Advertise Creators – JJ 990 http://jj990.info/ Thu, 22 Sep 2022 23:07:41 +0000 en-US hourly 1 https://wordpress.org/?v=5.9.3 https://jj990.info/wp-content/uploads/2021/05/default1-150x150.png Advertise Creators – JJ 990 http://jj990.info/ 32 32 Dunkey launches Bigmode, an independent video game publishing company https://jj990.info/dunkey-launches-bigmode-an-independent-video-game-publishing-company/ Thu, 22 Sep 2022 23:07:41 +0000 https://jj990.info/dunkey-launches-bigmode-an-independent-video-game-publishing-company/ Video game content creator Jason “Videogamedunkey” Gastrow has established himself as one of the most popular video satirists, critics and essayists in the field. This week, the YouTuber added a new role to his resume: video game editor. Gastrow, whose distinct comedic voice has earned him an audience of millions, will fund video games of […]]]>

Video game content creator Jason “Videogamedunkey” Gastrow has established himself as one of the most popular video satirists, critics and essayists in the field. This week, the YouTuber added a new role to his resume: video game editor.

Gastrow, whose distinct comedic voice has earned him an audience of millions, will fund video games of his choice through newly formed independent game publisher Bigmode, co-founded with his wife and fellow content creator Leah.” Leahbee” Gastrow.

Dunkey, as the creator is best known, broke the news Wednesday on his YouTube channel. In a video, Gastrow recounted his own career as a content creator dedicated to showcasing “truly inspired artwork” in video games, while excoriating titles he described as “takes soulless money”. Gastrow said he was inspired to start Bigmode out of a desire to help create good indie games in a market he called “a sea of ​​mediocrity”, where quality titles are buried by subpar releases. mean.

“I’m not looking for creative control over your games, but I want to be involved,” Gastrow said in his video as an introduction to potential clients. “Bigmode will be about developing the games and the developers. We’ve put a lot of effort into creating the most developer-friendly contracts possible. I think we’re going to bring insane value to the table.[.]”

In the ad, Gastrow said he would be a good editor due to his decade-long experience as a game reviewer. He also assured his audience that his content would remain unchanged in the future.

If video games are today’s rock music, Videogamedunkey could be its Lester Bangs

Gastrow is the latest in a wave of influencers who have immersed themselves in game development. Gaming collective One True King has invested a minority stake in Notorious Studios, which is working on a fantasy role-playing game. Esports organization 100 Thieves is developing its own shooter. Controversial streamer Guy “Dr Disrespect” Beahm co-founded studio Midnight Society to develop a game with blockchain capabilities. (Before streaming, Beahm worked as a community manager and level designer for Sledgehammer Games).

However, few influencers have started posting companies. Gastrow joins Game Grumps (a YouTube collective that released “Dream Daddy” and “Soviet Jump Game”) as one of the few creators involved in delivering titles.

As a prominent figure in the gaming industry – Gastrow has 7.2 million subscribers and 3.5 billion views on YouTube alone – Gastrow’s unveiling of Bigmode immediately drew a mix of responses. Most of the talk has been about Gastrow’s lack of experience in game development: he has never created or published a game before.

“It’s exciting to have more publishers reaching out to new audiences – friendly competition between publishers is great for developers, potentially signals better conditions for teams, and creates a hopeful future for a more inclusive creative economy – especially when gamers are involved in the co-creation process,” Evva Karr, founder and CEO of video game consultancy Glitch, wrote in an email to The Washington Post. past, Karr has worked on strategic partnerships at Activision Blizzard and as a publishing consultant at Riot Games.

Yet, wrote Karr, “It can be difficult to balance a hands-off approach while having enough creative control to deliver the best possible game to gamers. It’s difficult to ship, sell, market games, negotiating with platforms, navigating distribution channels, and defending and doing well the teams that make them until you’re in the thick of it.

Video game journalist Danny O’Dwyer, founder of video game documentary channel Noclip, expressed his concerns about Gastrow’s new venture while wishing him the best. O’Dwyer tweeted that reviewing games does not translate into development capability and that indie developers are unlikely to work with an untested publisher.

“I’ll just say that I don’t know many freelancers who want an involved editor with no experience or industry representative,” wrote O’Dwyer. “To me, his value is in selling exposure on his channel. Must be interesting to watch.”

Indie game designer Dave Hoffman, creator of musical puzzle title Mixolumia, echoed O’Dwyer in a more critical tone.

“Dunkey started a publishing house with the philosophy ‘I’ve played so many games that I know what makes them good and bad, so I’ll only publish the good ones’ about learning things at the hard.” tweeted Hoffman.

The video game review process is broken. It’s bad for readers, writers, and games.

Josh Sawyer, design director of Obsidian Entertainment studio Noted this lack of experience has not stopped many other publishers and developers. Jason Schreier, journalist and author of the books “Blood, Sweat, and Pixels” (about the difficulties of game development) and “Press Reset” (about the volatile corporate environment of the video game industry) joked that saying that Bigmode is not exceptional among game publishers.

“I can’t believe Dunkey started a video game publisher with no experience instead of taking the normal approach: get an MBA from Harvard, work at McKinsey for five years, then flunk between C suites for the rest of your life”, wrote Schreier on Twitter.

Both Jason and Leah Gastrow tweeted their thanks to supporters who had greeted Bigmode’s unveiling.

“The response to Bigmode has been amazing!” tweeted Dunkey. “Thank you very much everyone, we look forward to bringing you good things.”

Bigmode’s website is live and receiving applications from developers. Interested particles can specify publishing needs such as porting, marketing, localization, PR, and funding requirements. Notably, Bigmode rejects all projects that use non-fungible tokens (NFTs), cryptocurrency, or any other form of blockchain technology.

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The future of LinkedIn is a joke https://jj990.info/the-future-of-linkedin-is-a-joke/ Tue, 20 Sep 2022 22:51:57 +0000 https://jj990.info/the-future-of-linkedin-is-a-joke/ I recently saw one of the most absurd LinkedIn posts – and chances are you will too. Alex Cohen, product manager for Carbon Health, shared how he saved money for his startup while on a business trip. Instead of ordering room service, Cohen says, he bought raw chicken breast and cooked it using the coffee […]]]>

I recently saw one of the most absurd LinkedIn posts – and chances are you will too.

Alex Cohen, product manager for Carbon Health, shared how he saved money for his startup while on a business trip. Instead of ordering room service, Cohen says, he bought raw chicken breast and cooked it using the coffee maker in the hotel room. He posted this image saying, “It’s the little things that get you promoted.”

It was a joke, as Cohen later admitted. But not before her story went viral on LinkedIn, then Reddit and Twitter. The post eventually garnered thousands of responses and millions of impressions.

“The beautiful part of LinkedIn is that because it’s professional, everyone expects posts to be professional and they take it all at face value,” Cohen tells me. “You can really push satire, and while my coffee pot chicken was a joke, I’ve seen crazier stories on the platform come true – like the ‘crying CEO’.”

In a digital world where attention is the scarcest resource, the story of the chicken pot is the perfect example of how a skilled practitioner can use humor to gain attention on LinkedIn (and at beyond) – and illustrates why LinkedIn represents such a great opportunity for entrepreneurial content providers.

For starters, LinkedIn has 850 million users. The Microsoft-owned site doesn’t break down daily active users, but even a minority of that user base is comparable to traditional social networks like Snap (347 million) or Twitter (238 million).

Meanwhile, LinkedIn’s ad business has topped $5 billion a year, which is on par with Twitter ($5.1 billion) and more than Snap ($4.1 billion) or Pinterest ( $2.6 billion).

Despite the impressive numbers, LinkedIn is probably not a priority when you think about social content. Or if you do, it’s for the humble bluster, self-congratulatory missives, and ridiculous inspirational stories (which may or may not involve a chicken in a pot).

In fact, LinkedIn’s cringe-worthy reputation has spawned several major social media accounts dedicated to documenting the cringe: LinkedIn Flex (65,000 Twitter followers); r/LinkedInLunatics (153,000 Reddit users); and The State of LinkedIn (205,000 Twitter followers).

Why is such commendable content thriving on the platform?

Well, let’s remember who pays LinkedIn’s bills. The company’s most valuable division is Talent Solutions, which sells recruiting tools and generates more than $6 billion in revenue annually.

Translation: Recruiters and human resources departments are the main customers.

As Fadeke Adegbuyi explains in an article by Every, “LinkedIn’s Alternate Universe”:

Each platform has its fee. On Instagram, it’s influencers, foodies and photographers. Twitter belongs to the founders, journalists, celebrities and comedians. On LinkedIn, it’s the hiring managers, recruiters, and business owners who hold the power on the platform and have the ears of the people. The depravity of a platform where HR managers are the rockstars speaks for itself.

In this context, humble boasting and over-the-top inspirational tales come into their own in the world. The proliferation of this content may also be due to LinkedIn’s homepage feed algorithm, which according to the company’s engineering blog was updated in 2018 to optimize the following metrics:

• Engagement with your network: LinkedIn has reweighted the value of a like or a share. If I post something and my mom (who is in my network) likes it, her simple like or reply is more valuable to me than the engagement of someone outside of my network, even if that other person is an influencer with a large audience. Therefore, a humble brag for a recent accomplishment will likely be rewarded as people I know “congratulate” me (thanks, Mom).

• Dwell time: the time spent on a publication is a stronger signal than a simple like. This metric inspires people to turn mundane work activities into a hero’s journey story with a random lesson at the end.

Add it all up and LinkedIn clearly has a supply-demand mismatch: a large and valuable user base (demand) combined with a lack of non-gritty content (supply).

One person who has capitalized on the mismatch is Chris Bakke, the founder and CEO of Laskie, a job-matching platform for the tech industry. Bakke posts business-themed jokes on LinkedIn daily, which has been good for Laskie’s bottom line (full disclosure: I laughed and liked many of Bakke’s satirical posts).

“Social content is a big driver of leads,” Bakke wrote to me in an email. “Several million dollars of new business has come to us from Twitter and LinkedIn over the past year.”

Over the past few weeks, Bakke has had a number of viral hits, including a post with 155,000 likes and another with 56,000 likes.

“There is a huge opportunity for content arbitrage on LinkedIn versus other platforms,” Bakke says. “After scrolling through your LinkedIn feed and seeing seven promotions from people you don’t quite know, 19 repeated arguments about in-person versus remote work, and 30 job postings that aren’t right for you, this is nice to laugh.

Daniel Murray – who has over 500,000 LinkedIn followers on his personal and professional pages (the Marketing Millennials) – thinks anyone in a sales or marketing role should use humor on LinkedIn, especially with the content push of the platform in recent years, including:

• Creator Mode: A new profile setting that changes your profile default from “connect” to “follow” and provides access to more tools and analytics.

• Different mediums: LinkedIn has rolled out publishing tools for long-form blogs and newsletter offerings.

• LinkedIn News: Renamed LinkedIn Editorial, the professional network employs around 200 journalists around the world to create and curate content (including LinkedIn users).

“People want entertainment, even on professional networking sites,” says Murray. “I love posting memes, which are the language of the internet. They’re great for generating high-level engagement that you can convert into other business goals.

So if you have a funny coffee maker story, you know where to post it.

More from Bloomberg Opinion:

• Paying for YouTube makes sense. But Facebook? : Parmy Olson

• Splatoon shows that Nintendo is more than just nostalgia: Gearoid Reidy and Tim Culpan

• Tech companies are rethinking the addictive power of apps: Parmy Olson

This column does not necessarily reflect the opinion of the Editorial Board or of Bloomberg LP and its owners.

Trung Phan is co-host of the Not Investment Advice podcast and writes the SatPost newsletter. He was previously the senior editor of Hustle, a tech newsletter.

More stories like this are available at bloomberg.com/opinion

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Can Trademark Law Stop Racist Role Play? https://jj990.info/can-trademark-law-stop-racist-role-play/ Sat, 17 Sep 2022 17:10:00 +0000 https://jj990.info/can-trademark-law-stop-racist-role-play/ An otherwise mundane motion for an injunction filed last week in federal court in Seattle opens with this startling sentence: “Defendants’ forthcoming Star Frontiers New Genesis game contains vile content, including blatantly racist and transphobic content. ” The problem is that the dispute is not about discrimination but about trademark infringement. Even among those of […]]]>

An otherwise mundane motion for an injunction filed last week in federal court in Seattle opens with this startling sentence: “Defendants’ forthcoming Star Frontiers New Genesis game contains vile content, including blatantly racist and transphobic content. ” The problem is that the dispute is not about discrimination but about trademark infringement.

Even among those of us who have taught intellectual property law, the case would be dry and technical – save for the allegations about the new game’s viciously intolerant content. To quote the injunction motion again:

“The game…contained alarming content: stating, for example, that “Racing in Star Frontiers New Genesis is no different from racing in the real world. Some are better than others at certain things, and some races are superior to others. … A “Negro” race is described as a “sub-race” in-game and as having “average” intelligence with a maximum intelligence rating of 9, while the “Nordic” race has a rating of minimum intelligence of 13.

The petition also alleges that New Genesis “describes ‘latent issues’ with certain races such as ‘black people with sickle cell disease’. [sic] and with family issues”” and that the game “includes a specific gender option for the characters ‘Male/Female with no bonus and no trans. “”

Okay, there’s a lot of offensive stuff here. But is it really a relevant trademark law?

The mover is Wizards of the Coast, best known as the distributor of the venerable Dungeons and Dragons role-playing game. Wizards got the rights to D&D (as it’s called) through the 1997 purchase of a company called TSR. Among the products offered by TSR was Star Frontiers, another tabletop role-playing game. The case concerns a newly created company, also called TSR, which plans to sell a game called Star Frontiers New Genesis. Test versions of the new game have been distributed to some potential players. The new TSR says it is free to use the affected marks because Wizards of the Coast has discontinued them.

Granted, D&D itself has been heavily criticized for supposed racial stereotyping, and some games have been blamed for worse. The video game industry has long struggled to overcome a well-deserved reputation for racism and sexism, both among gamers and the companies that make them. It’s not a niche problem: worldwide video game sales are expected to top $200 billion this year. Among popular entertainment, movies and sports might get more attention, but compared to the video game giant, they’re minnows.

And lately, video game makers have been scrambling to promote their commitment to diversity. Wizards says it has worked hard to develop a reputation for inclusiveness in an industry plagued by the opposite.

So if the racist content allegations are true – and if Wizards hasn’t discontinued the brands in question – then in addition to being confused about who is offering Star Frontiers New Genesis, the gaming community might end up blaming Wizards. for the racism of the new game. This risk can only strengthen the action for infringement.

We’ve been down this road before. In 2002, the United States Court of Appeals for the 7th Circuit prohibited the Worldwide Church of the Creator from using this name, when the mark was already owned by the Church of the Creator. Here is the court’s summary of the defendant’s views:

“The Worldwide Church of the Creator, on the other hand, does not worship God but rather portrays the ‘white race’ as the ‘Creator’ and calls for the elimination of Jews, blacks and what it calls ‘races’. of mud”. Its slogan is: “Dedicated to the survival, expansion and advancement of the white race”.

Admittedly, the defendant’s eliminationist theology played no formal role in the court’s analysis, but it is unclear what informal influence the unrepentant racism of the world church might have had. Moreover, just as in the Star Frontiers New Genesis case, there was certainly a risk that the practicing public, confused by the similar names of the two entities, might hold the defendant’s outrageous views against the plaintiff.

Given this and other precedents, Wizards of the Coast seems to have a strong case. But it is important to understand why. The question is not whether the creator of New Genesis should have the right to manufacture and distribute a racist game. The company would just have to choose another name.

People are free to hold and express viciously intolerant opinions. But they are also subject to the same law as everyone else, including the prohibition against profiting from the marks of others.

More from Bloomberg Opinion:

• Right-wing parties also sell out across Europe: Pankaj Mishra

• A Texas judge took “religious freedom” too far: Noah Feldman

• Your Guide to the Permanent Pandemic Economy: Allison Schrager

(Corrects the year Wizards of the Coast obtained the rights to Dungeons & Dragons in the seventh paragraph. Corrects the title to clarify that the game in question is an RPG.)

This column does not necessarily reflect the opinion of the Editorial Board or of Bloomberg LP and its owners.

Stephen L. Carter is a Bloomberg Opinion columnist. A law professor at Yale University, he is the author, most recently, of “Invisible: the story of the black lawyer who shot down America’s most powerful gangster”.

More stories like this are available at bloomberg.com/opinion

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Crypto skeptics push back against public industry lobbying https://jj990.info/crypto-skeptics-push-back-against-public-industry-lobbying/ Fri, 16 Sep 2022 14:42:13 +0000 https://jj990.info/crypto-skeptics-push-back-against-public-industry-lobbying/ Happy Friday! i’m just happy Rafael Nadal did not beat Roger Federer also retired. Send tips to: cristiano.lima@washpost.com. Below: The FTC said it would review the practices of gig companies and the Governor of California signed into law a bill to protect children online. First: Crypto skeptics push back against public industry lobbying Cryptocurrency skeptics […]]]>

Happy Friday! i’m just happy Rafael Nadal did not beat Roger Federer also retired. Send tips to: cristiano.lima@washpost.com.

Below: The FTC said it would review the practices of gig companies and the Governor of California signed into law a bill to protect children online. First:

Crypto skeptics push back against public industry lobbying

Cryptocurrency skeptics in Congress are pushing back against a new public campaign by digital exchange platform Coinbase to pressure political leaders with industry-friendly backgrounds, casting it as the latest push by backers to ward off regulation.

Coinbase CEO Wednesday Brian Armstrong announced that the company would begin showing users of its app “crypto sentiment scores” for members of Congress, rating lawmakers on how “negative” or “positive” they were toward cryptocurrency.

amstrong said the ratings were partly based on a dashboard created by the Coinbase-backed Crypto Action Network, an advocacy group that recently released ratings for policymakers based on the positivity or negativity of their statements, policies and votes on the matter.

Two of Congress’s most vocal cryptocurrency skeptics, Rep. Brad Sherman (D-California) and Sen. Elizabeth Warren (D-Mass.), have pushed back against the lobbying campaign.

“The only two Fs I’ve ever been proud to receive: one from [National Rifle Association] and now one from Coinbase,” Sherman, who has called for a cryptocurrency ban, told The Technology 202. “Just another example of the crypto industry getting into politics to stay as lightly regulated as possible and protect its billions in profits.

“Receiving an F rating from the crypto lobby group is a badge of honor,” said Warren, who called for tougher consumer protection regulations against cryptocurrency. Warren said that receiving a “positive” crypto score shouldn’t mean “wanting to protect a system in which people get their money cheated…or a system in which insiders reap all the profits and leave all the losses to people who don’t. don’t. I don’t have a lot of money to gamble.

The Crypto Action Network has awarded its highest A ratings to Sens. Kirsten Gillibrand (DN.Y.), Cynthia M. Lummis (R-Wyo.) and Ron Wyden (D-Ore.), among others. Gillibrand and Lummis presented a proposal empowering the industry’s preferred regulator, and Wyden pushed back on calls for heavy regulation. Warren and Sherman received the only F grades.

According to Coinbase, “The Crypto Sentiment Score was compiled using publicly available data, including legislative documents, media statements, social media posts, caucus members, and public letters.” The company has not commented on the lawmakers’ remarks.

Coinbase’s move notably marks a much more direct approach to trying to influence voters and lawmakers than most tech sectors have taken in recent years.

Big tech companies have increasingly shunned overtly public lobbying campaigns, relying instead on networks of trade associations and armies of lobbyists to bombard Washington.

They rarely endorse specific legislative proposals, and their political campaign donations tend to be split evenly between moderates of both parties and mainstream PACs. Some prominent companies, including Apple and Twitter, have shut down their PACs, while others have occasionally halted donations due to political developments, including the Jan. 6 attack on the U.S. Capitol.

While many advocacy groups rate lawmakers on their policy alignment, it’s extremely rare for a company to rate them publicly, including in the tech industry.

This move signals an aggressive lobbying posture by the crypto community. Armstrong said the company eventually plans to “help pro-crypto candidates solicit donations [in crypto] of the crypto community.

Although some of its lobbying tactics seem uncommon, the crypto industry has also increasingly invested in the same playbook as many of its Silicon Valley peers – launching trade associations to lobby for his favorite policies and hiring lobbyists to pitch on Capitol Hill.

Despite a slight increase in spending, crypto lobbying is still overshadowed by industry giants.

Like my colleague Curator Newmyer reported: “The industry spent $8.9 million on lobbying in the first half of this year, surpassing the $7.7 million spent throughout last year, according to new analysis from the Center for Responsive Politics”.

By comparison, Google, Apple, Amazon and Facebook parent company Meta have spent nearly $95 million on lobbying since 2021 as they face regulatory threats in Congress. (Amazon founder Jeff Bezos owns The Washington Post.)

White House announces tech companies’ efforts to counter violent extremism

Social media services including Facebook parent Meta, Microsoft, Twitch and YouTube have announced new initiatives to limit the spread of hateful rhetoric as the White House convenes a summit on hate-fueled violence, Cat Zakrzewski reports. This follows pressure on businesses following mass shootings in Buffalo and Uvalde, Texas, where shooters posted violent rhetoric online.

“YouTube will update its policies to remove videos that glorify acts to inspire others or raise funds, even when the creators have no ties to terrorist groups,” Cat wrote. “Twitch, an Amazon-owned streaming service, will soon be rolling out new tools to help its creators improve security and limit harassment on their channels. And Microsoft will launch online safety education for students and families in its popular game Minecraft.

FTC says it will review practices of gig companies

In a policy statement, the Federal Trade Commission said gig companies must be honest with potential workers about costs and benefits, must keep their promises to gig workers, and cannot have illegal contracts with gig workers. workers. The FTC also said it would investigate “evidence of agreements between gig companies to unlawfully set wages, benefits, or fees for gig workers who should be open to competition” and “business conduct.” exclusionary or predatory that could harm customers or reduce pay or poor working conditions for gig workers.

The statement passed 3-2 with the support of all three Democrats on the committee.

“No matter how gig businesses choose to classify them, gig workers are consumers entitled to protection under the laws we enforce,” said the director of the FTC’s Consumer Protection Bureau. Samuel Levine said in a statement. “We are fully committed to coordinating our consumer protection and competition enforcement efforts within the FTC, as well as working with other government agencies to ensure gig workers are treated fairly.”

California governor signs law to protect children online

The California Age-Appropriate Design Code Act requires tech platforms to assess whether their new products could harm children before releasing them and offer default safeguards for their young users. Bill, as the Governor of California. Gavin Newsom (D) signed Thursday, passed overwhelmingly by the California State Senate and Assembly.

The law could increase pressure on Washington lawmakers to act on privacy and child-focused legislation.

It has been criticized by tech trade groups, who have lobbied against the bill and argued that it would stifle innovation and violate free speech protections while failing to adequately protect families. In a statement Thursday, Newsom’s office said the bill “strikes a balance that protects children and ensures that tech companies will have clear rules of conduct that will allow them to continue to innovate.”

TikTok has revealed TikTok Now, a new feature that lets users post daily photos or videos at spontaneous times, reports Bloomberg News’ Sabiq Shahidullah. It’s similar to the BeReal social media app. Journalist herb engraving:

Editor and journalist Aife Barry:

Writer Amanda Silberling:

Customs officers copied Americans’ phone data on a massive scale (Drew Harwell)

Uber victim of a computer flaw, alerts the authorities (Faiz Siddiqui and Joseph Menn)

Adobe shares deal to acquire Figma design platform for $20 billion (CNBC)

Instagram tracks TikTok and YouTube on creator satisfaction, Mosseri tells staff (The Information)

Rumble is set for a $2 billion SPAC (The Verge)

Meta Oversight Board opposes removal of positive Taliban newspaper article (Reuters)

His father’s murder made headlines. Now she is creating content about it. (Mag entry)

  • Bruce Miller joins BSA | The Software Alliance as Senior Director of Legislative Strategy. Miller previously worked as director of federal legislative affairs at Kyndryl.
  • A panel of the House Oversight and Reform Committee is holding a hearing on federal IT today at 9 a.m.
  • representing Michael R. Turner (Ohio), the House Intelligence Committee’s top Republican, speaks at a Heritage Foundation event on countering foreign misinformation and disinformation while protecting civil liberties at 1 p.m. Monday.
  • Dragos TudoracheMember of the European Parliament and co-rapporteur for EU AI law, speaks at a Center for Strategic and International Studies event on Monday at 3:30 p.m.
  • A panel of the Senate Judiciary Committee is holding a hearing on antitrust enforcement Tuesday at 3 p.m.

ThisThat’s all for today — thank you so much for joining us! Be sure to tell others to subscribe to The Technology 202 here. Get in touch with advice, comments or greetings on Twitter Where E-mail.

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Broadway theater renamed in honor of James Earl Jones https://jj990.info/broadway-theater-renamed-in-honor-of-james-earl-jones/ Mon, 12 Sep 2022 23:12:59 +0000 https://jj990.info/broadway-theater-renamed-in-honor-of-james-earl-jones/ NEW YORK — The recently restored Cort Theater on Broadway has been renamed in honor of James Earl Jones, becoming the second theater on the Great White Way named after a black performer. During Monday’s ceremony, Norm Lewis sang “Go the Distance,” Brian Stokes Mitchell sang “Make Them Hear You,” and lyrics from Mayor Eric […]]]>

NEW YORK — The recently restored Cort Theater on Broadway has been renamed in honor of James Earl Jones, becoming the second theater on the Great White Way named after a black performer.

During Monday’s ceremony, Norm Lewis sang “Go the Distance,” Brian Stokes Mitchell sang “Make Them Hear You,” and lyrics from Mayor Eric Adams, Samuel L. Jackson and LaTanya Richardson Jackson. Jones, 91, was not present.

This honor is in addition to the many the iconic actor Jones has amassed, including two Emmy Awards, a Golden Globe, two Tony Awards, a Grammy, the National Medal of Arts and the Kennedy Center Honors. He also received an honorary Oscar and a special Tony for lifetime achievement.

” That says everything. You can’t think of an artist who has served America more,” director Kenny Leon told The Associated Press ahead of the ceremony. “It feels like a small act, but it’s a huge action. It is something that we can research and see that is tangible.

The name change comes after a broad Broadway coalition of theater owners, producers, union leaders, creators and casting directors crafted a series of 2021 reforms and commitments for the theater industry. to ensure equity, diversity, inclusion and accessibility.

One of the requirements of the so-called New Deal for Broadway was that the Shubert, Nederlander and Jujamcyn theater chains have at least one of their theaters named after a black performer. Artists like LaChanze, Audra McDonald, Wendell Pierce, Billy Porter and Leon have backed the proposals.

“I couldn’t think of anyone more worthy of this honor,” Leon said. “When I think of it, I think of young kids. I think of black kids, white kids, and Asian kids, all kinds of kids, standing in front of that theater and looking up and saying, ‘This is it: the James Earl Jones Theatre”. It represents the good in all of us.

Leon was joined at the ceremony by Suzan-Lori Parks, NaTasha Yvette Williams, Danielle Brooks, Corey Hawkins, Phylicia Rashad and Woody King, Jr.

Jujamcyn already has the August Wilson Theater and the Nederlander Organization will soon rename the Brooks Atkinson Theater after Lena Horne, marking the first time a black woman will have a Broadway theater named in her honor.

The three-level Cort Theater – at 138 W. 48th St. – opened in 1912 and was built by and named for John Cort, executive director of the Northwestern Theatrical Association. Thomas Lamb was the architect.

It underwent a $47 million restoration and expansion that includes the construction of a 35-foot-wide, 100-foot-deep adjacent space to the theater that allows bars and lounges for all levels, new men’s and women’s bathrooms, and elevators, all in compliance with the Americans with Disabilities Act. A new mural that uses digital tiles connects the floors.

The James Earl Jones Theater has a wider stage and trapdoor room below – making musicals now an option – and a new upstairs rehearsal space that matches the footprint of the stage. There is also an improved wardrobe room and offices for theater staff and spacious dressing rooms.

Inside the theatre, firm Francesca Russo Architect brought back Marie Antoinette’s color palette in the seating, ornamental plasterwork, drapery, lighting and carpeting. The original cove lighting has been replaced with long life lamps and the original Tiffany glass lit proscenium has been restored.

New, wider seats actually mean the interior has lost four seats out of just over 1,000 seats, but it promises to deliver a more comfortable experience. A new rigging system was added, along with a redesigned orchestra pit and ventilation systems.

Marc Kennedy is at http://twitter.com/KennedyTwits

For more AP Entertainment news, visit https://apnews.com/hub/entertainment

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TikTok saw Dylan Mulvaney become a woman one day at a time https://jj990.info/tiktok-saw-dylan-mulvaney-become-a-woman-one-day-at-a-time/ Sat, 10 Sep 2022 15:38:37 +0000 https://jj990.info/tiktok-saw-dylan-mulvaney-become-a-woman-one-day-at-a-time/ This story was originally published in The creators — a newsletter on the people who fuel the economy of creators. Receive it in your inbox. During the pandemic, Dylan Mulvaney started making content on ICT Tac— videos with animals or of her singing — and her posts have regularly racked up a few hundred thousand […]]]>

This story was originally published in The creators — a newsletter on the people who fuel the economy of creators. Receive it in your inbox.

During the pandemic, Dylan Mulvaney started making content on ICT Tac— videos with animals or of her singing — and her posts have regularly racked up a few hundred thousand views. But it was as a transgender woman that she came out to her TikTok audience in March, which catapulted her followers into the millions.

Mulvaney is a 25-year-old professional actress and comedian from San Diego who lives in West Hollywood, California. After his initials announcement in March, she began a series she dubbed “Days of Girlhood” that cataloged each day during the early stages of her transition. She talked about why she decided against the change of its name and its live with hormone replacement therapy. She mostly shared highs, including day 54 when she was crown the “diamond of the season” at The Queen’s Ball: A Bridgerton Experiencea Regency-era themed show that immerses viewers in the world of Netflix Bridgerton.

She also shared lows, such as Day 71 when an Uber driver made him feel uncomfortable as she climbed into her backseat. Daily updates filled with optimism, sensitivity and humor have drawn Mulvaney to 7.3 million viewers and endorsement deals with companies including CeraVe, MAC, Neutrogena and Kate Spade.

Today is Mulvaney’s 183rd day as a girl. Since her 100th day, Mulvaney has slowed down the release of her “Days of Girlhood” series and continues to create other content regularly. Mulvaney’s virality – with some videos at over 20 million views – is helping to advance trans visibility and acceptance in a world filled with hate and violence against the LGBTQ community. still exists. Rachyl Jones of The Observer spoke to Mulvaney about her transition and TikTok fame.

How did you start online?

When the pandemic hit, I was doing the Broadway musical Book of Mormon. I found myself without a job and without the creative means to do what I loved. I downloaded TikTok, assuming it was a kids app. Once I came out as a woman, I made this comedic “day one of being a girl” video. And it exploded. I really don’t know of any other place online like TikTok that can grow a creator at the rate they do. Some of these other apps really celebrate perfection, over-editing, and perfection. I think with TikTok in particular, people like brutality. They like people who just talk to the camera. I try to approach every video like a FaceTime with a friend.

Why did you decide to have such a public transition?

Because I had never seen a trans person start on day one. I saw all these amazing trans women and I was very intimidated because I wanted to be like them but I didn’t know how. I decided to [make the series] for every future trans person and current trans people who need answers. And I also try to approach everything with empathy and comedy. I think that really set me apart from some of the other trans creators on the app, because I try to show the trans joy and not only the difficulties of the transition.

Your videos went viral pretty quickly and they reached audiences outside of the LGBTQ community. Why do you think there was such interest in these “Days of Girlhood” videos?

Because even non-trans people felt like they were part of the conversation. They felt welcome on the journey. My content is for everyone. It’s not just for women or trans or queer people. I want to be the person to bring these stories to the mainstream, because there’s still a lot to do with mainstream trans visibility. I knew I had to share my story. I was emotionally well placed and I had the necessary skills with my experience as an interpreter.

How did you start monetizing your content?

I hopped online just before Pride month, so a lot of the initial offerings were tailored to my queerness and transness. For some of these big companies, I was actually their first trans creator. It’s exciting to earn money to support myself since I lost my job and have my bridging surgeries covered as well.

Can you tell me more?

I knew there was an option for me to try and raise these funds publicly through a GoFundMe campaign, but I wanted to reserve that space for other trans people on the platform who don’t have the [advertising] opportunities I have. I made a video saying, “Hey everyone, I’m going to be doing commercials this month. Just know that it happens. And if you could, you know, support that. This is how I wanted people to support me rather than giving me money directly. I was able to raise a lot of money. It helped pay for my insurance, which covers my hormones. And it was just a real gift. Because right before I started creating content with “Days of Girlhood,” I was like, “What am I going to do to pay my rent this month? »

How much does the transition cost?

It will always be expensive to try to align with binary. Even though I consider myself a trans woman, I just want to call myself a woman. I want to be seen as a woman. I can’t really speak to the transition to menswear, but when it comes to womenswear, women’s clothing is more expensive than men’s. Now I have hair products and makeup. And those are all non-gender defining things, but they’ve really helped me in my euphoria. When it comes to these procedures, they can be very expensive, especially if you don’t want to wait years to get through insurance hoops, you often pay out of pocket.

How would your transition have been different if you didn’t have your social media presence and ad money?

Well, that would have taken a lot longer. And it would have been more taxing financially and emotionally. I think of all the trans people who have to wait years to save these payments. In fact, one of my dreams in life – you know how there are hen parties and baby showers? I want to do trans showers for new trans people when they come out. You give them clothes they’ve always wanted and starter kits, or maybe a down payment for an operation.

What’s next for you?

Oh my God, we have a lot of work going on. I’m thinking of presenting a talk show and writing books. I will definitely continue to create content, maybe not quite on a daily basis. It only looks like the beginning. I feel like I’m creating a lifelong relationship with my followers.

This interview was originally published in The Creators, a newsletter about the people who power the creator economy. Get it in your inbox before it goes live.

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Sterling Lord, particularly enduring literary agent, dies at 102 https://jj990.info/sterling-lord-particularly-enduring-literary-agent-dies-at-102/ Sun, 04 Sep 2022 22:37:14 +0000 https://jj990.info/sterling-lord-particularly-enduring-literary-agent-dies-at-102/ Comment this story Comment NEW YORK — Sterling Lord, the unique and hardworking literary agent who worked for years to find a publisher for Jack Kerouac’s “On the Road” and, over the next decades, arranged deals for everyone from real writer Joe McGinniss to the creators of the Berenstain Bears, is dead. He had just […]]]>

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NEW YORK — Sterling Lord, the unique and hardworking literary agent who worked for years to find a publisher for Jack Kerouac’s “On the Road” and, over the next decades, arranged deals for everyone from real writer Joe McGinniss to the creators of the Berenstain Bears, is dead. He had just turned 102.

Lord died Saturday at a retirement home in Ocala, Fla., according to his daughter, Rebecca Lord.

“He had a good death and died peacefully of old age,” she told The Associated Press.

Sterling Lord, who started his own agency in 1952 and later merged with rival Literistic to form Sterling Lord Literistic Inc., was a failed magazine publisher who became, almost surely, the oldest agent in the book business. . He stayed with the company he founded until he was almost 100 years old, then decided to start a new one.

He was well-spoken and athletic, a shrewd negotiator who dressed in tweed and shunned most vices. But he was attentive to new trends and one of the first ambassadors of a revolutionary cultural movement: the Beats. With rare persistence, he endured publishers’ initial reluctance to take on Kerouac’s unorthodox narrative and later served as the longtime agent of poet and playwright Amiri Baraka, novelist Ken Kesey, and poet and bookstore owner City LightsLawrence Ferlinghetti.

His comprehensive list of clients has produced works on sports, politics, murder, and the works of illustrated animals.

Through his friendship with Theodore Geisel, better known as Dr. Seuss, Lord helped launch Stan and Jan Berenstain’s multimillion-selling books about a family of anthropomorphic bears. He brokered terms between McGinniss and accused killer Jeffrey MacDonald, later convicted, for the true crime classic “Fatal Vision.” He found a publisher for Nicholas Pileggi’s mob story “Wiseguy” and helped seal the deal for his famous film adaptation, “Goodfellas.”

In the early 1960s, Viking had asked Lord to obtain a blurb from Kerouac for One Flew Over the Cuckoo’s Nest, Kesey’s first and most famous novel. Kerouac declined, but Lord was so impressed with the book that he ended up representing Kesey for his next work, “Sometimes a Great Notion”.

He represented former US Secretary of Defense Robert McNamara and Justice John Sirica of Watergate fame and often worked with Jacqueline Kennedy Onassis when she was editor of Doubleday and Viking. Some of the great sports books of the 20th century, from “North Dallas Forty” to “Secretariat”, were written by his clients.

“A number of things about this business really drew me in and made it an irresistible interest,” Lord told the AP in 2013. “First of all, I’m interested in good writing. , I am interested in new and good ideas. And thirdly, I was able to meet extraordinarily interesting people.

Lord would also speak proudly of a project he turned down: the memoirs of Lyndon Johnson. The former president’s representatives informed Lord in the late 1960s that Johnson wanted $1 million for the book and that Lord should accept less than his usual commission for the honor of working with him. Lord turned them down, much to their surprise and anger.

Johnson’s “The Vantage Point”, finally released in 1971, was dismissed by critics as bland and uninformative. Lord instead struck a chord for “Quotes from President LBJ,” a hit parody.

Lord was married four times and had one child, Rebecca.

Books and tennis were lifelong passions for Lord, born in Burlington, Iowa, in 1920. It began when his mother read to him after dinner; he later edited his high school newspaper and worked as a sports reporter around the same time for the Des Moines Register. He also became a tennis star at Grinnell College, and later a player good enough to rival Don Budge, among others.

His upbringing, he would later write, was the kind of “nice and orderly” world “that the Beats trampled in the fifties and sixties.”

After serving in the Air Force during World War II, Lord was co-owner of the German magazine Weekend, which soon closed. Back in the United States, he was editor at True and Cosmopolitan, from which he was fired, before founding the Sterling Lord Literary Agency. Lord had met many agents during his magazine years and thought they failed to understand that the American public was becoming more urban and sophisticated. He was also proud of his sympathy for writers who lived far more savagely than he did.

His first marriage, he would admit, inspired him to go into business.

“Honestly, I didn’t want to deal with the situation at home,” he told the Des Moines Register in 2015.

Lord found early success selling the movie rights to two popular sports books, Rocky Graziano’s “Somebody Up There Likes Me” and Jimmy Piersall’s “Fear Strikes Out”. But Lord’s “On the Road” quest would prove more bumpy.

In his 2013 memoir ‘Lord of Publishing’, Lord recalls his first encounter with Kerouac in 1952. Kerouac had already completed a conventional novel, ‘The Town and the City’, but had no agent and had one. surely needed for his next book: “On the Road” was typed, as Lord was among the first to know, “on a 120-foot roll of architectural tracing paper.”

Lord believed Kerouac had “a fresh, distinctive voice that should be heard.” But the industry was in no mood. Even younger editors who might have connected with Kerouac’s jazzy celebration of youth and personal freedom dismissed it. An editor wrote to Lord that “Kerouac has enormous talent of a very special kind. But it’s not a well-done novel, neither salable nor even, I think, a good one.

In 1955 Kerouac was ready to give up – but Lord was not. The agent eventually sold excerpts to The Paris Review and the New World Writing periodical. A Viking Press editor contacted Lord, offering a $900 advance. Lord held for $1,000. In 1957 the book came out, the New York Times praised it, and “On the Road” quickly entered the American canon.

But Kerouac was a timid and fragile man, writes Lord. Fame amplified a drinking problem that killed him in 1969. Lord even recruited a doctor who tried unsuccessfully to have Kerouac cleansed, but the businessman eventually backed down as he was his “literary agent , not its agent of life”.

Lord attended Kerouac’s funeral, sharing a limo ride with his client Jimmy Breslin and standing by the graveside alongside Allen Ginsberg, “sunlight filtering through the trees, leaves brown after losing their Autumn colors”.

Lord oversaw Kerouac’s many posthumous exits even as he fought the author’s family for control of the estate. After years of failed attempts, a film version of “On the Road” was released in 2012. But Lord had little involvement in the project, which was directed by Walter Salles and starred Sam Riley and Kristen Stewart. He didn’t bother to attend a special screening, citing mixed early reviews, and didn’t show up to a private party for the film.

“I decided to go home,” he told the AP in 2013.

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PlayMining to Begin Development of New Web3 User-Producer IP Co-Creation Project “SOUL Fusers” https://jj990.info/playmining-to-begin-development-of-new-web3-user-producer-ip-co-creation-project-soul-fusers/ Fri, 02 Sep 2022 13:10:38 +0000 https://jj990.info/playmining-to-begin-development-of-new-web3-user-producer-ip-co-creation-project-soul-fusers/ Breadcrumb Links GlobeNewswire Author of the article: Featured image for Digital Entertainment Asset Pte. ltd GNW Content of the article Create a new world where monsters called “SOULs” reside with decentralized user communities Advertisement 2 This ad has not loaded yet, but your article continues below. Content of the article SINGAPORE, Sept. 02, 2022 (GLOBE […]]]>

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Create a new world where monsters called “SOULs” reside with decentralized user communities

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SINGAPORE, Sept. 02, 2022 (GLOBE NEWSWIRE) — Singapore-based global GameFi company Digital Entertainment Asset Pte. (DEA), known for its leading GameFi platform, PlayMining, is pleased to announce the development of “SOUL Fusers”, a Web3 user-producer IP co-creation project with the aim of creating new IPs in collaboration with user communities.

Content of the article

What is the Web3 User-Producer IP Co-Creation Project?
The Web3 IP Co-Creation project is a project whose objective is to “create new IPs with user communities”. “SOUL Fusers” has already started inviting users to create the original monsters or give their names in the Discord community, and various other projects are expected to be implemented.

DEA also plans to grant DEAPcoin in the form of royalties to users who contribute to the creation of IPs and the development of games in various ways, such as the creation of original monsters. DEA will continue to explore ways to create using tokenomics with users.

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The first step in IP development! Expected launch in 2023 as a new game title for “PlayMining”
SOUL Fusers is a new type of Web3 game in which players acquire monsters called SOULs that live in a different world and fight against other SOULs. A SOUL has an underlying core and when SOULs engage in combat, their cores connect and influence each other. Users can participate in the game with SOULs of different kinds and even earn DEAPcoin based on the results.

DEA worked with hand, Inc., a development partner with a proven track record of delivering numerous game titles, and PreciousAnalytics, Inc., with extensive experience in numerical analytics and economic design for game titles, to launch a new game title for “PlayMining” in 2023 as the first stage of IP development.

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Characters created by user submissions
Through this project, DEA will explore the paths of IP creation in the era of Web3 and with the aim of building a society where everyone can become a creator, and to provide “fun” and “surprise” to users. from around the world through various content.

“SOUL Fusers” Producer and Director of Development, DEA Chief Game Officer: Satoshi Araragi
“’SOUL Fusers’ is a project to explore how to create a new IP address in the age of Web3. Everyone has experienced writing their own character and story ideas on a notepad as a child. It’s a world where these ideas take shape and are not just fantasies in our minds, but can be shared with many people and incorporated into a single intellectual property.

“This new attempt can only be launched now that blockchain technology has developed, such as the issuance of NFTs and the fair payment of royalties in virtual currency. And we are proud to say that this can be achieved with our company, which develops and manages blockchain entertainment content on the front lines as an established business.

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The title “SOUL Monsters” has two meanings. One aspect is the worldview where monsters called SOULs will connect or “merge” with other SOULs and humans. And the other meaning is that everyone’s SOUL, who participates in this project, will interact together, so every participant is a “Fuser”.

DEA has collaborated with many creators but the next goal is to realize a world where everyone can exercise their own imagination and become a creator themselves. One of the features of the Web3 community is that anyone can join anytime, anytime!

DEA hopes everyone has fun with this new challenge!

>For the latest information on “SOUL Fusers”, please visit the following:
Twitter
Discord

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>For companies inquiring about intellectual property, licensing and other collaboration opportunities: Google Form

About Hand, Inc.
With the mission of “contributing to the realization of a society with rich sensibilities through digital content”, we have continued to create many titles in pursuit of rich sensibilities; joy, pleasure and fun. We have been involved in the development of many well-known IPs and major titles in home video games, children’s arcades, social games, etc., and have extensive experience in development and operation.

Company: Main, Inc.
Representative: Teruaki Matoba, President and Deputy Director
Headquarters: Imon Sapporo Building, 3-2 Kita 1-jo Nishi 3-chome, Chuo-ku, Sapporo
Office (Tokyo Branch): Harumi Island Triton Square Office Tower X, 1-8-10 Harumi, Chuo-ku, Tokyo
Office (Studio Nagoya): Sumitomo Seimei Nagoya Building, 2/14/19 Meieki Minami, Nakamura-ku, Nagoya
Created: February 26, 1993
Business Description: Game development company
Official website: http://www.hand.co.jp

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About Precious Analytics Inc.
Precious Analytic is a group of entertainment architects whose mission is to create “excitement” with numbers based on the philosophy of “digital game creation”. In order to maximize the power of numbers, Precious Analytic develops and provides services using technologies such as data analytics, AI, simulation and blockchain, and more recently the company has focused on the development and the operation of services with a focus on the design of economic zones for F2P and NFT games.

Company: Precious Analytics Inc.
Representative: Hiroki Yonemoto, CEO
Headquarters: 3-8-5-402 Kamimeguro, Meguro-ku, Tokyo
Creation date: November 6, 2015
Business description: F2P application game company, NFT game company, NFT game company
Official website: https://pre-ana.com

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Digital Entertainment Asset Pte. ltd. | https://dea.sg/jp
DEA, a global GameFi platform and meta verse company, was founded in Singapore in August 2018 and is developing “JobTribes”, a Play to Earn game, “PlayMining NFT”, an NFT market and “PlayMining Verse”, a meta verse project. . As a leading Web3 entertainment company in the world of “GameFi2.0”, focusing on the entertainment experience, we aim to create a world where “fun turns into value” by using blockchain technology.

Co-CEOs: Naohito Yoshida, Kozo Yamada
Location: 7 Straits View, Marina One East Tower, #05-01, Singapore 018936
Created: August 2018
Business description: GameFi platform business

Contact information
Digital Entertainment Asset Pte Ltd
Public Relations: Takasugi|tomoyuki_takasugi@dea.sg
Digital Entertainment Asset Pte. Public Relations Office Ltd. (within Sunny Side Up Inc.)
Attention: Yano, Suda
Email: dea_pr@ssu.co.jp

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NuraLogix researchers announce AI models that can predict blood biomarker risk https://jj990.info/nuralogix-researchers-announce-ai-models-that-can-predict-blood-biomarker-risk/ Wed, 31 Aug 2022 01:00:00 +0000 https://jj990.info/nuralogix-researchers-announce-ai-models-that-can-predict-blood-biomarker-risk/ TORONTO, August 30, 2022 /PRNewswire/ – Researchers from NuraLogix, a global leader in AI HealthTech, today announced that they have developed AI models capable of predicting a person’s risk of HbA1C and fasting glucose levels are above a clinically significant threshold for prediabetes. This is important because it will one day allow people to screen […]]]>

TORONTO, August 30, 2022 /PRNewswire/ – Researchers from NuraLogix, a global leader in AI HealthTech, today announced that they have developed AI models capable of predicting a person’s risk of HbA1C and fasting glucose levels are above a clinically significant threshold for prediabetes. This is important because it will one day allow people to screen themselves using any device with a camera, such as a smartphone or tablet.

The researchers trained their machine learning-based models on the facial blood flow patterns of tens of thousands of subjects who had recently received a blood test for HbA1C (glycated hemoglobin) and fasting blood sugar. The models were able to predict whether a subject’s HbA1C is above 5.7% or if their fasting blood sugar is above 5.5 mmol/L. In both cases, the models predicted with AUC > 0.80. Compare this with the classic Framingham model for predicting cardiovascular disease which had an AUC of around 0.70.

“What’s important about this research is that we’ve demonstrated that we can use the technology that most people already have access to – their smartphones – to get early indications of diabetes risk,” said Dr. . Keith Thompson, primary care physician for over 30 years and chief medical officer at NuraLogix. “For people with pre-diabetes, 90% are unaware that they have this disease and of these people, 70% will develop diabetes and all its associated complications. We can consider training our models to recognize different thresholds for HbA1c and fasting Blood glucose, and after regulatory approval, could become a powerful tool for population screening and possibly even monitoring of diabetic patients using HbA1c and fasting blood glucose .”

“Our models are groundbreaking because we can now predict the likelihood of a person being above a pre-diabetes risk threshold with significant accuracy,” said Dr. Naresh Vempala, research director at NuraLogix. “It’s exciting that our machine learning-based classifiers are non-contact and have learned the relationships between facial blood flow patterns and diabetes risk. This was unimaginable and non-existent in AI until now. Potentially , our AI models can enable people to monitor their own health on a daily basis, enabling early detection and prevention.”

About NuraLogix

NuraLogix is ​​the creator of the world’s first non-contact blood pressure measurement technology. The company’s patented technology can measure more than 30 health and wellness parameters using Transdermal Optical Imaging (TOI™), a proprietary technique developed by the company in which a conventional video camera is used to extract facial blood flow information from human face. This is demonstrated in the company’s revolutionary applications Anura™ and Anura Lite™.

Disclaimer:

Note: in United States, this product is intended for experimental use only. The performance characteristics of this product have not been established.

SOURCENuraLogix Corporation

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Bob LuPone, who helped run the MCC Theatre, has died at 76 https://jj990.info/bob-lupone-who-helped-run-the-mcc-theatre-has-died-at-76/ Sun, 28 Aug 2022 00:06:00 +0000 https://jj990.info/bob-lupone-who-helped-run-the-mcc-theatre-has-died-at-76/ Comment this story Comment NEW YORK — Bob LuPone, who as an actor earned a Tony Award nomination in the original series of “A Chorus Line” and played Tony Soprano’s family doctor, and also helped found and run the he influential off-Broadway theater company MCC Theater for nearly 40 years has passed away. He was […]]]>

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NEW YORK — Bob LuPone, who as an actor earned a Tony Award nomination in the original series of “A Chorus Line” and played Tony Soprano’s family doctor, and also helped found and run the he influential off-Broadway theater company MCC Theater for nearly 40 years has passed away. He was 76 years old.

LuPone, brother of Broadway icon Patti LuPone, died Saturday after a three-year battle with pancreatic cancer, according to Matt Ross Public Relations.

“The MCC Theater community mourns the loss of our much-loved and uniquely inspiring partner, colleague and friend, Bob LuPone, who lived fearlessly and with great curiosity, good humor, an unbounded passion for connection and much of heart. He will be deeply and always missed,” the theater company said in a statement.

LuPone’s first professional work was in 1966, on the set of Westbury Music Fair’s production of “The Pajama Game” with Liza Minnelli. He made his Broadway debut in Noel Coward’s 1968 production of “Sweet Potato” and later appeared in “Minnie’s Boys,” “The Rothschilds” and “The Magic Show.”

LuPone was initially cast as Al in “A Chorus Line,” but convinced creator and director Michael Bennett to let him play Zach after the original cast member left. LuPone would earn a Best Actor Tony nomination for the role.

“Sincere condolences to the Lupone family,” Betty Buckley tweeted.

Born in 1946 in Brooklyn, New York, LuPone graduated from the Juilliard School with a bachelor’s degree in dance in 1968.

He was teaching an acting class at New York University when one of his students was Bernie Telsey. Together they would help form the Manhattan Class Company in 1986, known today as the MCC Theater.

LuPone, Telsey and third co-artistic director Will Cantler transformed MCC into a theatrical powerhouse, producing Broadway-bound works such as “Frozen,” “Reasons to be Pretty,” “Hand to God,” “School Girls; or African Mean Girls Play,” “The Snow Geese,” “The Other Place,” and Pulitzer Prize-winning “Wit.”

While serving as MCC’s co-artistic director, LuPone also worked as an actor, appearing in “A View from the Bridge,” “True West,” and “A Thousand Clowns,” all on Broadway. He was in the Chicago premiere of Sam Shepard’s “The Tooth of Crime” and on television was in “Sex and the City”, Guiding Light, and “All My Children”, for which he received a Daytime Emmy nomination. .

He played Dr. Bruce Cusamano in “The Sopranos”, nicknamed “Cooze” by neighboring mobster Tony Soprano. In one memorable episode, Tony plays a joke by bringing Cooze a sealed box and asking him to keep it for a while, without telling his nervous neighbor that the package is full of sand.

He was also Director of the Master of Drama Program at The New School for Drama from 2005-2011 and served as Chairman of the Board of ART/New York.

LuPone is survived by his wife, Virginia; his son, Orlando; sister, Patti; and his brother William.

Marc Kennedy is at http://twitter.com/KennedyTwits

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