a “spice and edge.”

Don’t count out the possibility of a romance with Larry Russell (Harry Richardson), son of the railroad titan, which was teased last year. Jacobson shared: “They will definitely continue to deepen their friendship.” Old money and new money unite!

[fromtenthousandfeet]

1. Jungkook’s fans

2. His own logo under the song name

3. And link that leads to “sign up for updates from Jung kook and bts”

So Jk as soloist is established

Before I just wondered whether they would disband or not. Sorry, now I want it. Interesting, how 6 others are doing right now…

Let's dig in!

Hopeless. Best to ignore them. Also, if Jungkook's music really resonates with them, great! Buy it, listen to it, whatever. I hope eventually ARMYs will stop supporting everything the members release out of obligation and actually consume what they think is good/to their individual taste. Otherwise, be ready for more Permission to Dance and Yet to Come-type songs.

Yeah. Look, HYBE didn't invest $100 million plus into JK's solo career for nothing. Expect to see way more of this as time passes, especially once they're out of the military. I know the trademarked label gets under people's skin, but remember that the trademark is owned by HYBE, not Jungkook! The company makes money off his merchandise first and foremost. Meanwhile, Jimin's dad/family keep all the revenue generated from ZM-ILLENIAL products. Let's hope they get international shipping up and running ASAP because buying directly from them is a much better alternative to support Jimin rather than filling HYBE's coffers with streams, music purchases, and Jimin-related merchandise.

As some smart person wrote on Twitter today, the fandom is slowly being conditioned to replace BTS with Jungkook.

Jungkook's solo career started several years ago. When he stayed behind in New York to record Left & Right with Charlie Puth it was obvious which way the company was moving. And man did he look happy. I've been watching JK's facial expressions throughout Chapter 2 hoping to see some signs that he might feel bad about the extra push, the fraudulence, the unfair treatment to the others, but I don't see it. I think he feels no guilt whatsoever. I'm not necessarily surprised because he strikes me as a pretty immature guy - especially once he started doing those lives from his apartment. He's a kid. What does surprise me is the complete lack of response from the others. Do they really not care? Are they ready to move on to their own projects? Maybe it's a relief to let JK be responsible for bringing in the cash for the company while they go off and do their own thing?

I was way too invested in this JM/JK solo situation as it first rolled out. The SEVEN posters across the globe, even the name of the song itself, made me so mad. Then I saw the leaked footage of Jimin and Jungkook on that boat in Connecticut and Jimin's big grin, and I realized being a member of BTS is just a job. The members are colleagues, they work for BigHit, which is a subsidiary of HYBE, whose chairman is Bang Si-Hyuk. It’s not that serious. Let it go.

Speaking of letting go. I sincerely hope that some day Jimin is represented by a different label. I hope his future trajectory is that of an indie artist and not a mega star. I want him to stay true to his values and artistic vision. I don't care if he's not a household name. I desperately wish people would stop mass streaming his music and obsessing about chart placement, but I understand why they do and I'm not judging. But he himself continues to insinuate he's not making his solo music for the charts or the money or the fame. He seems far more focused on putting out a good product. God, that must drive BSH CRAZY given how obsessed he is with all of those things.

My final thought is this. The day Jimin's fans stop comparing his stream counts, album sales, awards, and paid media play to Jungkook’s is the day Jimin is finally free! I hope fans can find a way to love him for his talents rather than his metrics. JK and JJKs can keep that shit for themselves.