Podcasts about america mpaa

Picture this: Georgia, the Hollywood of the South, buzzing with film crews, booming soundstages, and the magic of moviemaking. As the Assistant Vice Chancellor for the University System of Georgia, Scott Votaw heads up the Georgia Film Academy – a powerhouse program that's turning out the next generation of filmmaking superstars. Think of it as Hogwarts for aspiring filmmakers, but instead of magic wands, they learn the secrets of cinematography, editing, and special effects. GFA doesn't just wave a magic wand and poof you're a director. They collaborate with top-notch colleges across the state, hooking students up with real-world experience and connecting them with industry giants. They offer courses that are more than just book learnin' – think hands-on workshops, industry internships, and even the chance to work on actual film sets! So, if you're dreaming of a career behind the camera, whether it's directing the next blockbuster or crafting the perfect soundtrack, Scott and his team at GFA are your ticket to Hollywood North. They're turning Georgia into a hub for cinematic excellence, one talented filmmaker at a time. Web: https://georgiafilmacademy.edu About GFA: Since the Georgia Film Academy began operations in 2015, economic activity generated by the film industry in Georgia continues to rise at exponential levels. The Georgia Department of Economic Development (GDEcD) announced that, during fiscal year 2021, the film and television industry set a new record with $4 billion in direct spending on productions in the state. The Georgia Film Academy's efforts in building a professional workforce able to meet increased production demand is widely regarded to be a primary driver in this sudden and dramatic rise in economic impact on the state. The GFA is widely recognized by the Motion Picture Association of America (MPAA), labor unions, and numerous competing states and countries as “the gold standard” in film and television production workforce training. The GFA offers industry certifications in Film & Television Production, Post-Production, Digital Entertainment, Esports & Game Development, and helps institutions to develop curriculum and training directly aligned to the high-demand careers that exist in the state. In partnership with IATSE 479 and major film and television production and digital entertainment companies like Disney, Netflix, HBO, Skillshot Media, Axis Replay, and others, professionally-qualified instructors, equipment, and training facilities prepare learners to be assets to the industry following completion of GFA's certification. Furthermore, with GFA's unique-in-the-nation internship/apprenticeship program, students have the opportunity to go straight to work in these industries, which offers a paid, once-in-a-lifetime experience. The Georgia Film Academy supports a collaboration of institutions of the University System of Georgia, Technical College System of Georgia, and Independent institutions that offer professional courses in film, television, digital entertainment, Esports, and game development. About the show: Ash Brown is a force to be reckoned with in the world of motivation and empowerment. This multi-talented American is a gifted producer, blogger, speaker, media personality, and event emcee. Her infectious energy and passion for helping others shine through in everything she does. Ash Said It, Ash Does It: * AshSaidit.com: This vibrant blog is your one-stop shop for a peek into Ash's world. Dive into exclusive event invites, insightful product reviews, and a whole lot more. It's a platform that keeps you informed and entertained. * The Ash Said It Show: Buckle up for a motivational ride with Ash's signature podcast. With over 2,000 episodesalready under her belt and a staggering half a million streams worldwide, this show is a testament to Ash's impact. Here, she chats with inspiring individuals and tackles topics that resonate deeply. What Makes Ash Special? Ash doesn't just preach motivation; she lives it. Her strength lies in her authenticity. She connects with her audience on a genuine level, offering real-talk advice and encouragement. She doesn't shy away from the challenges life throws our way, but instead, equips you with the tools to overcome them. Here's what sets Ash apart: * Unwavering Positivity: Ash Brown is a glass-half-full kind of person. Her infectious optimism is contagious, leaving you feeling empowered and ready to take on the world. * Real & Relatable: Ash doesn't sugarcoat things. She understands the struggles we face and offers relatable advice that resonates with listeners from all walks of life. * Actionable Strategies: This isn't just about empty inspirational quotes. Ash provides practical tips and strategies to help you translate motivation into action, turning your dreams into reality. So, if you're looking for a daily dose of inspiration, actionable advice, and a healthy dose of real talk, look no further than Ash Brown. With her infectious positivity and dedication to empowering others, she's sure to become your go-to source for making the most of life. ► Goli Gummy Discounts Link: https://go.goli.com/1loveash5 ► Luxury Women Handbag Discounts: https://www.theofficialathena.... ► Review Us: https://itunes.apple.com/us/po... ► Subscribe: http://www.youtube.com/c/AshSa... ► Instagram: https://www.instagram.com/1lov... ► Facebook: https://www.facebook.com/ashsa... ► Blog: http://www.ashsaidit.com/blog #atlanta #ashsaidit #theashsaiditshow #ashblogsit #ashsaidit®Become a supporter of this podcast: https://www.spreaker.com/podcast/the-ash-said-it-show--1213325/support.

La lettre "X" est devenue le symbole universellement associé au contenu pornographique pour des raisons historiques, culturelles et commerciales, qui remontent à l'époque où la classification des films est devenue une norme. Voici un aperçu des facteurs principaux qui ont contribué à cette association. 1. Origines dans la classification des films Aux États-Unis, la Motion Picture Association of America (MPAA) a introduit un système de classification pour les films en 1968 afin de réguler le contenu destiné au public. Ce système utilisait plusieurs lettres pour catégoriser les films en fonction de leur contenu. Dans ce cadre, la lettre "X" a été choisie pour désigner les films réservés aux adultes, et qui contenaient des scènes de nudité, de sexualité explicite ou de violence extrême. Contrairement aux autres classifications, la mention "X" n'a jamais été officiellement enregistrée ou protégée par la MPAA, ce qui signifiait qu'elle pouvait être utilisée par n'importe qui, sans autorisation. 2. Utilisation commerciale et marketing L'absence de réglementation sur le label "X" a incité l'industrie pornographique à en faire un usage intensif pour commercialiser ses productions. Les producteurs de films pour adultes ont commencé à utiliser cette classification pour signaler que leur contenu était destiné à un public adulte. Pour attirer davantage l'attention, certains d'entre eux ont même utilisé des classifications comme "XX" ou "XXX", insinuant que le contenu était encore plus explicite ou provocant. Cette progression a consolidé l'association de la lettre X avec la pornographie, au point où "XXX" est devenu synonyme de pornographie hardcore dans la culture populaire. 3. Symbole de transgression et de tabou En tant que lettre, le "X" a une connotation visuelle et symbolique de transgression. C'est une lettre utilisée pour indiquer le danger, l'inconnu, ou quelque chose d'interdit. En mathématiques, par exemple, le "X" représente une valeur inconnue, et dans le langage courant, un "X" peut marquer quelque chose qui est interdit ou censuré. Ainsi, son usage pour désigner le contenu pornographique fait allusion à quelque chose de tabou et d'interdit, ce qui renforce l'attrait pour un public en quête de contenus réservés aux adultes. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Regulations and Content Guidelines: a. Broadcast Regulations: FCC The Federal Communications Commission (FCC) oversees and regulates broadcast television and radio in the United States. Rules govern areas such as indecency and profanity, advertising practices, political advertising, and equal time provisions. Broadcasters must comply with content guidelines, including restrictions on obscene, indecent, or profane material during certain hours. b. Content Ratings: Content rating systems, such as TV Parental Guidelines and the Motion Picture Association of America (MPAA) rating system, provide guidance on the suitability of media content for different age groups. Ratings help inform viewers and parents about potentially objectionable content, enabling informed decisions. Censorship, Obscenity, and Free Speech Concerns: a. Obscenity and Indecency Standards: Legal definitions and standards for obscenity and indecency can vary across jurisdictions, impacting the permissible content in media and artistic works. Regulations aim to strike a balance between protecting public decency and upholding free speech rights. b. Artistic Expression and Free Speech: The entertainment industry often navigates the tensions between artistic expression and societal norms or government censorship. Legal protections for free speech and artistic freedom can vary across countries and cultures, influencing the creative process and content distribution. Compliance with Labor Laws and Union Rules: a. Labor Regulations: The entertainment industry must comply with applicable labor laws, including minimum wage requirements, overtime regulations, and workplace safety standards. Specific rules may apply to child actors, stunt performers, and other specialized roles. b. Union Agreements: Unions such as the Screen Actors Guild (SAG), Writers Guild of America (WGA), and Directors Guild of America (DGA) negotiate collective bargaining agreements that govern working conditions, compensation, and benefits for their members. Compliance with union rules is essential for maintaining harmonious labor relations and avoiding potential strikes or legal disputes. Cross-Border Regulations and International Distribution: a. Import/Export Controls: The distribution of media content and artistic works across borders may be subject to import/export controls, censorship, or content restrictions in different countries. Navigating these regulations is crucial for facilitating international distribution and avoiding potential legal or cultural conflicts. b. Intellectual Property Protection: International treaties and agreements, such as the Berne Convention and the TRIPS Agreement, establish frameworks for protecting intellectual property rights across borders. Ensuring compliance with these treaties is essential for safeguarding copyrights, trademarks, and other intellectual property assets in global markets. c. Cultural Considerations: Different cultural norms and sensitivities can influence the acceptability and reception of media content in various regions. Localization efforts, such as dubbing, subtitling, or content editing, may be necessary to adapt to specific cultural contexts and regulatory environments. --- Send in a voice message: https://podcasters.spotify.com/pod/show/law-school/message Support this podcast: https://podcasters.spotify.com/pod/show/law-school/support

AMERICA! F**K YEAH! That's right! Team America! The RSA gang wraps up their Trey Parker and Matt Stone feature films. They wrap it up with the most American of all films, not to mention the only film in cinematic history to be made with puppetry! A satire of action film archetypes, American militarism, and the global implications of the politics of the United States, the film follows the titular paramilitary police force, who recruit a Broadway actor to assist in saving the world from Kim Jong Il and his conspiracy of Islamic terrorists and liberal Hollywood actors. Team America: World Police intertwines puppetry and miniature effects in a manner similar to Supermarionation, known for its use in the television series Thunderbirds, although Stone and Parker were not fans of that show. The duo worked on the script with former South Park writer Brady for nearly two years. The film had a troubled production, with various technical problems regarding the puppets and the scheduling extremes of finishing in time for its theatrical release. It also came into routine conflict with the Motion Picture Association of America (MPAA), which returned the film multiple times with an NC-17 rating due to an explicit sex scene involving puppets. Team America: World Police premiered at the Denver Film Festival on October 14, 2004, and was theatrically released in the United States the following day. The film received generally positive reviews from critics and was a modest success at the box office, grossing over $51 million worldwide on a $32 million budget.

What a CreepSeason 23, Episode 1The Motion Pictures Association (MPA) Film Ratings SystemWe will discuss the Motion Picture Association (MPA) film ratings system, previously known as the Motion Picture Association of America (MPAA).Why? Because although it doesn't always seem like movie ratings matter, they do. Movie ratings decide how big of an audience a movie gets. Anyone can see a PG-13, while an NC-17 movie can't even run ads for their film; most theaters won't show it. We talk about the double standards when it comes to straight sex vs. queer sex, male nudity vs. female nudity, and sex and violence.Trigger warning: Foul language and sexual situationsSources for this episode:“Breaking the Code” by Nat SegaloffColliderFilm RatingsForbesGizmodoIndie WireMotion Pictures AssociationMotion Pictures AssociationRoger EbertSlash FilmVanity FairWikipedia (Motion Picture Association film rating system)WiredBe sure to follow us on social media. But don't follow us too closely … don't be a creep about it! Subscribe to us on Apple PodcastsTwitter: https://twitter.com/CreepPod @CreepPodFacebook: Join the private group!Instagram @WhatACreepPodcastVisit our Patreon page: https://www.patreon.com/whatacreepEmail: WhatACreepPodcast@gmail.comWe've got merch here! https://whatacreeppodcast.threadless.com/#Our website is www.whatacreeppodcast.comOur logo was created by Claudia Gomez-Rodriguez. Follow her on Instagram @ClaudInCloudThis show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5394615/advertisement

Book Vs. Movie: Who's Afraid of Virginia Wolf The Edward Albee 1962 Play Vs. the 1966 Mike Nichols FilmThe three-hour anger fest that is Who's Afraid of Virginia Wolf is one of the most celebrated and controversial of the 1960s. Edward Albee's 1961 play is about middle-aged couple George & Martha, who have been drinking and battling for years, and one unfortunate evening they have with new friends Nick & Honey. It caused a stir at the time for its “racy” language, the three-hour runtime, and its intense performances by Uta Hagen, Arthur Hill, Ben Piazza, and Melinda Dillon. The play was a sensation and broke box office records. So much, so that afternoon performances were added to meet the demand. It won the Tony Award and the New York Drama Critics Circle in 1963. The same year, it was up for a Pultizer Prize for Drama but lost due to its “profanity and sexual themes.” (There was no prize given that year.)Mike Nichols directed the 1966 film with Elizabeth Taylor and Richard Burton, who ate up each scene with their unique partnership of love, hate, and movie-star charisma. (Their real-life love story is another whirlwind of multiple marriages, addiction, and pain.) George Segal and Sandy Dennis play Nick and Honey, and the entire cast and most of the production received Academy Award nominations. (Taylor and Dennis won) Jack Valenti of the Motion Picture Association of America (MPAA) said this was his first controversial film under his reign. Words like “screw” and “hump” were considered scandalous and had to be deleted from the script. The story of George and Martha is one of the significant cultural landmarks of the 20th Century, with several productions over the past 60 years and several parodies, from The Carol Burnett Show to The Simpsons. In this episode, the Margos discuss the original play and the 1966 adaptation and try to decide which we like better. In this ep the Margos discuss:The work of Edward AlbeeThe legend behind the title of the playThe significant differences between the play and the movieThe 1966 cast: Elizabeth Taylor (Martha,) Richard Burton (George,) George Segal (Nick,) and Sandy Dennis as HoneyClips used:Opening ClipWho's Afraid of Virginia Wolf? 1966 trailerMartha degrades GeorgeGeorge “shoots” MarthaMartha and Nick danceNick talks about boxing“I swear if you existed, I would divorce you!”One day it snaps…Music by Alex NorthBook Vs. Movie is part of the Frolic Podcast Network. Find more podcasts you will love Frolic.Media/podcasts. Join our Patreon page to help support the show! https://www.patreon.com/bookversusmovie Book Vs. Movie podcast https://www.facebook.com/bookversusmovie/Twitter @bookversusmovie www.bookversusmovie.comEmail us at bookversusmoviepodcast@gmail.com Margo D. @BrooklynFitChik www.brooklynfitchick.com brooklynfitchick@gmail.comMargo P. @ShesNachoMama https://coloniabook.weebly.com/ Our logo was designed by Madeleine Gainey/Studio 39 Marketing Follow on Instagram @Studio39Marketing & @musicalmadeleine

Book Vs. Movie: Who's Afraid of Virginia Wolf The Edward Albee 1962 Play Vs. the 1966 Mike Nichols FilmThe three-hour anger fest that is Who's Afraid of Virginia Wolf is one of the most celebrated and controversial of the 1960s. Edward Albee's 1961 play is about middle-aged couple George & Martha, who have been drinking and battling for years, and one unfortunate evening they have with new friends Nick & Honey. It caused a stir at the time for its “racy” language, the three-hour runtime, and its intense performances by Uta Hagen, Arthur Hill, Ben Piazza, and Melinda Dillon. The play was a sensation and broke box office records. So much, so that afternoon performances were added to meet the demand. It won the Tony Award and the New York Drama Critics Circle in 1963. The same year, it was up for a Pultizer Prize for Drama but lost due to its “profanity and sexual themes.” (There was no prize given that year.)Mike Nichols directed the 1966 film with Elizabeth Taylor and Richard Burton, who ate up each scene with their unique partnership of love, hate, and movie-star charisma. (Their real-life love story is another whirlwind of multiple marriages, addiction, and pain.) George Segal and Sandy Dennis play Nick and Honey, and the entire cast and most of the production received Academy Award nominations. (Taylor and Dennis won) Jack Valenti of the Motion Picture Association of America (MPAA) said this was his first controversial film under his reign. Words like “screw” and “hump” were considered scandalous and had to be deleted from the script. The story of George and Martha is one of the significant cultural landmarks of the 20th Century, with several productions over the past 60 years and several parodies, from The Carol Burnett Show to The Simpsons. In this episode, the Margos discuss the original play and the 1966 adaptation and try to decide which we like better. In this ep the Margos discuss:The work of Edward AlbeeThe legend behind the title of the playThe significant differences between the play and the movieThe 1966 cast: Elizabeth Taylor (Martha,) Richard Burton (George,) George Segal (Nick,) and Sandy Dennis as HoneyClips used:Opening ClipWho's Afraid of Virginia Wolf? 1966 trailerMartha degrades GeorgeGeorge “shoots” MarthaMartha and Nick danceNick talks about boxing“I swear if you existed, I would divorce you!”One day it snaps…Music by Alex NorthBook Vs. Movie is part of the Frolic Podcast Network. Find more podcasts you will love Frolic.Media/podcasts. Join our Patreon page to help support the show! https://www.patreon.com/bookversusmovie Book Vs. Movie podcast https://www.facebook.com/bookversusmovie/Twitter @bookversusmovie www.bookversusmovie.comEmail us at bookversusmoviepodcast@gmail.com Margo D. @BrooklynFitChik www.brooklynfitchick.com brooklynfitchick@gmail.comMargo P. @ShesNachoMama https://coloniabook.weebly.com/ Our logo was designed by Madeleine Gainey/Studio 39 Marketing Follow on Instagram @Studio39Marketing & @musicalmadeleine

Zscaler founder and CEO Jay Chaudhry (ZS) on preparing for future cybersecurity threats and the growing demand for zero-trust technology. Electric vehicle maker Fisker (FSR) finds fans on Wall Street while its CEO sells shares. Why Clean Energy Fuels (CLNE) is once again one of the most talked about stocks on Reddit's WallStreetBets forum -- and how the CEO thinks he can keep up. Motorcar Parts of America (MPAA) is juggling rising demand for car parts during a automobile shortage. The Drill Down with Cory Johnson offers a daily look at the business stories behind stocks on the move. Learn more about your ad choices. Visit megaphone.fm/adchoices

Before you listen to this episode, you need to follow a few rules.Keep this episode away from sunlight (that's easy, the days are still short....)Never get this episode wet. But most importantly, no matter how much this episode pleads, no matter how much it begs, NEVER FEED EPISODE 74 AFTER MIDNIGHT! Got it?! Good. This episode is sweet and lovely, but it could multiply and turn into a download monster, and no-one wants that....Hang on.... I want a download monster....! Gremlins, from three of Hollywood's most well-known names; Chris Columbus, Steven Spielberg and Joe Dante, is a perfect little Mogwai of a movie. It has everything I love - puppets, animatronics, marionettes, stop-motion, and it's really quite scary. So scary, in fact, it helped pave the way for the Motion Picture Association of America (MPAA) to create a brand-new rating in-between PG and R. In the UK it remained 15 rated until it was reclassified as a 12A.My DVD is still a 15, though. I'm quite proud. This episode also features a cameo from my little Mogwai Jess, who goes full Gremlin halfway through to disrupt the recording with a paper bag. Seriously, I could not write better comedy than she provides. Merry Christmas, Happy Holidays, have a great New Year and Verbal Diorama shall return in 2021, with Animation Season 2....I would love to hear your thoughts on Gremlins!GET IN TOUCH....Twitter @verbaldioramaInstagram @verbaldioramaFacebook @verbaldioramaLetterboxd @verbaldioramaEmail verbaldiorama [at] gmail [dot] comWebsite verbaldiorama.comSUPPORT VERBAL DIORAMA....Leave a 5-star rating/review: Apple Podcasts or Podchaser Join the Patreon: patreon.com/verbaldioramaThank you to all the patrons Simon E, Sade, Jardiel, Claudia, Simon B, Laurel, Derek, Jason, Kristin, Cat, Andy, Mike, Griff, Luke, Emily, Michael, Matt, Trevor and Scott!NEW! Buy Merch! https://teespring.com/stores/verbaldioramaTees, mugs, hoodies and totes are available!EPISODE THANKS TO....Twitter peeps@BLCAgnew@derekjones198@verybrithorror@AttheflicksPod@capunderstands@Oral_mfc@russlovesmovies@Stuntgoat75@BeaverDoes@wafflesthemagic@BetamaxPod@in_feature@moviemarapod@mashleymovies@geeksaladradio@MoviesWork@MGnPpodcast@LaunchingTPilotInstagram folkNone this timeFacebook chumsAndrewRichardTheme Music: Verbal Diorama Theme SongMusic by Chloe Enticott - Compositions by Chloe FacebookLyrics by Chloe Enticott (and me!)Production by Ellis Powell-Bevan of Ewenique Studios. See acast.com/privacy for privacy and opt-out information.

This week, we dove deep into the black case to bring you an episode about the history of film censorship and the current MPAA rating system!  We all know the ratings well: G, PG, PG-13, R, NC-17, Unrated, or not-yet-rated. But, where do these ratings come from, and how did they come to be? What do these ratings really mean in terms of what is or isn't appropriate for specific audiences?  Censorship is a big part of film history and the movie-making process. Although the Motion Picture Association of America (MPAA) does not censor films, many would argue that it is their ratings that determine the success of a film at the box office or whether a film will get marketed at all. The rating process is notoriously mysterious, and the people involved are generally anonymous. Because of this, many filmmakers have voiced their frustration with the process and the power that the ratings have over the film industry. Twitter: @blackcasediary Instagram: @blackcasediariespodcast Website: https://www.blackcasediaries.com/  

Dan Glickman served as Secretary of Agriculture, a 9x Congressman from Kansas - including serving as chairman of the House Intelligence Committee, Chairman of the Motion Picture Association of America (MPAA), and much more. The focus of our discussion is on an op-ed he penned in August, titled Our Food Is Killing Too Many of Us, Improving American nutrition would make the biggest impact on our health care. We go deep into the nuances of the real crisis in American Health Care - food. And how an emphasis on food can have an outsized impact on outcomes and spending. Starting at 47:15 we touch on Chinese influence in Hollywood, based off the Blueprint News piece on the subject.

In this bonus episode James, Callum and Nathan discuss the Motion Picture Association of America (MPAA), how it effects film ratings around the world, and how content restrictions in TV and film should work. They also talk about Australia's broken video game rating system and how games keep getting banned, gambling and violence in video games, experiences in VR, and get into some heavy political discussion. http://www.facebook.com/tuesdayreviewTwitter & Instagram: @tuesdayreviewauJames' Instagram: @channeldrifter

Moderated by Jon Healey of the Los Angeles Times Editorial Board Dan Glickman, the Chairman and CEO of the Motion Picture Association of America (MPAA), joins us to discuss the state of the film industry at a pivotal moment in its history. As Hollywood’s point man in global capitals from Washington to Beijing, Glickman works to open markets to the studios’ goods, battle piracy and promote the movie industry. In a wide-ranging interview, he will discuss everything from box office trends and the advent of high-definition home video to the challenge posed by bootlegged DVDs. He will also talk about the opportunities presented by the industry’s experiments with digital cinema as well as Hollywood’s ongoing battle to access movie screens around the world.

Shows Main Idea – Lucia and I went to see the movie while our children went to their youth group. We wanted to preview the film before suggesting they watch it since it received an "R rating" from the Motion Picture Association of America (MPAA). Show Notes: https://rickthomas.net/podcast/life-over-coffee/ep-182-movie-review-of-unplanned-the-pro-life-movie/ Will you help us so we can continue to provide free content to the world? You can become a supporting member here rickthomas.net/recurring-membership/ Or you can make a one-time or recurring donation(s) here https://rickthomas.net/donations/

Never forget that women crave sexual release just the way men do, and we like to get ours in much the same way: from a soft, wet mouth. What an OFS!"Accept that women are sexual beings … Accept that some men like pleasuring women. Accept that women don't have to just be fucked and say thank you. We are allowed and entitled to enjoy ourselves. It's time we put our foot down …" – Evan Rachel WoodKudos to Evan Rachel Wood who has criticized the Motion Picture Association of America (MPAA) for swinging cuts to Sundance hit Charlie Countryman, a move she has described as symptomatic of a society that is frightened of female sexuality. And Director Marc Forster, for taking a hard stance on the controversial, yet still taboo topic “oral sex” in the 21st century. He directed Monster’s Ball starring Billy Bob Thornton and Halle Berry. He stated that in the DVD commentary that he "included it because you see the opposite, but never a man going down on a woman."Monster's Ball (11/11) Movie CLIP - Can I Touch You? (2001) HD[youtube https://www.youtube.com/watch?v=y3zcF3YvK-o&w=560&h=315] Why is oral sex hard for Hollywood? The same reason it’s hard for the FDA (aka Fucking Deadass Assholes) ;o) who rejected the female Viagra…women sexual libidos are a myth.What is missing here is that oral sex is now a part of mainstream society, and men really love pleasing a woman in that manner. Wake up Hollywood, FDA, and some closed-minded A-holes: go sniff and eat some delectable putang (aka Pussy or Pink Ice), it will do the body good. This is pure Misogynistic, Patriarchal bullshit who, I guarantee you have experienced having their dicks suck!!! So let's stop the CraCra, when our bodies are design to have Orgasm, and so what if we enjoy getting there by oral sex. Daah!! #BalanceForBetter https://oralicious.com/product/book-hardcopy/Support the show (https://oralicious.com/podcast/)

Ep. 67:  Secretary Dan Glickman - Executive Dir. of the Aspen Institute Congressional Program -&- former U.S. Secretary of Agriculture  || On episode 67 of Sourcing Matters we're joined by Secretary Dan Glickman.  Secretary Glickman is currently the Executive Director of the Aspen Institute Congressional Program - a nongovernmental, nonpartisan educational program for members of the United States Congress.  Dan Glickman served as the U.S. Secretary of Agriculture from March 1995 until January 2001. Under his leadership, the Department administered farm and conservation programs; modernized food safety regulations; forged international trade agreements to expand U.S. markets; and improved its commitment to fairness and equality in civil rights. Prior to heading the USDA for President Clinton, Dan Glickman also served for 18 years in the U.S. House of Representatives representing the 4th Congressional District of Kansas. During that time, he was a member of the House Agriculture Committee, including six years as chairman of the subcommittee with jurisdiction over federal farm policy issues. Additionally, Sec. Glickman is the 6th member of the PEW commission on industrial farm animal production that we’ve profiled on Sourcing Matters.  The 2007 PEW commission report was a study of the Impact of Industrial (US) Farm Animal Production on issues of public health, environment, animal welfare and social justice.   It was a monumental series of reports that has established a new way forward for consumers and the industry to re-introduce values and ethics back into many of the proteins we eat.  During our 40 minute conversation we also discuss Secretary Glickman's 7 years as Chairman of the Motion Picture Association of America (MPAA).  His time spent as Director of the Institute of Politics at Harvard University’s John F. Kennedy School of Government, and we chat about a few of the boards he sits on - including the Chicago Mercantile Exchange; Communities in Schools; Food Research and Action Center, National 4-H Council; and the Center for U.S. Global Engagement.    TuneIn to hear what this well rounded thought-leader has to say about our food, agriculture, policy and the current administration.   This one you don't want miss!     www.SourcingMatters.show

Eighth Grade is a 2018 American comedy-drama film written and directed by Bo Burnham. It is his feature film directorial debut. The plot follows the life and struggles of an eighth-grader, played by Elsie Fisher, during her last week of classes before graduating to high school. She struggles with social anxiety but produces vlogs giving life advice. Eighth Grade - Opening Scene (https://youtu.be/9JEwSi_TjXI) Burnham was inspired by his own struggles with anxiety when he began writing the screenplay in 2014. He had difficulty finding funding for the project until 2016. Shooting began in Suffern and White Plains, New York, in summer 2017. Fisher was cast after Burnham noticed her on YouTube; she led a cast including Josh Hamilton and Emily Robinson. Themes include heavy use of social media, mental health in Generation Z and sexuality and consent. The film premiered on January 19, as part of the U.S. Dramatic Competition section of the 2018 Sundance Film Festival. After other festival screenings, it was released theatrically in the United States by A24 on July 13, 2018. Its R rating from the Motion Picture Association of America (MPAA) inspired criticism, as its decision blocked many eighth-grade viewers from seeing the film in theatres. In response, the distributors arranged free, unrated screenings across the U.S. Eighth Grade completed its North American run grossing $13.5 million on a $2 million budget. Eighth Grade received acclaim from critics, with praise for Burnham's screenplay and direction and Fisher's performance, and was chosen by both the National Board of Review and American Film Institute as one of the Top 10 Films of 2018. The film received numerous awards and nominations and is nominated for four Independent Spirit Awards, including

"The House That Jack Built" opens in select theaters across the country today, but it’s not the version director Lars von Trier wanted you to see. The Motion Picture Association of America (MPAA) put the kibosh on the director’s cut. Some say it’s censorship, but Vox’s Alissa Wilkinson explains how the MPAA is trying to save Hollywood from itself. Learn more about your ad choices. Visit megaphone.fm/adchoices

On this episode James, Callum, Nathan and Alam discuss the Motion Picture Association of America (MPAA) and their film ratings board. They discuss the revealing documentary 'This Film Is Not Yet Rated' (2006), how the U.S. system compares to the Australian film ratings system, how the MPAA censors and controls the flow of information, how movie ratings effect audiences, and much more.Originally recorded on March 27th, 2018.Please subscribe, rate and review on iTunes,and give the Man vs. Movies Facebook page a like.https://www.facebook.com/manvsmoviesEnjoy!

The Stop Online Piracy Act (SOPA) — a U.S. House bill that would give the Department of Justice the authority to demand that ISPs block sites accused of hosting pirated content — seemed to be doing well. Nearly half of the Senate sponsored similar legislation that survived a committee vote. And people weren’t generally making a big deal about it. But on the week before Thanksgiving SOPA suddenly hit the front page after a particularly fraught House committee hearing on the bill. Battle lines became clear. Representatives of big content owners like the Motion Picture Association of America (MPAA) partnered with big brands and the US Chamber of Commerce in support of the legislation, saying it would protect millions of jobs. On the other side web entrepreneurs like Google, Twitter, and Facebook sided with Human Rights Watch and the Electronic Frontier Foundation against the bill, saying it would basically give corporations a legal path to censor any site that poses a competitive threat. And now it looks like the bill might have a harder time than legislators originally thought. But talk to the creators of intellectual property one on one and you’ll see that many don’t have a clear opinion on the bill. The open web has benefitted the work of artists, coders, and researchers alike, allowing them to share their work with new audiences and experiment with new business models for next to nothing. But many creators see that same technology as stealing food from their mouths when their work appears on torrent sites and uncredited on blogs. We spoke with two people this week to help get our heads straight on SOPA. The graphic artist Jim “Zub” Zubkavich worries about what piracy is doing to his career, but sees SOPA as a little draconian. And Julian Sanchez of the CATO Institute gives some idea of what SOPA will do if implemented, and the chance it might have of passing.

The Recording Industry Association of America (RIAA) and the Motion Picture Association of America (MPAA) are up against wall and smelling defeat.