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Celebrating Black innovation: The Black Future Newsstand blends tech and art at AfroTech

AUSTIN, Texas — Media 2070 is partnering with The Center for Cultural Power in early November, to unveil a travel-sized “Black Future Newsstand” at AfroTech for reflecting the advances for Black-owned media.

 

This in-person, custom-built installation is guided by the question, “How can the Black stories and technologies of today give us safe passage to our futures?”

 

The installation will engage all senses as it whisks visitors to a future where a thriving Black-owned media landscape reflects the wholeness of Black experiences.

 

The Black Future Newsstand will be activated at the Center for Cultural Power’s Mixed Media Mixer Art Show, taking place at Speakeasy on 412 Congress Ave. in Austin on Thursday, Nov. 2, from 4 – 8 p.m. CDT.

 

In this space, guests will be able to reflect on the past, present, and future of Black narrative power while reflecting on the question, “How can the narratives and innovations of today’s Black community lead us toward a brighter future?”

 

“Technology, art, journalism, and media are the bedrock of our communication infrastructure,” said Diamond Hardiman, reparative journalism program manager for Media 2070.

 

“Tech visionaries, artists, journalists, and media-makers alchemize the Black creativity and abundance that guides how we share, tell stories, connect and communicate. This activation of Black Future Newsstand allows us to lean into a world where storytelling is rooted in Black creativity and imagination that celebrates Black folks’ wholeness, care, and dignity.”

 

Admission to this event is on a first-come, first-served basis. RSVP is required. To register, visit https://events.eventnoire.com/e/mixed-media-mixer/tickets.

 

The Black Future Newsstand is an initiative of the Media 2070 media reparations project at Free Press, a nonprofit, nonpartisan advocacy group based in Washington, DC. Media 2070 campaigns for the media system that will get us to a future that’s ripe with reparations justice.

 

About Mañón Media: Mañón Media is a PR firm committed to helping changemakers and disruptors get the news coverage they need to raise awareness, spread a message and make change. Learn more at tiannamanon.com and see recent blog posts, placements and current clients.

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As Cruise suspends all driverless operations, a look at the lack of clear federal regulations and fragmented oversight governing self-driving cars in the US

—  The whiplash from approval to ban in just two months highlights the fragmented oversight governing the fledgling industry

 

 

Trisha Thadani / Washington Post:

 

 

SAN FRANCISCO — Two months before Cruise’s driverless cars were yanked off the streets here for rolling over a pedestrian and dragging her about 20 feet, California regulators said they were confident in self-driving technology and gave the company permission to operate its robotaxi service around the city.

 

That approval was a pivotal moment for the self-driving car industry, as it expanded one of the biggest test cases in the world for the technology. But now, following a horrendous Oct. 2 crash that critically injured a jaywalking pedestrian — and Cruise’s initial misrepresentation over what actually happened that night — officials here are rethinking whether self-driving cars are ready for the road, and experts are encouraging other states to do the same.

This Thursday, just two days after the California Department of Motor Vehicles suspended Cruise’s driverless permits, the company said it would suspend all driverless operations around the country to examine its process and earn back public trust.

“It was just a matter of time before an incident like this occurred,” San Francisco City Attorney David Chiu said of the Oct. 2 crash. “And it was incredibly unfortunate that it happened, but it is not a complete surprise.”

Immediately after California’s Public Utilities Commission (CPUC) voted in August to allow General Motors’ Cruise and Google’s Waymo to charge for rides 24/7 around San Francisco, Chiu filed a motion to halt the commercial expansion, arguing the driverless cars had serious “public safety ramifications.”

Here in California, the whiplash from approval to ban in just two months highlights the fragmented oversight governing the self-driving car industry — a system that allowed Cruise to operate on San Francisco’s roads for more than three weeks following the October collision, despite dragging a human pinned underneath the vehicle.

California Assembly member Phil Ting (D), whose district includes San Francisco, said the DMV did “the right thing” by suspending the permits when it learned the full extent of the crash. While state legislators are grappling with how to control this rapidly developing industry, he said the DMV already has a rigorous permit approval process for autonomous vehicles. Cruise, for example, said it has received seven different permits over the past few years from the DMV to operate in California.

In California alone, there are more than 40 companies — ranging from young start-ups to tech giants — that have permits to test their self-driving cars in San Francisco, according to the DMV. According to a Washington Post analysis of the data, the companies collectively report millions of miles on public roads every year, along with hundreds of mostly minor accidents.

“It’s hard being first, that’s the problem,” Ting said. “We are doing the best we can with what we know, while knowing that [autonomous vehicles] are part of our future. But how do we regulate it, not squash it?”

 

Read more here:

As Cruise suspends all driverless operations, a look at the lack of clear federal regulations and fragmented oversight governing self-driving cars in the US

 

 

Techmeme

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‘Saturday Night Live’ pays tribute to Matthew Perry hours after his death

“Saturday Night Live” paid tribute to Matthew Perry, hours after the news of his death broke.

 

The broadcast showed a picture of Perry coupled with a moment of silence right before the episode’s goodnights segment. Nate Bargatze was the episode’s host. Perry, best known for playing Chandler Bing on “Friends,” died on Saturday. He was 54.

 

According to the LA Times, Perry was found unresponsive in a hot tub at his Los Angeles home.

 

The actor hosted “Saturday Night Live” in 1997 with musical guest Oasis. Perry portrayed the beloved, sarcastic Chandler on “Friends,” which ran for 10 seasons from 1994 to 2004. He received one Primetime Emmy nomination in 2002 for the ninth season. Perry also appeared in “Studio 60 on the Sunset Strip,” “Go On,” “The Odd Couple” and “The West Wing.” He scored two more Emmy nominations in 2003 and 2004 for his role as Joe Quincy on the Aaron Sorkin political drama.

 

In 2022, Perry opened up about his struggle with alcohol and drugs in his memoir, “Friends, Lovers and the Big Terrible Thing,” revealing he was only sober for one Season 9 — the ninth — of “Friends,” and battled for most of his life.

 

In the book, he says at one point he was taking 55 Vicodin a day, has attended 6,000 AA meetings, had 14 surgeries and gone to rehab 15 times. He decided to write the book with hopes to help others going through any sort of addiction struggles.

 

In 2018, Perry’s colon exploded and he spent two weeks in a coma; his family was told he had a 2% chance to live. After he survived, he lived with a colostomy bag for nine months.

 

Since the news of his death, many celebrities have honored the comedian, including Paget Brewster, who starred on the show for six episodes an played his love interest, Kathy. “I’m so very sad to hear about @MatthewPerry. He was lovely to me on Friends and every time I saw him in the decades after,” she tweeted. “Please read his book. It was his legacy to help. He won’t rest in peace though.. He’s already too busy making everyone laugh up there.”

 

 

Variety

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A recent student hip-hop showcase, Vision and Voice: A smash success!

Vision and Voice, a recent student hip-hop showcase performance from late summer  was an incredible success from top to bottom at Mill Hill Playhouse in Trenton, N.J.

 

The show featured wonderful performances from our middle and high school aged students, with two dance numbers, four individual spoken word pieces, one large group spoken word piece, and an absolutely PACKED playhouse full of friends, family, and members of the Trenton community coming in to see what our students have done.

 

The playhouse thanks students, their caregivers, Vision and Voice Camp Coordinator Johanna Tolentino and her talented team of teaching artists (Phillip, Nico, Lucas, Pete, Jack), and the generous grants from the state and donations from folks like you that allowed us to put on this show!

 

They appreciate Romeo’s Pizza in Plainsboro, N.J., for donating the pizza for the students’ wrap party! We had a wonderful time celebrating the hard work put in creating and rehearsing this uniquely personal performance.

 

All throughout our Vision and Voice program, in addition to our regular teaching artists, we brought in special guest instructors who are also out there doing the work creating specialized hip-hop art… we kicked things off with a special presentation and workshop with Trenton’s very own Poor Righteous Teachers, and we also brought in Chesney Snow to lead a workshop on beatboxing, Shanika Boston to lead a workshop on hip-hop dance, and Leon Rainbow to teach the students basics of tagging in the world of graffiti art.⁣

Huge thank you to each of our guest instructors for bringing their gifts to even greater enhance what our hip-hop summer camp program helped to build!⁣

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DEI Trailblazer Awards 2023 nominees announced

TRENTON, NJ – The African American Chamber of Commerce of New Jersey and the New Jersey Chamber of Commerce are excited to announce the nominees for the 2023 DEI Trailblazer Awards.

This event, now in its second year, aims to recognize companies and organizations that are making substantial strides in the areas of Diversity, Equity, and Inclusion (DEI). The awards reception, which celebrates these nominees and awardees, will take place on Monday, Nov. 20, 2023, at the Old Mill Inn in Basking Ridge, New Jersey, from 5-8 p.m.

The DEI Trailblazer Awards feature six distinct categories, each acknowledging a specific aspect of DEI commitment:

  • Supplier Diversity: Recognizing businesses that prioritize contracting with diverse enterprises for goods and services.
  • Access to Capital: Acknowledging businesses that actively work to enhance access to capital for historically marginalized businesses and entrepreneurs.
  • Corporate Board Diversity: Celebrating businesses with board compositions that reflect individuals from historically underrepresented communities.
  • Workforce Diversity: Commending businesses that demonstrate a commitment to diversity within their staff through comprehensive recruiting, hiring, and retention efforts.
  • Corporate Citizenship: Honoring businesses that engage in philanthropy and community engagement efforts, particularly benefiting historically marginalized communities.
  • Emerging DEI Influencer: Recognizing businesses in the early stages of implementing intentional efforts across the above categories.

 

The 2023 DEI Trailblazer Awards nominees are:

  1. AmeriHealth
  2. Bank of America
  3. Bridge Builders Newark, LLC
  4. CannPowerment
  5. The Ceceilyn Miller Institute for Leadership & Diversity
  6. Chiesa Shahinian & Giantomasi PC
  7. Cole Schotz
  8. Delta Dental of New Jersey
  9. Gibbons P.C.
  10. Hackensack Meridian Health
  11. Johnson & Johnson
  12. Lockerbie & Co.
  13. Modivcare
  14. New Jersey Institute of Technology
  15. Phillips 66-Bayway Refinery
  16. PSEG
  17. Santander US
  18. Somerset County Business Partnership
  19. Tené Nícole Creative Agency
  20. UnitedHealth Group
  21. We Are Jersey

 

The awardees for 2023 will be revealed during the awards reception on Monday, Nov. 20.

 

“As we unveil the remarkable nominees for the 2023 DEI Trailblazer Awards, we are inspired by the dedication of these organizations to Diversity, Equity, and Inclusion. They are setting a strong example for all of us,” remarked AACCNJ Founder, President, and CEO John E. Harmon Sr., IOM. “I invite everyone to join us at the awards reception, where we will celebrate the achievements of these nominees and unveil the awardees. Your presence at this event is not just a testament to your support for DEI but also a commitment to fostering a more inclusive business landscape. Together, we can make a significant impact in the pursuit of equity and diversity in our communities.”

 

“The success of our inaugural DEI Trailblazer Awards left a lasting impact, but this year’s event promises to build on that legacy in even more profound ways. It’s inspiring to see organizations across New Jersey making substantial strides in Diversity, Equity, and Inclusion,” added New Jersey Chamber of Commerce President and CEO Thomas Bracken. “We encourage everyone to be a part of this remarkable journey by attending the awards reception. Your presence will not only celebrate the achievements of our nominees but also propel us toward a more inclusive and equitable business environment. Together, we can continue to shape a future that reflects the values of diversity and equality.”

 

Notably, last year’s event featured the following nominees:

  1. Abitronix, LLC
  2. American Water Works
  3. Back Thru the Future
  4. Bestwork Industries for the Blind, Inc.
  5. Curio Wellness/Far & Dotter
  6. HelloFresh
  7. Joseph Jingoli & Son, Inc.
  8. Lyft
  9. Mental Health Association in New Jersey
  10. Phillips 66-Bayway Refinery
  11. PMO Solution Pro, LLC
  12. Princeton Area Community Foundation
  13. Quality Dental School of Technology, Inc.
  14. Somerset County Business Partnership
  15. Target International Shipping Inc.
  16. Truist Bank
  17. Valley Bank

 

The 2022 awardees included Burns & McDonnell for Supplier Diversity, Union County Economic Development Council for Access to Capital, Columbia Bank for Corporate Board Diversity, Hackensack Meridian Health for Workforce Diversity, Gibbons P.C. for Corporate Citizenship, and Provident Bank for Emerging DEI Influencer.

 

To celebrate the 2023 nominees and learn more about this year’s awardees, kindly register for the awards reception at https://njchamber.com/events/dei-trailblazer-awards.

About the African American Chamber of Commerce of NJ

The African American Chamber of Commerce of New Jersey (AACCNJ) performs an essential role in the economic viability of New Jersey. While providing a platform for New Jersey’s African American business leaders to speak with a collective voice, the AACCNJ advocates and promotes economic diversity fostering a climate of business growth through major initiatives centering on education and public policy. The AACCNJ is a proactive advocacy group with a 501(c)(3) tax exemption, as is the National Black Chamber of Commerce, with which the AACCNJ is affiliated.

About the New Jersey Chamber of Commerce

The New Jersey Chamber of Commerce is a business advocacy association based in Trenton that lobbies key stakeholders for legislation and policies designed to make New Jersey a desirable state to operate a business and establish good-paying jobs. Chamber member companies receive exclusive invitations to events that offer valuable networking and educational opportunities. Additionally, the Chamber regularly disseminates legislative updates, industry insights, and employer-related news critical to conducting business in New Jersey. The organization unites local and regional chambers of commerce across the state to address significant business issues. The New Jersey Chamber of Commerce Foundation is committed to equipping New Jersey’s future workforce with the essential skills required for success in both college and employment.

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Mercer County Clerk offers early voting information and other election reminders

TRENTON, N.J. — As we near the 2023 General Election, which will be held on Nov. 7, Mercer County Clerk Paula Sollami Covello reminds voters that in-person early voting locations will be open Oct. 28 – Nov. 5.

Early voting allows an individual to vote on a voting machine at any of the locations listed below during this nine-day period. Early voting hours are 10 a.m. to 8 p.m. Monday through Saturday and 10 a.m. to 6 p.m. on Sunday.  Accommodations will be made for voters with disabilities.

Early Voting Locations, Mercer County

Mercer County Library, Hickory Corner Branch – 138 Hickory Corner Road, East Windsor, NJ 08520

Mercer County Office Park – 1440 Parkside Ave, Ewing, NJ 08638

Colonial Firehouse Company – 801 Kuser Road, Hamilton, NJ 08619

Mercer County Library, Lawrence Headquarters Branch – 2751 Brunswick Pike (at Darrah Lane), Lawrence, NJ 08648

Pennington Fire Company – 120 Broemel Place, Pennington, NJ 08534

Princeton Shopping Center (Around back on the left side) – 300 N Harrison Street, Princeton, NJ 08540

Trenton Firehouse Headquarters – 244 Perry Street, Trenton, NJ 08618

When seeking election information, the Mercer County election offices — the Clerk’s Office, the Board of Elections led by Chairwoman Jill Moyer, and the Superintendent of Elections Office led by Walker M. Worthy Jr. — have the most up-to-date and verifiable information. You can find all of the County Election Office websites at www.mercercounty.org.

People voting early at the Mercer County Library in East Windsor, NJ on Oct. 30, 2022.
[Daniella Heminghaus]

On Election evening, voting machine results will be available for anyone who wants to view them at https://www.mercercounty.org/government/county-clerk/

For additional information regarding the 2023 General Election, please visit the Mercer County Clerk’s website here or call 609-989-6494 or 609-6495. To reach the Superintendent of Elections office, please contact 609-989-6750 or visit https://www.mercercounty.org/departments/superintendent-of-elections. To reach the Board of Elections, please call 609-989-6522 or visit https://www.mercercounty.org/boards-commissions/board-of-elections. For further election information visit the New Jersey Division of Elections website at (https://www.nj.gov/state/elections/vote.shtml).

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A Twitter user since 2007 reflects on leaving due to Elon Musk swapping stasis at the company for chaos

Leaving Twitter

I was on Twitter since 2007, and built a meaningful part of my career on it, and I won’t be posting at all for the foreseeable future

Benedict Evans:

 

 

—  Twitter always used to look a lot like Craigslist.

 

It stumbled into something that a lot of people found very useful, with very strong network effects, and then it squatted on those network effects for a generation, while the tech industry moved on. Twitter, as a technology company, has been irrelevant to everything that’s going on for a decade. It was the place where we talked about what mattered, but Twitter the company didn’t matter at all – indeed it did nothing for so long that people got bored of complaining about it.

 

Meanwhile, lots of people tried to build a better Craigslist and a better Twitter, but though a better product was pretty easy, the network effects were too strong and none of them really worked. Instead, we unbundled use cases one by one. As Andrew Parker pointed out in 2010, a whole range of people from Airbnb to Zillow to Tinder unbundled separate pieces of Craigslist into billion dollar companies that didn’t look like Craigslist and solved some individual need much better. This is often the real challenge to tech incumbents: once the network effects are locked in, it’s very hard to get people to switch to something that’s roughly the same but 10% better – they switch to something that solves one underlying need in an entirely new way.

 

Hence, Mastodon has been around since 2016 without getting much traction, but slices of conversation, content or industry have been unbundled to Reddit, LinkedIn, Instagram, Signal, Discord or, more recently, Substack, which someone joked was Twitter’s paywall.

 

Meanwhile, Twitter itself drifted aimlessly for a decade, becoming known in Silicon Valley as a place where no-one could get anything done. This is a big part of why Elon Musk was able to buy it – $44bn was a top-of-the-market price, but even Snap was worth $75bn in January 2022, when he started building a stake – how much bigger should Twitter have been? And so, when he made his bid, there was, briefly, a lot of enthusiasm in tech: pent-up frustration with the existing product and a sense of how much better it could be; enthusiasm that there could be innovation and new product ideas (and, from a small but noisy group, frustration with the politics of Twitter’s content policies, of which more in a moment).

 

It didn’t work out like that. The last year swapped stasis for chaos. Stuff breaks at random and you don’t know if it’s a bug or a decision. The advertisers have fled, and no-one knows what will be broken by accident or on purpose tomorrow. The example that’s closest to home for me was that the in-house newsletter product was shut down – and then links to other newsletters were banned. Pick one! It’s hard to see anyone who depends on having a long-term platform investing in anything that Twitter builds, when it might not be there tomorrow.

 

There are various diagnoses for this. Tesla has sometimes been run in chaos as well, but the pain of that is on the employees, not the customers: you can’t wake up in the middle of the night and decide the car should have five wheels and ship that the next day, but you can make those kinds of decisions in software, and Elon Musk does, all the time. Perhaps it’s a fundamental failure to understand how you run a community. Or something else. But whatever the explanation, Twitter now feels like the Brewster’s Millions of tech – ‘Watch One Man Turn $40bn Into $4 In 24 Months!’

 

Meanwhile, beyond the chaos, there has been no sense for the actual users of where we’re going. There was a plan, both ruthless and chaotic, to reset a broken and grotesquely overstaffed company culture and turn it into a place that can execute, but no coherent sense of what it should be executing. What should those newly hard-core engineers be shipping? A ‘super app’? A universal content platform with no external links? Your financial life? Seriously?

 

And then, there are the Nazis.

 

This is a debate with baggage. Part of the criticism of Old Twitter was a perceived tendency to trigger-happy moderation, and there is in fact a pretty mainstream view in the content moderation world that you shouldn’t (or indeed can’t, practically) try to ban and block anything you don’t like (unless it’s actually illegal), but instead you should have a spectrum of what’s objectionable and control things within that by controlling visibility. Keep things out of the recommendations and suggestions, down-rank them in the feed and replies, and don’t let them monetise or advertise. There will be some bad stuff, but the worse it is the fewer people will see it. Meanwhile, pour your effort into stopping scammers and state manipulation, and think about how your product design might encourage or discourage the rest of us from being mean. Reasonable people can disagree about that. But.

 

But it didn’t work out like that. The teams that looked for bots, scammers and state actors were mostly fired, and the scammers, Nazis and propagandists all bought the ‘Blue Ticks’. These little badges used to mean ‘notable person’ (in a chaotic and inconsistent way typical of the old Twitter) and are now supposed only to mean ‘real person’ (but often don’t) – and they give you both amplification in all the algorithms and a share of revenue if you drive a lot of replies. The more you troll, and the more furious replies you generate, the more Twitter promotes you and the more Twitter pays you. We saw this at its logical conclusion in the last week, with deliberate misinformation promoted by what we used to call ‘fake accounts’ that now get promoted by the algorithm because they pay their $8/month. It turns out that social networks are harder than rocket science.

 

And then, there’s Elon.

 

I once called Elon Musk ‘a bullshitter who delivers’ – he says a lot of stuff, and yet, there are the cars and the self-landing rockets. People generally struggle with one or other of these – they will refuse to accept the problem in selling a car that can’t drive itself as ‘full self driving’, or they will say ‘he didn’t found Tesla!’, forgetting that he’s run it for the last 15 years. Most of what you see at Tesla or SpaceX really is his creation – but half of what he says is bullshit.

 

Until recently, though, the bullshit was mostly about cars or tunnels. It wasn’t repeating obvious anti-semitic dog-whistles. It wasn’t telling us that George Soros is plotting to destroy western civilisation. It wasn’t engaging with and promoting white supremacists. It wasn’t, as this week, telling us all to read a very obvious misinformation account, with a record of anti-semitism, as the best source on Israel. Of course, it had bought a Blue Tick.

 

In talking about this, I am reminded very much of talking about the last leader of the UK’s Labour Party, Jeremy Corbyn, who had somehow spent much of a career devoted to anti-racism, well, supporting and praising anti-semites (‘the world’s most unlucky anti-racist’). The Chief Rabbi declared that British Jews were afraid of a Labour election victory, and yet too many people with a tribal loyalty to the party just refused to read, see or hear any of this. They decided to blind themselves.

 

If you see a man claim that he’ll have ‘full self-driving’ working ‘next year’ for half a decade and can’t make fun of that just a little, you are probably blinding yourself too, but it does’t matter much. And maybe you don’t care much about this, or have decided not to see it. But I was on Twitter since 2007, and built a meaningful part of my career on it, and I won’t be posting at all, for the foreseeable future, because I think it does matter.

 

 

Techmeme

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‘Taylor Swift: And the Clothes She Wears’ is finally here — and it’s already a no. 1 bestseller on Amazon

No surprise: “Taylor Swift: And the Clothes She Wears,” the newest fashion book from style expert Terry Newman, is an immediate bestseller upon its release this week.

 

The 160-page coffee table book tracks the intriguing style evolution of one of the biggest pop-stars of our generation, from her earliest days as a teenage country singer in Nashville to her show-stopping red carpet looks at events such as the Met Gala, Grammys and, of course, her most recent “Eras Tour.”

 

“A born storyteller, her outfits mark the different phases of her whirlwind life every bit as clearly as her songs,” the book’s logline reads. “From cowboy boots to cottage-core, Saint-Laurent to sci-fi, onstage and on the street, her clothes are always carefully chosen to match the moment. These pages reveal those moments in gorgeous photographic detail with reliably astute analysis.”

 

The Swift book is the most recent in a long line of celebrity style anthologies from Newman, who has worked in the fashion industry for more than 20 years as an editor and writer. Earlier bestselling books include “Harry Styles: And the Clothes He Wears,” “Rihanna: And the Clothes She Wears”
and “Beyonce: And the Clothes She Wears,” among others.

 

The release comes at a particularly apt time, following the singer’s record-breaking “Eras Tour,” which mostly concluded in August (aside from 15 additional shows scheduled for next year). Despite taking a break from the stage, she’s remained in the headlines: her “Eras Tour” concert film landed the best box office debut of all time for a concert film, and her recent NFL appearances have broken national television ratings record.

 

Given the current media frenzy surrounding Swift, it’s no surprise that Newman’s new book on the pop star is already a No. 1 bestseller on Amazon.

 

 

Variety

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‘Chicken for Linda’ wins 2023 Animation Is Film grand prize

Animation Is Film has announced the 2023 winners of its annual film festival, with “Chicken for Linda!,” directed by Chiara Malta and Sébastien Laudenbach, winning the grand prize.

 

The film also took home the audience award. The special jury prize went to Pablo Berger’s “Robot Dreams.” In the short categories, “Letter to a Pig,” directed by Tal Kantor, won the grand prize. “Wild Summon,” directed by Karni Arieli and Saul Freed, won the special jury prize.

 

The in-competition feature films included “Art College 1994,” “Chicken for Linda!,” “The Concierge,” “Mars Express,” “Phoenix: Reminiscence of Flower,” “Robot Dreams” and “Sirocco and the Kingdom of the Winds and the Summer.”

 

Opening night film “The Boy and the Heron” and closing night film “Chicken Run: Dawn of the Nugget” screened out of competition and were not eligible for prizes.

 

“Chicken for Linda!” follows a mother, Paulette, who goes to extreme lengths to make a meal of chicken and peppers for her daughter, Linda, who requested the meal after Paulette unjustly punished her. The dish reminds her of her father; feeling guilty and dealing with a general strike that shut down stores, Paulette will do anything to get a chicken for Linda. The film comes from the U.S. distributor GKIDS.

 

“With ‘Chicken for Linda,’ Sébastien Laudenbach and Chiara Malta honor the challenges and rewards of being a single parent in a hectic world, employing a visually original artistic style through which lively brush strokes and daubs of color bring relatable human characters (and one very flustered chicken) to vibrant life,” the jury said in a statement.

 

“Robot Dreams,” which will be released by Neon, is based on Sara Varon’s graphic novel. The film tracks “the adventures and misfortunes of Dog and Robot in NYC during the ’80s.”

 

“In a poignant mix of humor and pathos, director Pablo Berger adapts Sara Varon’s graphic novel, showing how people and places shape our lives, while paying homage to New York City in the 1980s,” the jury said of “Robot Dreams.” “That he conveys this through pantomime and animation, without using dialogue, is all the more remarkable.”

 

For more information on the festival, which ran from Oct. 18-22 at the TCL Chinese 6 Theatres in Hollywood, visit animationisfilm.com.

 

 

Variety

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‘Maestro,’ ‘Poor Things’ and ‘Barbie’ among movies screening at SCAD Savannah Film Festival

Now in its 26th year, the (Savannah College of Arts and Design), SCAD Savannah Film Festival continues to train students to become the next generation of artisans.

 

Through careful programming, fest executive and artistic director Christina Routhier and her team have expanded their lineup.

 

Says Routhier, “This year, we’ve added more directors, producers, casting directors and animation — [as well as] working on the 10 Artisans to Watch series.”

 

She continues, “Our students are so eager to learn and to hear from all these differing voices in the film and TV industry. Their reaction and what they get out of it is probably the most rewarding part of my job.”

 

Among the films screening this year: Hayao Miyazaki’s “The Boy and the Heron,” Bradley Cooper’s “Maestro,” Ava DuVernay’s “Origin,” Sofia Coppola’s “Priscilla” and Yorgos Lanthimos’ “Poor Things.”

 

The list of honorees includes: DuVernay, receiving the Virtu- oso Director Award; Emerald Fennell “(Saltburn),” who will be honored with the Spotlight Director Award; Hoyte van Hoytema “(Oppenheimer)” is receiving Variety’s Creative Impact in Cinematography Award; and Todd Haynes “(May December)” will receive the Outstanding Achievement in Directing. Sarah Greenwood and Katie Spencer will receive the Outstanding Achievement in Production Design honor for “Barbie.”

 

Yes, the festival is hosting Barbenheimer, Routhier confirms, “We are screening ‘Oppenheimer’ in 35mm, and we’re also screening ‘Barbie.’ We’re honoring the two production designers, Sarah Greenwood and Katie Spencer.”

 

Academy Award winning makeup artist Kazu Hiro will receive a Career Achievement Award. Routhier says his work as a sculpture artist should be exciting for the sculpture students, and this was another way to expand the festival and what it’s showcasing to students majoring in the sculpture degree program.

 

Todd Haynes’ “May December” will also screen at the fest. The film, starring Julianne Moore and Natalie Portman, was shot on location in Savannah. Similarly, “Origin” and “The Color Purple” were also shot there. Routhier says the films utilized Savannah College of Art and Design proprieties and many students worked on the films.

 

Furthermore, the festival will coincide with the university’s opening of the new backlot at Savannah Film Studios. The 11-acre production hub includes a next-generation LED volume stage for virtual productions and new soundstages, among other features. It is the largest and most comprehensive university film studio complex in the nation.

 

Also new this year: the festival and Amazon MGM Studios have created a dedicated LGBTQ+ Short Film Competition. Amazon MGM Studios will donate $10,000 for the jury-awarded best overall film and $5,000 for an Audience Award. Films in the program are under 40 minutes in length and represent excellence in storytelling and execution in narrative or documentary formats, reflecting unique insight into LGBTQ+ themes, issues or ideas.

 

“The future of film lives at SCAD, where audiences can see next year’s Oscar winners at our SCAD Savannah Film Festival later this month, and where guests are treated to a behind-the-scenes tour of the latest and greatest SCAD triumph: the new backlot at Savannah Film Studios, the largest at any university in the world,” said SCAD president and founder Paula Wallace.

 

“From Savannah cityscapes, to a courthouse square and suburbs, the backlot is a paradise for filmmakers.”

 

Variety