Pop It! In Your Pocket
Jump cuts. Voice overs. Visual story telling.
In February of 1971, President Richard Nixon installed recording devices in the Oval Office.
On Wednesday at the Football Factory at Legends, go90 hosted an open bar and light bites event for the press to showcase Verizon’s new app. With a Sheffeld United/Southend United game playing on the television screens and on the iPads on the tables, go90 truly proved that it is the best video platform for live events.
So what is go90 exactly? Verizon created this new social media platform that was built with the intentions of serving the mobile-first generation. The app allows you to watch live and on demand videos not only limited to sports but also live events, prime-time television, original comedy series, music, games, lifestyle and entertainment stories, and more. And this is all provided with a social media front that allows you to chat with other fans, snip parts of the videos you’re watching and share them, get suggestions from people in your community, and more.
It was also just recently announced that go90 will debut Machinima’s “Inside eSports” this summer, with a soft launch in May and a hard launch in June. “Inside eSports” will cover news, highlights, and analysis from all of the eSports tournaments, offering facts on teams, players, lifestyle, and more. It will even feature news on eSports games, like first person shooters, multiplayer online games, FIFA soccer, and strategy games, all the while, the app will be the exclusive distributor of “Inside eSports.”
Users of the app currently will receive a sneak peek of Angry Planet’s next episode called “The Reshaping of Laos.” The episode, which will air on April 22 on Pivot, is part of a special cooperation between Pivot’s Participant Media’s television network. Along with the sneak peek, users of go90 will also get the chance to win a trip to Laos to see everything from the show up close.
Available only in the US, both iOS and Android smartphones and tablets will be able to download the free app, regardless if you are a Verizon customer or not.
Last Tuesday at Santos Party House in Chinatown, the French vocal trio, L.E.J. performed on stage for a screaming crowd that was wowed at their covers of common American songs. Anything from Adele to Eminem was covered, and the crowd sure loved it as L.E.J., which is short for the singers’ names of Lucie, Elisa, and Juliette, all performed modern songs with cellos, keyboards, and voices.
The three childhood best friends all grew up together in Saint-Denis in France, all born within four months of each other. They attended the Maison de Radio France conservatory and went on to perform classical music since 2012, finally teaming up to perform their own take on cover music with their “Elijay” style.
They opened for Pharell, Patrice, Flavia Coelho, Faada Freddy, and more, and have no hesitation when it comes to performing covers—even when the song is a completely different genre than what they were trained for. While they are known for their covers, they will be releasing their first album on December 4 called “En attendant l’album.”
On Tuesday night, the trio took to New York and told the crowd that unless they don’t speak French, they won’t get the little jokes they—especially Elisa—made in between songs. Their mash-ups were especially entertaining as they flowed seamlessly one into the other. And above all, there was a perfect blend of French and English singing between the songs, allowing the audience to at least catch the tune even if it was in another language.
However, I personally enjoyed the interactive parts of the show. They would divide the crowd into three and every time one of the singers on stage singed, the audience would join them, creating a vocal version of drums, pianos, guitars, and more. The entire show really helped prove that covers are originals in themselves, and like always, the French music scene is pretty popping.
Check out L.E.J.’s last mash-up video below and be sure to stay tuned for their next event.
Sarah Gavron showed up at the 2016 Athena Film Festival this past Saturday to showcase her new film about the women’s suffrage movement in Britain in 1912. Director of Suffragette, a film starring Carey Mulligan, Helena Bonham Carter, and Meryl Streep, Gavron was in attendance at the festival which promotes women filmmakers, and what better film than one showing how women received the right to vote in England.
We asked Gavron a few questions about the film, about her choices in casting as well as just getting the film made. You can read her answers below and watch the rest of the interview in the video:
You’ve said countless times that you’ve wanted to make this film for a long time.
Yes I’ve wanted to make it for about ten years, it took six years to actually get it off the ground. There had never been a film about the British suffrage movement—it felt like it was overdue in terms in resurrecting the women who changed our course of history, and it also felt timely because the issues women were dealing with then are ongoing issues women are grappling with equal rights still, equal pay, lack of representation in government, with sexual violence, with education, so it felt that it had resonance with the 21st century.
Your choice not to cast a woman of color was also met with some controversy.
Well what we chose to do was tell the story of one group of women of one part of east London in 1912 and in Britain the working class women were white. In America of course you had a similar movement happening differently and that had a very different ethnic makeup because of the different immigration here. Subsequently in the UK we had an immigration that changed the makeup of the movement, but we didn’t at that time.
This year proved to have a new addition to the Athena Film Festival, in which the first ever Leading Man Award was given to Paul Feig for his dedication in promoting female protagonists and showing women on screen when others in Hollywood avoided it. Ghostbusters star Kate McKinnon came out to support Feig and presented the award to him as the two reminisced on the struggles they had in making Ghostbusters as well as just showing funny women on camera. Here are some of the key points Feig made in his interviews:
You received a lot of backlash on Twitter and the internet ever since rumors of Ghostbusters came out. How was it like fighting with trolls who were against the film?
Well fighting on the internet is very interesting because it’s such a weird fight because you’re fighting with faceless people who are hiding behind their computers. Look, there are plenty of fans of Ghostbusters who have an issue that it’s a reboot, and that I completely get, I find that valid. But when it’s just pure misogyny, I don’t want to give voice to it. When I’m on the internet, I try not to block people, I want to hear all voices but sometimes you just hammered on for a year and you finally crack and I just decided that I just wanted to start blocking people because I don’t want to give those people a voice in a forum and it’s just such a non-starter when it’s just misogyny then what’s the point?
You can listen to their speeches the rest of the interviews with Feig below:
The 2016 Athena Film Festival occurred this past weekend where male and female filmmakers alike came together to showcase their work, all featuring female protagonists. In a world where women tend not to have the same kind of rights that men do, the film festival hopes to awaken women filmmakers to pursue their dreams in Hollywood and in the film industry, which is one of the most male dominated industries that anyone can go into.
Founded six years ago by Kathryn Kolbert and Melissa Silverstein, the festival has come to feature the films of countless women leaders, and has even started the Leading Man Award, which was given to Paul Feig for his accomplishments in promoting female characters in his films. Not only did the festival screen films, but it also held certain events, like a workshop in collaboration with the Blacklist, in which women screenwriters worked on getting their scripts made.
The festival was a woman-made, women-packed celebration, and to further celebrate that, here are some interviews we’ve had with the founders, as well as honorees Geralyn Dreyfous and Mira Nair.
What was the thinking behind getting the festival started six years ago?
So the Athena Film Festival has one simple goal, which is to change what leadership looks like. So that when you close your eyes and when you think leadership, you’ll conjure up an image of strong, influential, powerful women.
You also are the director of Barnard’s Athena Center for Leadership, so how was that experience useful in creating this vision?
Clearly our goal at the Athena Center for Leadership Studies at Barnard is to ensure that more women rise to leadership across all sectors of society and one of the ways that we can cultivate change is to change how culture sees leadership, and that’s the point of the film festival.
And do you believe that the festival has helped women leaders through filmmaking and showing films?
Absolutely, this is our sixth year and we’re showing fabulous films; each one of whom has a woman in a leadership role, is a protagonist in a story. You spend a weekend here with us and you will see leadership in a different way.
This year marks the first ever Athena’s Leading Man award, given to Paul Feig. How did you choose to award him and come up with the award in the first place?
Well Paul Feig is the recipient of our first Leading Man award. We have always believed that men and women need to work together to cultivate change, and so part of the festival we show films that are made by both men and women as long as women are the central aspect of the story. Creating the Leading Man award is part of the continuation of that same theory and we’re thrilled to honor Paul: he is a trailblazer, he has created a whole genre of films in which women are very, very, very funny and we are thrilled to honor him. He will be here at the festival tomorrow with Kate McKinnon from Saturday Night Live and it’ll be a fabulous event and we encourage people to come.
What was the thinking behind founding the festival six years ago?
We just want to show women leaders on screen and work as hard as we can to show as many women as we can behind the scenes. The whole objective is to create inspiration as well as aspiration for young women and men to see the world as it should be: 50/50.
Have you seen women filmmakers rise to the challenge and showcase their work?
I don’t think women have to prove anything. They are competent, they are trained, they are ready to go. I think the world needs to wake up and pay attention to the fact that they are there and to treat them with respect that they deserve. When a man and a woman are trained equally and the man is looked at as more competent than she is, is just unacceptable, it’s just sexism.
How do you see this festival combating that?
Well the festival is like an intervention in a variety of different levels. We have a lab that was started this year in partnership with the Blacklist for screenwriters that are working on a screenplay that has a female protagonist in it and they just completed two days of workshops. And we also have the Athena List, which is two days of scripts that get to be filmed with female protagonists. And everything you see on screen, the whole weekend—it is basically the antithesis to Hollywood, it’s all about women.
Paul Feig is the first recipient of the Athena Leading Man award, so how was it like choosing him?
Well when you look at Paul Feig’s body of work, he highlights and celebrates women. And he has been doing it before it was sexy and cool. And so what he exemplifies is exactly what we want in the world. He recognizes women on screen are funny, are sexy, are awesome.
As a well accomplished producer, how does it feel like attending the festival and offering insight to aspiring female producers and filmmakers?
Well you know it’s thrilling. It’s a great time to be in documentary filmmaking. I also do some feature filmmaking but the non-fiction is the place that I really love the most. And there’s some extraordinary women directors and producers and talent in that field and sort of just to watch that community keep growing and how we really support one another and support each other’s stories; it’s just a great story.
And how do you feel the Athena Film Festival is helping women filmmakers achieve their dreams?
Well I think it’s really cool that a school like Barnard College that was founded with such a deep tradition of supporting women hosts a festival like this and give women a platform that they can be taken seriously and engage with students and next generation leaders but also be in the culture capital of the world and the media capital of the world in New York City so it’s great a combination. I just think that stories really matter and telling them is the way we crack the world open and reinvent it and just to have people to support these films as audience members and philanthropy. Just supporting it by connecting to the stories and having conversations about it.
How is it like to be honored by the festival?
They’re killing me softly baby. No I’m really happy to be here and honored to be part of a festival that promotes leadership in women because that’s what we are. And what I do is speak softly and carry a big stick, so I’m very happy to be part of a festival that honors that.
And what are your thoughts on the festival promoting women leaders and filmmakers?
There is nothing greater inspired than someone before you who has sweated the struggle and seen the life of the other side and that’s what festivals like this do. They bring us people who have done this and we celebrate their work and we can hopefully see ourselves in them to do that kind of thing—or more. So that’s why
Your career spans combining South East Asian culture with American filmmaking, so have you found any overlap with the cultures?
Well I have always made my own films whether they are independently made or studio, but they are always with my voice. And my voice is distinctly Indian/African: a world view that is not primarily within America but outside America as well. So it’s a unique to be, to be at home here and to be able to tell American stories but also what really inspires me are stories of people like us who are rarely on screen but have universal stories to tell. So Monsoon Wedding is a story about the madness around my own dining table at home in New Delhi but it became a massive worldwide hit because everybody saw their own selves and their families in it. So that kind of idea of making work that is specifically local and truthful but because of its specificity and its treatment, becomes universal, is what I love to do.
You also have a bridge program for Ugandan students, Maisha, to learn about filmmaking.
Yes, Maisha: it’s a film school now for 11 years that works in the four countries of Rwanda, Kenya, Tanzania and Uganda and we have now trained more than 650 filmmakers. And that is the point because the slogan of Maisha is one of my great philosophies which is “If we don’t tell our own stories, no one else will.” So this is a way for Africans to tell their stories and in the process of it, I have made my own stories there, the Queen of Katwe, which is a new film.
Oh! Tell us more.
It’s a Disney film, there will be a clip of it tonight, and it’s with Lupita Nyong’o and David Oyelowo and it’s releasing all over the world in September.
Ever since finding her passion through painting, Adrienne Landau has come to design some of the most memorable fur fashion items in the fashion industry. Whether it’s playing with fox or rabbit fur for coats and hats, to getting creative with textures and designs, all of her work has a distinctive feel that is found nowhere else.
On February 17 at the Adrienne Landau pop-up showroom on Fashion Avenue, 30 models appeared on the catwalk to showcase some of the new designs from her Fall 2016 collection. Aside from the regular coats and skirts, new items for Landau included hats, backpacks, and bombers, in an attempt to appeal to the youth-street-wear culture found in city streets.
The fabrics, besides fur, included a mix of mesh, nylon, velvet, leather, tulle, canvas, cashmere, and more. There was a wide variety of furs in use, like lamb, raccoon, goat, and mink, with a majority being either rabbit or fox. For the most part, the styles featured “texture blocking” where the smooth and soft fur of a vest contrasted nicely with a mesh shirt, or perforated pants contrasted well with a velvet top and rabbit coat.
As for the accessories, they were either hit or miss. The backpacks were well made, with the signature fur adding style to a redundant object. However, Landau’s use of fur on a gym duffel bag was puzzling, considering that the bag was covered in fur and would be used carrying sneakers and equipment. The same can go with a baseball cap completely covered in in fur. It reminded us of a Russian ushanka hat. Aside from that, the line was very fashionable, and quite flattering. You can read our exclusive interviews with Landau and artistic director Saolo Villela below.
What was your inspiration for this year’s line?
I just looked at the street and what people were wearing. It’s kind of like the street cool shapes—even the backpacks, it’s like everybody wears backpacks and I just wanted to spruce it up. I wanted it to be almost couture but still fun and young and have that new attitude. And all the clothing, I’m so excited, because I’ve always wanted to do it, but it’s pieces that I love that are just items. Like a gray skirt or a gray see through top, I just like the whole texture thing going on with all the furs. I think it just gives off a new vibe to fur. I think it’s really adding pockets, adding zippers, a new lining. It’s sort of not all fur but it’s nylon, fur—we wanted to get all new shapes.
It’s been said that you’ve tried to match an androgynous style with the models.
Well a lot of these pieces are unisex. Like I think there are so many more guys wearing fur now. But it’s also, instead of it being “Oh I’m wearing a fur scarf, or a fur hat,” it’s “Hey, I can really wear this.” And it’s not too much fur, it’s not like all fur, but it’s got the nylon sleeves or maybe taking that whole sweatshirt but putting mink panels on the front. Like everybody does only fur lining or a big fur hood, so I wanted to kind of say “No, I want to do something totally new.”
And for backpacks, what was the inspiration from the street to use them?
It’s all street! It’s all street stuff, it’s like everybody you look at has a back pack and I wanted to use that. You know, this is a collection for somebody that I see in Beverly Hills or Aspen. Yes, but it’s for everybody; I feel like it’s new and it hasn’t been done yet. So I sort of combined that whole thing. You know, these casual fun coats but putting fur in an unusual place.
It’s a very casual yet professional line.
Yeah it could be dressy, like some girls are dressy and some casual. But I think that’s the way people dress today, but it’s unexpected. But I think it’s just being comfortable too. Young, cool, comfortable, hip, but still “Oh my God, where did you get that?” We’ve been getting a fabulous response so I’m excited but I’m excited about the ready to wear, the pants and a lot of little tops, the mesh. It can be dressy but it’s still a very casual fabric.
How was it like getting to be the artistic director for the show?
It’s amazing. It’s great brand, it’s all about fun and usually she’s very oriented, whether it’s just designing a vest or a scarf and everyone knows her for that. So this season, we wanted to make it relevant, young, so we threw in some bombers, some backpacks, we threw in some opulent sweatpants. It’s very opulent, very young, but it still looks very lux, which has always been her thing and “instinct-lamb” has always been her motto so it was awesome, it was a lot of fun.
And how did you choose which models wore which styles?
I guess it was more of a natural process. You know, we looked at the girls, we looked at the guys, we fitted them. You know, this collection is a lot about diversity as well, so we were really trying to play with skin tones and trying to complement that. And trying to pick unique girls with unique looks. It was a process but it was based on diversity and the models’ unique look.
Is there anything we should watch out for in the collection?
I would say keep an eye out on the backpacks, the bombers, and the hats. We have really cool trapper hats with masks, like ski masks, and then we have really cool baseball hats and the bucket hats, they’re all made of fur.
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