Podcasts about last black man

Editors - Harry Yoon, ACE and Angela M. Catanzaro, ACE THUNDERBOLTS editors Harry Yoon and Angela M. Catanzaro each gained a whole new appreciation for production crews, having spent considerable time themselves cutting on-set and as a integral part of the process. Harry reflects on his previous working relationship with director Jake Schreier on Beef and how he came on board for THUNDERBOLTS.  Angela also shares her excitement about joining the MCU after working on the feature film Prey. The editors delve into the collaborative process and the importance of depicting mental health themes, and also touch on the critical balancing act of creating a film that feels both intimate and action-packed. The discussion includes the unique musical approach of involving the composers early in the production and the nuances of fine-tuning comedic timing in the edit. Directed by Jake Schreier from a screenplay by Eric Pearson and Joanna Calo, THUNDERBOLTS* is the 36th film in the Marvel Cinematic Universe.  The story follows former black widow Yelena Belova (Florence Pugh) as she carries out deadly operations for CIA director Valentina Allegra de Fontaine (Julia Louis-Dreyfus). De Fontaine faces imminent impeachment for her work with O.X.E. Group, so she dispatches Yelena, John Walker, Ava Starr, and Taskmaster to a covert O.X.E. facility under the pretense of a special assignment. Once there, they find themselves ensnared in a death trap, uniting the unconventional team of antiheroes as they take on a dangerous mission that will force them to confront the darkest corners of their pasts. HARRY YOON, ACE THUNDERBOLTS* marks Harry's second stint in the MCU with the first being Shang-Chi and the Legend of the Ten Rings (2021).  Immediately prior to his work on that film, Harry was being lauded for his work with director Lee Isaac Chung on the Oscar®-nominated film, Minari (2020).  Harry's other work includes the films The Last Black Man in San Francisco (2019), First Man (2018) and Detroit (2017). ANGELA M. CATANZARO, ACE Angela Catanzaro is a Los Angeles-based Emmy and Eddie Award-nominated editor who works in both television and feature films. Angela is a member of The Academy of Television Arts & Sciences, the Motion Picture Editors Guild, American Cinema Editors, and serves on the editing faculty at the American Film Institute.  Prior to THUNDERBOLTS*, Angela worked on the film Prey (2022) and such TV shows as Suits and The Man in the High Castle. The Credits Visit ExtremeMusic for all your production audio needs Listen to Harry talk about MINARI and SHANG-CHI AND THE LEGEND OF THE TEN RINGS Check out what's new with Avid Media Composer Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

"Wrestler! Distract Kang!" - The Whale, Avengers: The Kang Dynasty (2024).

Willie Hen is a San Francisco rapper who is highly respected for his lyricism and authenticity, even without a solo album. Growing up in the Fillmore, he started off as a member of a group called Do Or Die before becoming affiliated with San Quinn and Messy Marv and forming their collective The Network. After a song with producer Tone Capone caught the attention of hip-hop legend Scarface, they became a group along with Young Malice called The Product. One of Willie's verses ended up becoming The Source magazine's Hip-Hop Quotable of the month. Although he continues to put out mixtapes, features, and collaborations, he also transitioned to acting with a role in the film "The Last Black Man In San Francisco."--For promo opportunities on the podcast, e-mail: info@historyofthebay.com--History of the Bay Spotify Playlist: https://open.spotify.com/playlist/3ZUM4rCv6xfNbvB4r8TVWU?si=9218659b5f4b43aaOnline Store: https://dregsone.myshopify.com Follow Dregs One:Spotify: https://open.spotify.com/artist/1UNuCcJlRb8ImMc5haZHXF?si=poJT0BYUS-qCfpEzAX7mlAInstagram: https://instagram.com/dregs_oneTikTok: https://tiktok.com/@dregs_oneTwitter: https://twitter.com/dregs_oneFacebook: https://facebook.com/dregsone41500:00 Intro02:40 Fillmoe history12:42 Street life17:05 FIllmoe's rap legacy23:47 Early groups28:46 The Network w/ Messy Marv & San Quinn37:43 Done Deal Ent.40:36 The Izm50:07 The Product with Scarface1:04:13 Mac Dre1:10:17 The Last Black Man in San Francisco1:14:34 Solo album?

On this episode of Unlocked Savannah has on activist, actor, and the former wrongfully convicted Jamal Trulove who spent 7 years in jail for a murder that he was later found not guilty of committing. The pair start by telling Jamal's story growing up, then dive into the night of the crime, being found guilty, the years long battle to prove his innocence, the injustice and corruption in the jail/prison system and so much more!Thank you to our sponsors for supporting our show!- PROGRESSIVE: Join the over 28 million drivers who trust Progressive. Visit us at https://www.progressive.com! Thank you to Progressive for sponsoring the show! (Restrictions apply. Not available in all states and situations.)- BETTERHELP: This episode is sponsored by BetterHelp. Give online therapy a try at https://www.betterhelp.com/SAVANNAH and get on your way to being your best self! Thank you BetterHelp for sponsoring this podcast!-HERO BREAD: Get 10% OFF your order at https://www.hero.co and use code UNLOCKED at checkout!-NUTRAFOL: Get $10 OFF your first month's subscription & free shipping when you go to https://www.nutrafol.com and enter the promo code UNLOCKED.About Jamal Trulove:Jamal Trulove is an actor, activist, and former wrongfully convicted individual from San Francisco, California. In 2010, he was sentenced to 50 years to life in prison for a murder he did not commit. After spending over six years behind bars, his conviction was overturned, and in 2015, he was acquitted in a retrial. Trulove later won a $13.1 million settlement in a civil lawsuit against the city for his wrongful conviction. Since his release, he has become an advocate for criminal justice reform and has also pursued a career in acting, including a role in the film The Last Black Man in San Francisco.LET'S BE SOCIAL:Follow Savannah Chrisley:Insta: (https://www.instagram.com/SavannahChrisley)TikTok: (https://www.tiktok.com/@SavannahChrisley)X: (https://www.x.com/_itssavannah_)Follow The Unlocked Podcast:Insta: (https://www.instagram.com/UnlockedWithSavannah)TikTok: (https://www.tiktok.com/@UnlockedWithSav)

In this episode, Stop & Talk host Grant Oliphant talks with Ramel Wallace, a multifaceted artist, activist, and community builder deeply embedded in the San Diego creative scene. Ramel's journey, rooted in hip-hop storytelling and community engagement, provides a unique lens into the city's history, culture, and social dynamics.Ramel discusses his viral "We're San Diegans" video series, which humorously and poignantly captures the essence of San Diego life, touching on local pride, cultural diversity, the city's social issues, and of course, tacos. He also shares his perspective on the significant yet often overlooked impact of redlining and gentrification, which he is exploring through his Far South/Border North campaign.The conversation delves into Ramel's role as the host of Creative Mornings San Diego, his dedication to fostering creativity and care, and his commitment to cultural preservation through initiatives like "The Last Black Man in Barrio Logan." Through his work, Ramel emphasizes the importance of intimate community connections and the powerful role of creativity in addressing societal issues.Tune in to hear how Ramel's artistry and activism are shaping San Diego's future, how creativity and care are intertwined, and discover the profound ways in which art can be a catalyst for social change.  Credits:This is a production of the Prebys Foundation.Hosted by Grant OliphantCo-Hosted by Crystal PageCo-produced by Crystal Page and Adam GreenfieldEngineered by Adam GreenfieldProduction Assistance by Tess KareskyThe Stop & Talk Theme song was created by San Diego's own Mr. Lyrical Groove.Recorded at the Voice of San Diego Podcast StudioDownload episodes at your favorite podcatcher or visit us at StopAndTalkPodcast.orgIf you like this show, and we hope you do, the best way to support this show is to share, subscribe, and review our podcast. Thank you for your support, ideas, and listening.

On this week's fabulous episode of “Tell Me Everything,” we have the one and only Jordan Carlos (Adulting)! This sweet gem of a man is bringing on three gorgeous pop culture pulls (and also some WILD gossip)! Jordan talks all about his “Sliding Doors” moment of almost getting cast in “The Last Black Man in San Francisco” when we talk about JONATHAN MAJORS. He also brings up BRANGELINA'S WINERY LAWSUIT and the potential (mugging) dangers around the APPLE VISION PRO! Buckle up, my babes! This one's a fun ride! If you like this show, don't forget to rate, review, and subscribe! Be sure to follow the show on Instagram: @tellliameverything And follow me (your host!) across all platforms: @liamgareau

Episode 34 - This movie has been on Shannon's list to talk about from the start. Tonight we discuss this beautiful film about Jimmie Fails, starring Jimmie Fails as himself.

pWotD Episode 2422: Jonathan Majors Welcome to popular Wiki of the Day where we read the summary of a popular Wikipedia page every day.With 306,565 views on Tuesday, 19 December 2023 our article of the day is Jonathan Majors.Jonathan Michael Majors (born September 7, 1989) is an American actor. Majors rose to prominence for starring in the drama films The Last Black Man in San Francisco (2019) and Da 5 Bloods (2020), and the HBO horror series Lovecraft Country (2020), for which he received a Primetime Emmy Award nomination. Majors has since portrayed Nat Love in the western The Harder They Fall (2021), Jesse L. Brown in the war film Devotion (2022), and antagonist Dame Anderson in the sports film Creed III (2023). In the Marvel Cinematic Universe, he portrayed Kang the Conqueror in the film Ant-Man and the Wasp: Quantumania (2023), while also appearing as other variants in the Disney+ series Loki (2021–2023).On December 18, 2023, Majors was found guilty of two misdemeanor counts of assault and harassment against his ex-girlfriend Grace Jabbari. Sentencing will be announced February 6, 2024. This conviction led to Marvel Studios severing ties with him the same day and dropping him from any future projects.This recording reflects the Wikipedia text as of 01:26 UTC on Wednesday, 20 December 2023.For the full current version of the article, see Jonathan Majors on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm Nicole Standard.

He shoulda just took that house

On this week's Talkhouse Podcast we've got an actor-director you'll likely recognize along with the musician-slash-composer who made beautiful sounds for one of his films: Jesse Eisenberg and Emile Mosseri. Eisenberg is best known as an actor; he was nominated for an Academy Award for his portrayal of Mark Zuckerberg in The Social Network, which is just one of his dozens of credits. You've also seen him in Zombieland, The Squid and the Whale, the Now You See Me movies, and lots of indies. He also starred in the TV drama Fleishman is in Trouble last year alongside Claire Danes and Lizzy Caplan. And if that isn't enough, Eisenberg is also a writer, playwright, and director. His feature debut as a director came earlier this year with When You Finish Saving the World, which began life as Audible original—which he also wrote. The movie stars Julianne Moore and Stranger Things' Finn Wolfhard, and it was released by A24, a trademark of quality. And… segue time… music for the film was composed by today's other guest, Emile Mosseri. Now Mosseri spent years in bands, most notably The Dig, but really seems to have found his stride in recent years as a film composer. In 2020 he did the music for both Miranda July's Kajillionaire and for Lee Isaac Chung's Minari, for which Mosseri was Academy-nominated for Best Original Score. He's also worked on Joe Talbot's The Last Black Man in San Francisco and Jonah Hill's Stutz, which you'll hear a little about in this conversation. Earlier this year, Mosseri released his first album of original songs under his own name, which is called Heaven Hunters. It's a really personal, intimate record that sounds best on a pair of quality headphones, as it's sort of cinematic and somehow also small and quiet. Check out one of Eisenberg's favorite songs from Heaven Hunters, this is “My Greedy Heart.” These two get right into a great chat, talking about the various neuroses that fuel their art and stifle their ambition: Mosseri even talks about choosing whether to spend money on his therapist or an awards-season publicist. Eisenberg talks about his experiments using AI on a script—they don't go well—which leads to a discussion about whether AI will impinge on creative jobs like theirs in the future. It's a great, fun chat—enjoy. Thanks for listening to the Talkhouse Podcast, and thanks to Jesse Eisenberg and Emile Mosseri for chatting. If you liked what you hear, please follow Talkhouse on your favorite podcasting platform, and check out all the great written pieces at Talkhouse.com. This episode was produced by Myron Kaplan, and the Talkhouse theme is composed and performed by the Range. See you next time!

Iconic cinematographer Adam Newport-Berra talks shooting music videos for artists like Kendrick Lamar, film vs. digital, and establishing the look for the critically acclaimed hit FX show The Bear.Adam Newport-Berra is known for his incredible cinematography on series like The Bear and Euphoria, films like The Last Black Man in San Francisco, and music videos for Kendrick Lamar, Miley Cyrus and Kanye West (aka Ye).This episode is brought to you by FILM CRUX+, your new filmmaking library. For everything from sound design and cinematic music, to foley and VFX.Get access to every FILM CRUX product for just $10 a month.https://www.filmcrux.com/plusADAM TALKS ABOUTHis process when shooting music videos.Shooting film vs. digital.The types of directors he's drawn to.Using reference images.Developing the look for a project.Getting a crew to gel.Being inspired by photography.Shooting The Last Black Man in San Francisco.His evolution as a cinematographer.And lots more...Subscribe so you don't miss our in-depth talks with the best filmmakers in the world.IN THIS VIDEOFILM CRUX+Everything you need to make better films, all for just $10 a month:https://www.filmcrux.com/plus

In this episode of Popcorn & Catch-Up, we discuss the film The Last Black Man in San Francisco. We'll be discussing the film in depth, so be sure to watch it before listening to the episode. And don't forget to let us know what you think on Twitter (@popcorncatchup)! Thanks for listening! --- Support this podcast: https://podcasters.spotify.com/pod/show/popcornandcatchup/support

     This season of ScaryCrit keeps coinciding with some must-watch horror releases and we'd be remiss if we didn't take full advantage! This week's episode is no different as we grab hold of A24's horror feature Talk to Me (2023), having seen it on its opening night. We think that Talk to Me is a unique film in that it operates parallel to your typical possession horror flick (which makes for some unforgettable results).      Listen in as we unpack that as well as the Philippou bros.'s direction (and career beginnings), the bystander effect and what it means to bear witness in regards to social media as a narrative device, the jarring juxtaposition in framing possession as a party game, and Mia's intense and lonely bout as a grieving protagonist.     This episode might be a long one but we'd like to think it's quite gripping all the same. So, take our hand and let us guide you straight into another stellar episode of ScaryCrit! You're not going to be able to let go of this one.Sign Up for our NewsletterFind Us Onlinewww.scarycritpodcast.comTwitter @ScaryCritPodInstagram @ScaryCritPodTimestamps00:10:38 - Negronomicon00:39:28 - Crit02:14:04 - Final CurlsGems from E93Grey House (2019, play)She-Hulk (2023)Orphan Black (2013)Avenue Q (2003, play)Saw X (2023)Saw (2004)Saw IV (2007)Saw V (2008)Spiral (2021)Jigsaw (2017)Saw VI (2009)Saw 3D (2010)Spider-Man: Beyond the Spider-Verse (delayed indefinitely)Spider-Man: Across the Spider-Verse (2023)Super Smash Bros. Brawl (2008, video game)The Legend of Zelda: Breath of the Wild (2017, video game)Barbie (2023)Titans (2018)Selling Sunset (2019)The Real Housewives (2006)Teen Mom (2009)Love & Hip-Hop Atlanta (2012)Project Greenlight: A New Generation (2023)Evil Dead Rise (2023)Insidious: Red Door (2023)Talk to Me (2023)Bodies Bodies Bodies (2022)Beau is Afraid (2023)The Last Black Man in San Francisco (2019)Mid90s (2019)Hereditary (2018)Zola (2021)Moonlight (2016)The Babadook (2014)Annabelle (2014)The Evil Dead (1981)Insidious (2010)Veronica (2017)The Conjuring (2013)Rocky (1976)The Sadness (2021)Euphoria (2019)Oculus (2013)Unfriended (2014)Nope (2022)The Ring (2002)Degrassi: The Next Generation (2001)Oppenheimer (2023)They Cloned Tyone (2023)Sweet Magnolias (2020)And Just Like That (2022)A Thousand and One (2023)Deadstream (2022)Support the show

"You never really own shit." PROTOPENDENCE MONTH begins with The Last Black Man in San Francisco. We discuss the hottest new social media app, Danny seeing Asteroid City, Proto reliving the magic of Avatar 2, slim gushing about Tom Cruise and Lions for Lambs, and choosing a theme and movie by the end of the episode. Chapters Introductions + new theme (00:00:00) What we watched (00:09:02) The Last Black Man in San Francisco discussion (00:22:50) Next week's pick (01:09:24) Links Support the 70mm Patreon to join our VHS Village Discord and access exclusive episodes in the 70mm Vault like the 1990s Batman movies, Harry Potter, The Matrix, SHIN Godzilla, West Side Story, Twilight, Moana, and more. Signing up for the Patreon also get your own membership card, member-only discounts on merch, and the ability to vote on future episodes! Subscribe on Apple Podcasts to unlock access to episodes from the 70mm Vault! Subscribe on Spotify if that's more your bag for those exclusive 70mm Vault episodes! Episode transcriptions are available thanks to Soph from Film Hags! Don't forget you can visit our website to shop our storefront to buy prints and merch, follow us on Letterboxd, email the show, upgrade to Letterboxd Pro/Patron at 20% off, and much more. 70mm is a TAPEDECK podcast, along with our friends at BAT & SPIDER,  The Letterboxd Show, Escape Hatch, Will Run For..., Lost Light, and Twin Vipers. (Gone but not forgotten; Cinenauts + FILM HAGS.)

Composer Emile Mosseri is known for his moving scores for the films The Last Black Man in San Francisco, Kajillionaire, and Minari, for which he earned an Oscar nomination. But before he was a film composer, he was a member of the touring and recording band, The Dig. Now he's released his debut solo album as a performer, titled Heaven Hunters. Mosseri joins us for a Listening Party. 

A coming-of-age adventure through San Francisco centering around two grown men? Join Mike and Glen as they discuss the 2019 A24 film "The Last Black Man in San Francisco". Find out more at https://keystone-film-review.pinecast.co

This was filmed this previous weekend when there was not many details out on the Jonathan Majors story. With that caveat aside, here is our review of The Last Black Man in San Francisco. Our Patreon is now live! Join to gain access to an abundance of exclusive perks: https://t.co/76S34T27Oz Go follow us on all of our socials below! ReelTok TikTok: https://www.tiktok.com/@reeltokpodcast Instagram: https://www.instagram.com/reeltokpodcast/ Twitter: https://twitter.com/reeltokpodcast Listen and Rate Us 5 Stars on Spotfiy and Apple Podcasts: Spotify: https://open.spotify.com/show/3V214vWwkO823aa4OaeDrO?si=ddaefaebe5c1460c Apple Podcasts: https://podcasts.apple.com/us/podcast/reeltok-podcast/id1644680412 George Letterboxd: https://letterboxd.com/georgecarmi/ TikTok: https://www.tiktok.com/@moviesandstuff14 YouTube: https://www.youtube.com/channel/UCBrfDxvGMYC7NatgaqfKWMg Instagram: https://www.instagram.com/georgecarmi/ Twitter: https://twitter.com/georgecarmi Tyler Letterboxd: https://letterboxd.com/TylerCWhitmore/ Movie TikTok: https://www.tiktok.com/@backseatscreentime?lang=en Sports TikTok: https://www.tiktok.com/@backseatcoach?lang=en Instagram: https://www.instagram.com/tylercwhitmore/ Twitter: https://twitter.com/TylerCWhitmore Movie YouTube: https://www.youtube.com/channel/UCygaEWKt_8C41lJjfBHEhQA Sports YouTube: https://www.youtube.com/c/BackseatCoachTV Seth Letterboxd: https://letterboxd.com/sethsreviews/ TikTok: https://www.tiktok.com/@sethsfilmreviews?lang=en Instagram: https://www.instagram.com/coachedbyse... Twitter: https://twitter.com/coachedbyseth Cam Letterboxd: https://letterboxd.com/cjwalsh27/ TikTok: https://www.tiktok.com/@camwalsh27?lang=en Instagram: https://www.instagram.com/camwalsh/ Twitter: https://twitter.com/camwalsh27 Logo created by Adamson Visuals: TikTok: https://www.tiktok.com/@adamsonvisuals?lang=en Instagram: https://www.instagram.com/adamsonvisuals/ Twitter: https://twitter.com/_AdamsonVisuals Welcome to ReelTok Podcast hosted by Cam, Tyler, Seth, and George where we talk all things movies, TV, and pop culture news. Weekly podcast episodes are released every Monday with YouTube videos uploaded daily. Help us become the #1 movie podcast in the entire world! --- Support this podcast: https://podcasters.spotify.com/pod/show/reeltokpodcast/support

The MCU has kicked off phase 5 with Ant-Man and Kang. The reviews on Rotten Tomatoes have been mixed (bad critic reviews, great fan reviews) but it was time for me to sit down with two of my favorite collaborators to see how they felt about this one. I've said in the past that now that Cap is gone, Ant-Man is my guy so I needed this movie to come through for me. I was also on the Jonathan Majors train since The Last Black Man in San Francisco so I was excited to see him again after his MCU debut on Loki. The one thing I was concerned about coming into this film was the recasting of Cassie so we kick the podcast off with that particular topic. Enjoy! Starring: Paul Rudd, Evangeline Lilly, Michael Douglas, Michelle Pfeiffer, Jonathan Majors Additional Cast: Kathyrn Newton as Cassie Lang (Freaky), Bill Murray as Lord Krylar, Katy M. O'Brian as Jentorra (Z Nation, Black Lightning, Westworld, The Walking Dead), William Jackson Harper as Quaz (Midsommar, The Good Place) Directed by: Peyton Reed Written by: Created by Jack Kirby, Written by Jeff Loveness (Rick and Morty) Cinemark Rewards: Click Here to learn more about Cinemark Rewards FREE or $9.99/month options Restaurant.com: Click Here to spend $10 for a $25-off Restaurant Voucher Follow @HaveYouScenePod on Twitter for more content! 5 Star Reviews on Spotify and Apple Podcasts are appreciated! Guests: Reese Williams: @MofR25 on Twitter, @MindofReese on Instagram, @MindofReeseReviews on TikTok, @Mind of Reese on Youtube. Shad Miller: @ShadMiller13 and @TheUncoolUrban on Twitter. @ShadMiller on Instagram and @UncoolUrban on all other social platforms Follow @HaveYouScenePod on Twitter for more content! 5 Star Reviews on Spotify and Apple Podcasts are appreciated! --- Send in a voice message: https://anchor.fm/haveyouscenepod/message

In this episode, Wellington and Savon discussed the Eagles' home win against Green Bay and Aaron Rodgers getting hurt in the second half. They also discuss the Chiefs' convincing win against the Rams, Michigan dominating Ohio St. and their thoughts before the conference championships took place. Next, they discussed the Sacramento Kings' success and them being ahead of schedule plus Shai-Gilgeous Alexander's elite level of play for OKC; early in the season. For the album reviews, they started off with 38 Spesh's Beyond Belief and discuss the predominant boom bap sound, also Roddy Rich's Feed Tha Streets III and Armani Caesar's The Liz 2. Finally, they analyzed Samaria's new EP Didn't Start With You and Travis Scott and Pharrell's new single “Down In Atlanta”. In the second half, they review The Last Black Man in San Francisco, the 2019 film directed and produced by Joe Talbot in his directorial debut. Starring Jimmie Fails, Jonathan Majors, Tichina Arnold, Rob Morgan and Mike Epps. They discuss how this was an affecting story powerfully told and established. They also highlight this being an independent film with a difference and it being a beautifully directed and perfectly played. Finally, they discuss the impressive range of Jonathan Majors and this film not being done in a conventional sense or even linear. 

"Vertigo", "Dirty Harry", "Zodiac", "Mrs. Doubtfire", "Milk", "The Last Black Man in San Francisco" We've both lived in San Francisco and the time is right to reflect on how the "City by the Bay" has been captured on film. Join us as we each share, review and discuss the top 3 movies that shaped our views of San Francisco.

The Pauls are back with another modern classic in the shape of Joe Talbot and Jimmy Fails' The Last Black Man In San Francisco (2019)! Featuring: Rick Hurt, the Halliwell Stank, a Toxic of Masculinities, Monto and Toxic Masculinity Chorus. https://facebook.com/ogtpod https://twitter.com/ogtpod Goodman's EP 'Future Music' is out now! Find out where you can stream and purchase here: Future Music by Run//Phase (songwhip.com) We have a Patreon! https://www.patreon.com/ogtpod – sign up for exclusive content for as little as $1 a month. Our Fiasco one-shot is being edited and will hit your faces soon, and welcome to Bec Watson as our newest patron! Listen to Salt's show Jen and the Film Critic with OGT guest and deep friend Jen Blundell here! Like d&d? Want more Pauls? Into nerd shit AND jokes about bums? Why not check out our brand-new d&d actual play podcast, Quest Fantastic?  https://shows.acast.com/quest-fantastic link.chtbl.com/questfantastic RSS: https://feeds.acast.com/public/shows/61d8e6b335501c0012b6c367

Variety reporter and Austin native Selome Hailu joins hosts Gemma and Slim to discuss why her Letterboxd profile is only for people who support Holes being her number one movie, and to celebrate the finer points of her other favorite films: The Last Black Man in San Francisco, The Young Girls of Rochefort and Saint Frances. Plus: the perfect rating, the need for a five-star-plus-“unlike” emoji on Letterboxd, Emile Mosseri's transcendent soundtracks, Gemma's defense of Geminis, Slim's religious experience with Last Black Man's skateboarding scenes, the urgent conversation around incarceration that Holes brings up, the costuming power of the pleat, building community, choosing joy, spending time with those you love, the weird dualities of life, breaking the cinephile bubble, meeting Magic Johnson, and a little chat about Selome's rating for Babe: Pig in the City. Links: The list of movies mentioned in this episode Reviews of Holes by Aydan Nolan, Grace b-p, Nicole and Roman Reviews of The Last Black Man in San Francisco by Lily and Karen Han Reviews of The Young Girls of Rochefort by Chris and Truman Selome's Babe: Pig in the City review Jack's Journal interview with Joe Talbot Selome's Mark Brown Variety interview Selome's Magic Johnson Variety interview Demi's Four Faves episode Lists: I'm Just a Kid and Life is a Nightmare, Movies that destroyed me…; Iguana appearances; DVD menus burned into your brain…; films that remind you you're alive; film scores that bury themselves into your skin; lighthearted movies with black characters…; can I get a uhhhh hot old man Credits: Recorded in Philadelphia, Los Angeles and Raumati Beach. Edited by Slim. Theme music: “Vampiros Danceoteque” by Moniker. Facts by Jack. Booker: Linda Moulton. Transcripts by Sophie Shin. The Letterboxd Show and Weekend Watchlist are TAPEDECK productions.

In celebration of Ben's birthday the boys take a look at one of his favorite A24 movies of all time - 'The Last Black Man in San Francisco". A gorgeous movie with themes of gentrification, toxic masculinity, societal norms, and more, this 2019 flick is truly something special. Find out our True Cinema moments and why we really do love Jonathan Majors so very much. PLUS A24 released a subscription model for cool merch! We break down if we think it's worth it! What do you think of The Last Black Man in San Francisco? Let us know on Instagram or Twitter @24minutesofA24! Twitter - https://twitter.com/24minutesofA24 Instagram - https://www.instagram.com/24minutesofa24

In less than three years, the Fanbase social content app has raised six million dollars (without traditional venture capital) and is inching toward the one-million user mark. How did co-founder Issac Hayes III take the app from nothing all the way to this? If you ask him, his life spent in the cut-throat music industry gave him the inspiration AND business chops to thrive within the tech space. As the son of legendary R&B artist Isaac Hayes, he was made well aware from the get-go of the exploitative practices by record labels toward musicians. Isaac would go on to notice similar exploitation with social media giants and their users, who were creating content and driving attention, but reaping little of the billions of dollars in revenues being reported by the same corporations.Fanbase is changing those optics. On the app, users can post content — written, photo, video, audio chat, and live stream — for a subscription fee. As Isaac sees it, “monetization for every user is the wave of the future.” For a full glimpse of how Isaac is building Fanbase into a disruptive social media force, you'll want to tune into our interview. Here's what we covered in the episode:[4:10] Fanbase Raised $6 Million From Crowdfunding — Not Venture Capital[6:34] The Most Important Investors Of Fanbase [8:10] Making Investing More Accessible[10:30] How Fanbase Is Acquiring New Customers[11:59] Fanbase's Biggest Business Advantage (Not What You Think)[14:13] “Monetization For Every User Is The Wave Of The Future”[16:18] Why Artists Shouldn't Sell Their Catalogs[22:23] What Isaac Loves About Technology[23:40] What Does Fanbase's Future Fundraising Timeline Look Like?[26:38] Size Of Fanbase's Team Now & In Near-Future[27:51] Atlanta's Underrated Scene Outside Hip-Hp[30:39] Isaac's Influence For Creating Fanbase[32:34] Getting The Music Rights Back For His Dad[33:48] Keeping Black Icons Relevant Post-Death[36:14] Will There Ever Be An Isaac Hayes Movie?[41:45] Fanbase's New FeaturesListen: Apple Podcasts | Spotify | SoundCloud | Stitcher | Overcast | Amazon | Google Podcasts | Pocket Casts | RSSHost: Dan Runcie, @RuncieDan, trapital.coGuests: Isaac Hayes III, @isaachayes3  Trapital is home for the business of hip-hop. Gain the latest insights from hip-hop's biggest players by reading Trapital's free weekly memo. _______________TranscriptionIsaac Hayes III 00:00I think monetization for every user is the wave of the future. I keep saying it, I think that there isn't a person right now that isn't subscribed to at least one thing. And one subscription becomes more and more the common vernacular of how we engage with content. Social media is the last, you know, frontier that's left. You know, when you think about TV and film with Hulu, and Netflix, and Disney+, and music with Spotify and Apple Music, and print media with Forbes, and The New York Times, and Billboard, and then productivity software like Adobe Premiere Pro, Microsoft Word. Like, you don't... You're subscribed to something. You're probably subscribed to an app on your phone that allows you to edit your photos. And so subscriptions are just the language. And so I think that's going to be the language of the future moving forward.Dan Runcie 00:53Hey, welcome to the Trapital podcast. I'm your host and the founder of Trapital, Dan Runcie. This podcast is your place to gain insights from executives in music, media, entertainment, and more, who are taking hip hop culture to the next level. Today's guest is Isaac Hayes III. He's the founder and CEO of Fanbase. Fanbase is a company that helps creators better monetize the content they put out. And on Fanbase's platform, followers can subscribe for $3.99 a month to get all of the exclusive content from their favorite creators, or they can follow creators and they can spread love. Love is the primary form of engagement on Fanbase, and it's how creators monetize. The more likes and love they get, the more revenue that they get into their pockets. So Fanbase addresses a lot of the challenges that people have had about social media more broadly. And in this chat, Isaac and I talk about what the journey has been like. He's been able to raise $6 million through crowdfunding. He did it through this platform called StartEngine, and he's had many well-known investors on board, folks like Snoop Dogg, Charlamagne The God, Kandi Burruss, Chamillionaire, Roland Martin, and more. So we talked about his decision to go that path as opposed to the traditional VC route. Isaac and I also talked about the trend of music publishing and the catalog sales that have been happening, and why he actually thinks that a lot of musicians should not be selling their catalogs. He is not the only person to say this, but these voices have been a little bit quieter in this narrative. So it was great to hear his perspective on this. And then we also talked about the other hat that Isaac wears. He is the manager of his late father's estate. His father is the legendary singer, Isaac Hayes. So we talked about what that experience has been like managing the estate, and how his father's experience in the music industry had formed a lot of the work that Isaac Hayes III himself wants to create and the opportunities he wants to do through Fanbase. We also talked about what an Isaac Hayes biopic would look like, and who Isaac Hayes III would want to play his father in a movie. I think he had a pretty good answer. I'm a big fan of this person. So I think you'll enjoy who we said. We also talked about Atlanta's impact, and just how influential that city has been in culture and for Fanbase as well, we had a great conversation, and I hope you enjoy this as much as I did. Here's my chat with Isaac Hayes III. All right, today, we got Isaac Hayes III with us. He's the co-founder and CEO of Fanbase, an app that helps creators monetize the content that they put out into the world and get what's there. So Isaac, thank you for joining. And it'd be great to just hear from you how things were going with you and how things been going with Fanbase. What's the latest been?Isaac Hayes III 03:46Man, we just closed our second seed round of $2.6 million on StartEngine. So we've raised a total of $6 million in less than a year. It's been phenomenal. We're adding a lot of amazing functionality to Fanbase. And new features are rolling out in the next couple of weeks, a new version of audio, which is one of our flagship features on the platform that's monetized for all users. So it's an exciting time at Fanbase.Dan Runcie 04:10Can you talk to me about your fundraising process a bit because I know that you crowdfunded the 6 billion. You were able to do it at a few different stages. But what made you go that route, as opposed to the more traditional venture capital fundraising?Isaac Hayes III 04:25Two things: one was just a recommendation by a really good mentor of mine to do so. And it was in COVID, because, you know, we couldn't move. And I had a real kind of like off-putting conversation with a VC. And it immediately reminded me of the music business. And so in my mind, I immediately thought, okay, these seeds are like the label. And I'm like an artist trying to get a record deal. And so starting to gave me the opportunity to go independent, and sell my shares out of the trunk of my car to the tune of $6 million, which gives us better leverage, and lets people know that we don't need venture capital to raise serious cash. And so that's really how it, you know, wind up that being that way.Dan Runcie 05:06Yeah, I heard the comparisons from a lot of people. And I think that the thing you often hear from folks that do crowdfund is that it can take a lot of time to get there. But at least from what I've seen from your process, you were able to get several thousand investors in a pretty short amount of time. So what were the steps from that perspective to keep the momentum hot, and to make sure that you had a strong pipeline?Isaac Hayes III 05:29I think the best thing is, when you're, I think the biggest benefit was the fact that it's a product that the investors can actually use in real time. So it's not like they're giving to something, and they're investing in something and not knowing what the product will be or what it does. They're a part of it in real time. And it's something that's relatable to them. If I go and invest in a tech startup that does something to do with aerospace engines, cool, when I'm not with it every day. I just sit back and hope that they make the best decision possible with my investment. But Fanbase is something that I think is more personal to people because of where we are social media. So I think that gave it a lot of energy, because people are a part of the process, and they feel part of the platform and part of this journey together in real time. So it's something that you can use, you know, and then who better, I got to say, to give actual equity in a social media startup into the users themselves that will actually make the platform grow. Dan Runcie 06:20And I think you're able to find some influential folks with that too, right? You got Kandi Burruss, you got Charlamagne. And of course with their platforms, they're able to help amplify and can connect you with other investors or just other creators, given what they've done.Isaac Hayes III 06:34Yeah, but we honestly haven't used them in that fashion. And I actually don't typically want them or to do that particularly yet. And the reason being is because I like the fact that they are silent in their action, because a lot of times when people of notoriety step out in a space where they're invested in a platform and may turn other people off, that feel like well, I didn't get that opportunity. And in social media, it's more about the users. The most important investors on Fanbase, and we have some really big, big name investors, the most important investors on Fanbase are the actual users, the larger, broader, probably a sea of 8000 plus individuals that have put their money in and actually use the platform on a day-today basis, who will be those day-to-day, you know, hardcore super users. But relationships and those investors that are of a high stature like a Snoop Dogg and stuff like that, their time will come later. They all, I know, they all know exactly when they're going to get on and when they're going to turn the engine up on the platform. So we're just, you know, we're focused on the core audience and the core investors of the platform being what we really focus on at Fanbase.Dan Runcie 07:41And with 8000 investors, you mentioned $6 million raised, it makes it pretty affordable to, you know, for people to be able to have a stake, because I think that's one of the challenges that you often see from institutional money that comes through or some of the minimum buy-ins for some investments is that it isn't always the most accessible for folks that may be interested. So I think you're able to at least allow that to happen given the amount of people that were able to invest for the total amount you have.Isaac Hayes III 08:10Absolutely, I mean, the accredited investor rule has kind of been a barrier for all people, you know. I don't care what race you are, if it's a law that's been in effect since 1933, it's just only given opportunities to rich people to actually invest in early stage companies. So you're coming out of the Great Depression, if you ever wonder why none of your family members got a call to invest in IBM, or Microsoft, or Apple, or Facebook, and so on and so forth. It's this accredited investor rule that is given all the best opportunities of wealth to the wealthy. And so I love the fact that Barack Obama and Joe Biden pass the Jobs Act and allow people like myself to go to my peers and the public to actually have the same opportunity that VCs and accredited investors have to get a piece of the American dream by investing the same way that all these other people have been able to do for 83 years.Dan Runcie 09:01I think we're gonna see the rules continue to break down on that. I know now they have that flexible option where I think if you take the Series 63 or 7 or one of those tests, then you can become accredited. So that's one way to pass the income thresholds. But I feel like even that is probably going to break down at some point. That just feels like where everything is at it.Isaac Hayes III 09:22It should. I mean, one of the seed investors in Uber, a guy by the name of Oren Michels only invested $5,000 into Uber, but when it IPO in 2019 is 5000 was worth 24 million. And I'm like, well, how come we can go to Vegas and spend $5,000 on the crap table or go buy $5,000 worth of lottery tickets, but I can't invest in Uber. And I think that's the real crime is that, you know, it's okay that if you go blow your money gambling in that fashion, but not gambling in in the fashion of investing your money in a startup like Uber, which wound up being very, very successful, so the rules have to change and platforms like StartEngine are breaking down those barriers.Dan Runcie 9:59Right, especially when so many other people using it and giving these startups their early validation are the ones that believe and see in the future. So I feel like those dots got to connect eventually. But...Isaac Hayes III 10:10It will for sure.Dan Runcie 10:11Going back to Fanbase itself and how things are, I read that you have a goal be able to hit a million users in June. And it would be great to hear what your strategy has been in terms of acquiring customers. What's been the most effective thing that you've done to get more creators and users onto the platform?Isaac Hayes III 10:30I think the biggest thing is actually just word of mouth, right? It's the quality of the product. And then I think we're in a very unique time, a very opportunistic time for platforms like Fanbase to emerge, because of this transition from users wanting more access to their following, they're getting tired of words like shadowbanning and content suppression and stuff like that. And algorithms are becoming the enemy of the common user on the platform, or even the super user on the platform, because platforms typically are profitable off ad revenue. And so for that to happen, you can't simultaneously provide visibility for every user on the platform, and then run ads at the same time. That's counterproductive to the business model. Because if that's the case, then the people that buy ads would just go to the users themselves and run ads that way. And then you would have no business model. And so Fanbase is just you know, emerging at a time right now that I think the conversation is different. And ad based, ad-based revenue social media platforms are going to continue to change that puts us right, at the right time to continue to grow. So word of mouth. And then timing is just helping us, and then we have an amazing creative advisory board of young people. There's some other strategic partnerships, and I'm really excited to begin working on that, they're really rooted in community and rooted in the culture of what we want on Fanbase, which is young, centennial people of all races, ages, backgrounds, creating content and monetize.Dan Runcie 11:56What are some of those partnerships? Anything you can share with us?Isaac Hayes III 11:59No, because... And the reason why I can't is because they're really savvy in the way there's things that I think, social media startups, I'll say this, like, I think Fanbase has the best advantage to become a social media unicorn by simply being in Atlanta. And what I mean by that is like Atlanta, is the epicenter of black culture in the United States of America. And what we know about Black culture is Black culture is pop culture. And we know about pop culture, pop culture is what drives social media. So therefore, if you're right at the epicenter of where the viral challenge is going to happen, or the newest, funny influencer, or the dance challenge, or the artist is at, being able to have them be part of Fanbase, and part of that community gives us a really big advantage. So some of those partnerships are rooted in culture, and community, and music. I can't announce them or anything, because it's really dope, though, the way that you have an advantage to do so. And I think a lot of the other platforms know that, which is why they kind of try to pivot in and out. And also try to acquire those users from Atlanta, those the talent, they're like, oh, let's pay them. Let's try to get them, you know, in the same way, but I think Fanbase just has a little bit more of an advantage.Dan Runcie 13:09I hear that and thinking, too, about making sure that the talent gets paid fairly. I think that's been the underlying theme for so much of why you wanted to create this. There have been so many people that we've seen have become viral sensations, or creators who have a strong following, but being able to really tap into that in a meaningful way hasn't always worked. And in some cases, it's everyone else making money instead of them. I think you would have that story about the ghetto Spider-Man and how the person behind that had blown up, but he's the one calling you like, hey, what do I do? Like, is anything that can help here? And you think about that, and you just think about all of these creators, whether it's folks on TikTok, that are, like the guy that does the hands video, you know, he is, you know, one of the biggest creators, but he isn't anywhere on that Forbes list of the top creators. So I feel like you'll be able to bridge that connection of, okay, there's clearly a market gap here and how we can have a platform that can close that and how big of an opportunity that is.Isaac Hayes III 14:13It's an enormous opportunity. I think monetization for every user is the wave of the future. I keep saying it. I think that there isn't a person right now that isn't subscribed to at least one thing. And one subscription becomes more and more the common vernacular of how we engage with content. Social media is the last, you know, frontier that's left. You know, when you think about TV and film with Hulu, and Netflix, and Disney+, and music with Spotify and Apple Music, and print media with Forbes, and The New York Times, and Billboard, and then productivity software like Adobe Premiere Pro, Microsoft Word. Like, you don't... You're subscribed to something. You're probably subscribed to an app on your phone that allows you to edit your photos. And so subscriptions are just the language. And so I think that's going to be the language of the future moving forward. And so I think that's going to be the language of the future moving forward. And it just, it gives everybody a chance to make money as opposed to the people that the apps highlight to be most successful, because they're the best vehicles for ads to run in between their content. Think about that, like the larger audience on, the greater audience of a platform like Tiktok, since there's really only one kind of like channel. It's literally just a platform of short form video. So the wider audience on their demographic on that platform is a white audience just based off of the United States. So therefore, it would behoove them to have bigger white stars to run ads to monetize that larger audience. So that's what they kind of have to focus on. So Fanbase doesn't worry about that. It doesn't matter who you are. Everybody can be a superstar on the platform.Dan Runcie 15:42Yeah. And that piece about the subscriptions as well, it just, everyone having that and then seeing who can profit off of it. It also makes me think of an exchange you and I had had recently, we're talking about what's happening right now in the music industry and these catalog valuations, too. You had shared perspective that artists actually should not be selling their or publishing their catalogs, because how much room streaming has to grow. And you just look at some of the demographics on that. What's your take on it? And how much bigger do you think this market will get?Isaac Hayes III 16:18Man, I think it'd be massive. Like I said, at the time, last year was 400, I think it was 450 million people were on music streaming services this year, it's like 525. It's jumped up. That's like, you know, almost like 7 to 9% of all the people with the ability to have streaming services like Apple Music or Spotify on their phone, have them over the next decade by 2030, I think it'll be close to a billion people, so that, that'll be almost a little over double what is available. So imagine and that's only that's only like 1 billion, it's less than a billion, not even a billion people a music streaming services, but there's 6.3 billion people on the planet with smartphones, you know, satellite Wi Fi, satellite internet is going to be something that is going to actually be more connected, as opposed to where wires can go. You know, satellites can go to provide people Internet, and then with video, like, there's like 222 million people on Netflix. And there's 6.3 billion people, the available market share is massive. So I mean, as big as a company is Netflix is, they don't even have, you know, they don't even have 7% of the market of available people that can get on their platform, it's more like three and a half. So think of the growth potential that Netflix can have or anybody that's providing subscriptions via content they can have. That's why we're focused on person-to-person subscription content, which I think will trump everything in the future. Dan Runcie 17:42Yeah, it's interesting, because I think there's these two trends happening, because one of the reasons everyone's buying the catalogs is exactly what you said, people see the upside, were streaming's going n the other side, you're also seeing, whether it's Netflix or Spotify, the rapid growth that they may have had once starting to slow down a little bit. So you do think about, yes, you know, a service like Facebook, if we think of that as being like the most ubiquitous thing out there, you know, several billion people on it, but it's also because it's free, right? So it's like, there's some number of what are the total number of people that will be willing to pay $999 in the US for music streaming service, or whatever that price difference may be in their respective place. We still haven't gotten there yet. And I'm curious, you know what that actual number will be. And it's just so hard to know, because I think some people think it's going to be a lot higher. And there's other people that think that we're close to that peak. So who knows.Isaac Hayes III 18:38I don't think we're anywhere near the peak because it's the nature, the market will grow as the youth grow. And so as kids are more like, kids are trained and kind of use to subscriptions, and virtual currency, and app purchases, it's that they've known that their whole lives. I remember when I was first discussing building Fanbase, I spoke to someone that was in their 30s, they were like, I'd never subscribed to another person, right? Why would I do that.? And then I was in the Apple Store, and I just randomly asked this 20, I think the young lady was probably like, 21 years old. I think I asked how old she was. She says I'm 21, I was like, if you could subscribe or what her favorite group was, and my first inclination that she was going to name a very famous artist, and she named an indie band, right? What's your favorite artists? I bet you're gonna name somebody like, you know, Ariana Grande. I said, if you could subscribe to that person for $3.99 a month, that band for $3.99 a month, and they would post videos and they were working on their album or exclusive photos and stuff like that.Maybe, they might let you buy, you know, tickets to their show before anybody else, would you do that? And her answer was like, fuck yeah, $3.99. And I'm like, that's when I was, okay, I gotta do this because they don't care. There was, I remember, there were legions of people that swore they wanted to own a mp3. And I'm like, man, it's $10 a month to listen to everything that's ever been created. Only your mp3 is out of here. That's a done deal. So I think the market will go as the youth decide. And the youth are showing their propensity to spend, or virtually, you know, their Cashapp and Venmo and PayPal, their NFT's, their crypto, they're all in that space. So I think it's going to actually explode way beyond what it is now.Dan Runcie 20:13Yeah, that's a good point. The other thing, too, is that there are just so many other services beyond the digital streaming providers that are offering some type of music experience that's going to drive up the platform, right? Like it doesn't always have to be streaming. It can be in app purchases, the same way that, you know, these kids go wild about V-bucks or whatever it is in these games, it's going to be the same thing there. As more and more of these companies getting music licensing, like, we're going to see that continue to happen. So it'll be interesting.Isaac Hayes III 20:42I'm telling you... I'm spending money on Call of Duty to make my gun cooler or wear cooler outfit. Kids are going to spend money to have access to shoes before anybody else can, tickets before anybody else can, experiences that no one else can have for, you know, small amounts of prices, and that give them exclusivity and clout and bragging rights. Trust me, I know exactly what's going to happen.Dan Runcie 21:07Let's take a quick break to hear a word from this week's sponsor. Let's talk more about today's sponsor Intercept Music. The company is on a mission to empower independent artists everywhere. This is a tale as old as time. Artists and labels have often had to choose between their creative freedom and autonomy and access to marketing and distribution that would catapult their careers. Well, that's no longer the choice, especially today, people can have both and Intercept is one of the companies making that happen. It offers a fully managed advertising and promotional service allows you to distribute your music and you have the opportunity to sell merchandise through its branded online stores. This is your one-stop shop to manage your career and take it to that next level. As an artist or label, Intercept can help you unshackle your monetization opportunities and, as Method Man said himself, you can use this platform and keep 100% of your shit. To learn more, go to interceptmusic.com and learn how this company is helping independent artists like you take their careers to the next level. You mentioned Call of Duty for yourself. Are there any other personal areas that you've been personally where, you know, attracted to, whether it's a single game or a solo thing where, you know, a majority of your attention has gone to?Isaac Hayes III 22:23Just call... I only play one game, Call of Duty. I've been playing Call of Duty for like 12 years, I like content. So I used to fly drones, like, all the time. Like, not just for the fun of flying, but the fun of capturing the actual content and creating content. But other than that, I mean... Social media is like, it's a passion of mine because I liked the connectivity. And I liked the potential. I liked the potential of being disruptive. And where we can create unique experiences via technology. That's one thing I love about technology, technology doesn't give my brain like a limit. I have conversations with my CTO and say, hey, you know, can we do this? And he's like, the question is not if we can do it, it's just how long it'll take us to do it. How many man hours? Well, we could do it. And that's the greatest feeling to have, like, can we make this do this and just do this? He's like, yeah, we could do that. But and so having like, your imagination not being limited. Only the, only limitation is your resources like man hours, and manpower, and funds. And cool. Like, I understand that part. So don't you know, don't give me $100 million dollars, move out of the way. You know, no, don't let me raise $100 million. You want to see an app, like be fly than anything you've ever seen? Fanbase is phenomenal. And we raised $6 million. Imagine what we do, and we raised 60, 600 million, it's gonna be phenomenal. That's why I'm excited. I'm like, oh, it's gonna be go time for sure.Dan Runcie 23:40So what does the future fundraising timeline look like for you? Where do you think you'll raise again? And how big do you think that'll be?Isaac Hayes III 23:46I mean, we've been getting calls, which is kind of curious, because I guess the A&R of what a VC is, their version of A&R has been starting to reach out because they see Fanbase making waves and so now, it's not me going to VCs, but it's VCs coming to us, which is better. So I feel we still have a lot of work to do in a short period of time. But I would like to raise a significant series, a somewhere, you know, in the eight figure range, really to get us, you know, in eight figure range to really get us where we need to be because there's so much involved with data and streaming and music licensing. And so these platforms have to be funded to scale and so we're gonna need it. You know, I love the notion of being able to continue to raise equity crowdfunding with people, and I think I'll find ways to continue to do that. But you also... VCs also serve a very good purpose of their knowledge, their relationships, their experience. So I'm not opposed to them. I'm just sometimes primarily opposed to the terms. So now we can have conversations that are different than that. I'm not opposed to the VCs, I'm just opposed to the terms. So sometimes we just have to work better and making sure we get fair terms by doing things on our own. Dan Runcie 24:54And I think the fact that you're at the place you're at now gives you the leverage to do that, right? I think one of the reasons that the unfair terms happen more often is because the founder or the founders don't come from that place of leverage. They're more so looking for the help just from being able to be sustainable, to keep the lights on and all those things, you have that piece of it checked off, given what you've been able to do with the money you've been able to raise. So it's more so, hey, we're trying to go a bit faster. We're trying to do this, this, and this, if you want to be in it would be great. But if you don't, there's other people knocking at the door who can make this happen.Isaac Hayes III 25:32Yeah, I mean, writing your own path, you know, coming from the music business, I look at like, I look at percentages, so I'm on a platform called PitchBook, where I can see like, how much equity was given up for what percentage and I'm like, what, gave up what, for 39% of the company, and like, hell, oh, no, you can't do that. Because you have to be strategic. And I know, sometimes we want to get our product to market so bad. And we want it, we feel that once we get there, doesn't matter if I gave him this much, it's gonna be successful, I'm gonna be able to do this, but you have to be conservative with equity, you can't be selfish. At the same time, people have got to invest money, they're gonna want significant portions of your company. But I think the more work you do improving your model on your own, the more advantageous you are as a part of the VCs, because now you can work together. I love my team, my team is brilliant, they're smarter than I am, I'm just a big idea guy that want to make sure, wants to make sure that the colors look good, and the energy is right. And then the rest is up for us to really, you know, structure this business. So I like writing our ticket that way by being independent, as I like to say. Dan Runcie 26:34So how big is the team now? And how big do you think it'll be end of this year?Isaac Hayes III 26:38So right now we have a team of 25 developers, and probably 15 other personnel or 40. But I think our development team would probably be 150, given a significant raise, and probably our executive team probably go from like, 15 to 30 people. So it would grow. I mean, you know, and that's with everything, running it, you know, at best case, you know, if I had it my way, because we can build faster and more simultaneous functionality. And then I love you know, being able to pay really smart people to make Fanbase do amazing things and in the right amount of time. So I'm looking forward to that though, we have a game plan to really scale up to a million users by June, it's two months. It's two months, as you know, it's April, you know, saying April 8, so we don't have that much time. But I'm looking forward to the grind.Dan Runcie 27:30And I also got to imagine that the Atlanta community and culture ecosystem you're around has and will continue to have so much of an impact on you. Can you talk about how beneficial it's been from that perspective? I know y'all got The Gathering Spot, and you have so many other execs there. How important has that collective been?Isaac Hayes III 27:51It's been invaluable, because the first conversations that I had about building a startup social media platform happened at The Gathering Spot, they were members that were in the tech space that I looked at as mentors, their names are Jewel Burks, Barry Gibbons, and Justin Dawkins. They are all accomplished tech professionals in their own right, and the fact that I could sit right next to them, like a kid, you know, being able to talk to like, talk to Michael Jordan or whoever be like, yo, how do you do this? How do you do that? How are you able to do these things, and then lending their ear and lending their voice and their information to me is invaluable. I think that was really, you know, the essence of community and Atlanta, especially in the black tech space. They're just tons of brilliant people and I've met met at those spaces, but those three individuals were like instrumental in helping me shape Fanbase to the company because they told me you know, why it's important that you have a CTO that has a stake in the in your company, why is important, like what your deck must look like, why you know, when it's a raise, how you scale, all these things that you have to bring together. And so that's the dope part about it. So the Atlanta communities are invaluable in that fashion. We're all like, there's no ceiling of what you can achieve in a city like Atlanta with black leadership. I was just telling you, I just saw a clip today about Justice Ketanji Brown Jackson being able to be elected to the Supreme Court, Symone Sanders said, if you didn't elect Raphael Warnock and Jon Ossoff in Georgia, that would have never happened, he wouldn't have had the votes or the leverage to do so. And so a political community that's aware, that's African American that understands how politics play in the ability for you to scale your business and city like Atlanta is invaluable. That's the probably, the biggest asset to being anybody in the city is, is probably that there's a political foundation that has been built on for over 60 years that kind of gives people the energy and the confidence to try things that no other people would try. Like Tyler Perry saying, I'm gonna build a movie studio, like L.A. & Babyface, and we're gonna bring a record company to the city, like someone like The Gathering Spot, or Pinky Cole with Slutty Vegan, or Tracey Pickett with Hairbrella. Like all these amazing startups that are coming out of Atlanta, Georgia, and have come out of Atlanta, Georgia. So it's a place for you to dream and excel.Dan Runcie 30:02It really is. It's remarkable just to see how much of it stems in. I think so many of you as well have roots in music and how I think that has been the core of what you all have been able to do and achieve. And it makes me think a lot about where your inspiration for why this is so important to you came from. You would obviously seen your dad's experience in the music industry and some of the challenges he had had with unfair contracts and things like that. Can you talk a bit about how that through line was for you in terms of the influence and seeing that inspire where you want to be the most impactful and how that shapes Fanbase?Isaac Hayes III 30:39Yeah, so I mean, as a kid, getting into the music industry, the first thing I learned, before I learned about music notes, I learned about music publishing, and it's just because that's what your family's gonna tell you is like, look, all this creative stuff is great, but know your business, right? Because you can get taken advantage of, don't get caught up in it. It's a joy, like creating music, being a creator is the best feeling in the world, making songs that people want to dance to, and that are part of their lives. And never forget, if you don't have that business, it's going to be something that you're going to wind up having a bitter taste in your mouth about because you've created all this great music, but do you really benefit from it, people that exploit you. So content ownership, ownership of your content, exploiting your content to your benefit has always been something that's been in the back of my mind. So that's why I say I've approached tech with a music industry mindset and nothing gets grimier than in the music business. So like I said, you know, tech is nothing compared to, like, the record business. So if you can handle a record business, you can handle tech, because the deals are what the deals are. The deals are straightforward, you know, the music history just makes up their rules. And so I had a great teacher and my father and my mom who just taught me about the business. So I think that helps a lot. It gave me, it gave me quite a bit of perspective of why artists deserve to get paid more for the content they create. And that's any user on social media. Those are the people that are making these dances go viral. Also the people that are being funny, those are people that are bringing really great thought-provoking content that gets you thinking, get you inspired, get you to vote, get you to, you know, to protest. So we have to, you know, make sure that those people have an opportunity to really make sure that they monetize their energy in that way.Dan Runcie 32:16Definitely, and I hear you on how the music industry, there's so there could be so much lack of clarity on these things. I know one of the things that you've also been pushing towards is to get the music rights back from your dad's music. How has that process been? And where are things right now with that?Isaac Hayes III 32:34So it's just a matter of time. I mean, the good thing about Copyright Law is they expire, they return to the original authors. And so we're just in the process right now of terminating so much as a case publishing, we've terminated all the songs that he wrote from 1963, all the way up to 1968 into going into 69. So there's, you know, his entire songwriting catalog as a songwriter we haven't even gotten to the Isaac Hayes era, but we've terminated you know, one of his biggest works was a song called Hold On, I'm Comin' that he wrote for Sam & Dave that gets used at commercials all the time. So that process is moving along, you know, very steadily and now there's new opportunities and new deals for my family, or equitable opportunities, and the ownership is ours. So it's a great spot to be in right now.Dan Runcie 33:19That's good to hear. I mean, because we've definitely know how tough it can be especially on your side, whether you're an estate manager or you're just more broadly trying to get it back for the sake of your family or loved one so that's good to hear. And on the estate side of it, I know you do manage that. Definitely heard a number of stories of different people that have managed estates over the years, both the good that comes from it, but also some of the challenges as well. Can you talk a little bit about how your experience has been on that front?Isaac Hayes III 33:48I mean, well, I was looking at it,I look at a brand, it's like a hot air balloon. And so the higher the balloon goes, the more people see it. So it's a job I'm going to stay to get that balloon as high as possible before you try to do things so people say well, how come there hasn't been a you know, a movie on your father I was like, well, there's more work the balloon gotta get a little higher. We got to, people got to see a brand and build it. So it's been tough because I think a couple things like icons, black icons are not always held to the same standard or represented in media the way that white icons are. And what I mean by that and that's the job above actually the black community to uplift its own icons to do so. And when I tell people all the time I said, look, you go to the grocery store, and you can practice this exercise, you can go, you can go to the grocery store, and you're always going to see one of four people in a magazine at all times. You're going to see John Wayne, Ronald Reagan, Elvis Presley, or Babe Ruth, at any time. And all of those guys have been dead for quite a long time, but they never let you forget their icons. They never let you forget Audrey Hepburn, they never let you forget Marilyn Monroe, they keep their legacy and their icons immortalized by continuing to push them and elevate them through media. Now in black culture, we typically do that for a period of time, but you don't typically see Dorothy Dandridge, or Sammy Davis Jr., or James Brown, or Martin Luther King, or people on covers of magazines just cause right, it's usually in some drama that, you know, some tabloid is trying to bring back up, but just for the sake of doing an amazing pictorial on, you know, Ray Charles, and to let that continue to uplift his legacy. That doesn't happen that often. So we have to take better care of our black icons, and continue to uplift them in media to do so.Dan Runcie 35:32That's a good point about the same faces you already see in the magazines, or you go to the grocery store. I think all the names you mentioned are the ones that you often see. On the movie point, though, I do hope that we do get in Isaac Hayes movie, at some point. I know you're saying that, you know, these days, you got to wait for the bubble to get a little bit bigger. But it's one of those things we're in this moment now where you're seeing, I'm sure you've seen it, too, so many music documented, whether it's documentaries, or the bio pics themselves, and some of them are a lot better than others. But you still know that they all had a ton of money poured into them. So hopefully, while this run is going on, that bubble can meet and the stars can align to make something like that happen.Isaac Hayes III 36:14I think so. I mean, we definitely have a documentary that must be told before feature film, I think a biographical nonfiction version of what really happened and what my dad's life was really like is a story that I think should be told first, and then we could dramaticize that and infantilize that in a way that I think brings young people and old people together. And I have that in my mind of how we merge all these genres together, these generations together to really tell the story of Isaac Hayes because I think he's probably the most relatable icon to the current generation of any icon that's passed away, by the way that he looked, by the way the type of music he created because I'm like, it's like, there's not too many people that still wear clothes like Michael Jackson, or wear their hair like James Brown, but there's several black men with bald heads and beards and sunglasses still in 2022. So the relatability is there. And then in terms of evergreen music, it's just like people continue to sample him to make new records. So I think he has the most connectable thread to the youth coming from his generation to now so we're definitely going to capitalize on that, expand more on that in 2022 and 2023.Dan Runcie 37:32Who would you want to play him in a biopic?Isaac Hayes III 37:27Ah, I've said this before. Just off first glance to the surface is probably Jonathan Majors, right? I like Jonathan Majors. Jonathan Majors is a phenomenal actor. I looked at him, I said he could play him. But then there's like, you know, you never know. I mean, there's always this sea of amazing, you know, talent out there, especially from people... I always get trouble in saying it but let me tell you something, the UK Brits, the Brits got those actors. Like they come from places like, I'm like, most of the shows I've watched on TV, the actors are British, like what? Like Snowfall? Like All American? The Walking Dead? It's like, yeah, those are the guys that you wouldn't know. They're so good at what they do. You would have never thought that but they're so classically trained. And then there's some, you know, amazing actors in the States as well. But you know, even Daniel Kaluuya. I'm like, oh, man, all these dudes? Brits be crushing it. So who knows, though, but Jonathan majors is an amazing actor. And I think he could do a great job portraying Isaac Hayes.Dan Runcie 38:24He's a good one. I'm excited to see what he does at this Creed movie coming up. And the range is there, you saw his Marvel thing, and I've done of course, Last Black Man in San Francisco. He's so good.Isaac Hayes III 38:35Yeah, I'm like, What's he gonna do a Ceed? I'm like, okay, what's going on? Like Creed 3? That's gonna be a good one right there.Dan Runcie 38:41I know. I know. Yeah. Isaac Hayes III 38:41It's going to be interesting.Dan Runcie 38:42That will be good.Isaac Hayes III 38:42Yeah.Dan Runcie 38:43Daniel Kaluuya, of course, I think he's one of the best under 40 actors. I mean, period. He's one of the best folks under 40 we got right now. So I mean, obviously, what he did with Fred Hampton was amazing. So I think he would be legit, but it's good that you brought up the British piece because it's one of these things where we both know, if that happened, people would be you know, all up in arms like they are about a lot of black British folks that play American actors, thought or based off of American icons. But it's like you yourself as the person representing the estate in the family is like no, I would endorse this based on what you're seeing. We know how that conversation would go.Isaac Hayes III 39:24Oh, yeah, no. Yeah, I think again, like I said, Jonathan Majors was the first in mind that I had. And again, you never know who's out there by way, like, even like I watched it just by actors in general. I watch Winning Time, the story about the Lakers and the guy that plays Magic Johnson, they just found him like,Dan Runcie 39:37He's so good.Isaac Hayes III 39:40He's so perfect for the role. That's what I'm saying. Like there's always the right person for the role, it's out there. You got to find them. But it's just like I said, I don't think he's, he hadn't been in anything, I think, a lot of stuff. I don't think he'd done a lot of stuff. But they were like, it's this guy in California, like, give them a go. See, when we came in the room, he smiled. It did that. Like, it's Magic Johnson. He's killing it. So yeah, you always know that and I think, and also, here's another dream of mine, though, is I do want another Shaft film. I want another Shaft film with a modern Shaft, right? I want a modern, you know, modern day Shaft and the person that I think that should play that is Mahershala. Ali. I would love to see Mahershala Ali as a new Shaft do that. I know he's about to be Blade, his plate is full. So but again, yeah, I think Shaft go modernize is something else to do, such a big part of my dad's career. So and I think there will always be an appetite to have a black, you know, superhero in the sense of saying, a person that stood up for his community and fought crime and as a stand up black man. So I think there's always the ability to do that, too.Dan Runcie 40:41Oh, yeah, I think he would be great at that type of role. And I think that Blade definitely gives you some of that imagery of, you know, the black trench coat and everything. And the whole vibe, too. But yeah, I think that'll be good.Isaac Hayes III 40:53Sure.Dan Runcie 40:53Even what artists would, you know, cover the version that your dad did, and you know, with that, I mean, thinking about that, too, for the song perspective? Isaac Hayes III 41:03Yeah, we have a lot of unreleased, I have a lot of unreleased Isaac Hayes music that was recorded around the same time. And trust me, it's some Shaft D stuff in there, some stuff. Like I've been holding on to it for years now. Like I think I transferred those masters in 2014. For eight years, I haven't even really let some of that stuff. Like I said, they won't call about another Shaft at some point. And I'm gonna be ready. I'm gonna be ready to let people check it out.Dan Runcie 41:25Oh, yeah. You know, the call is coming soon, especially the way that content works right now, the call's coming soon. Isaac Hayes III 41:30Absolutely.Dan Runcie 41:31Well, Isaac, this has been great. It's been great to chat, hear more about Fanbase, hear about some of the other things you're working on with regards to the estate. But before we let you go, is there anything else that you want to plug or let the Trapital audience know about?Isaac Hayes III 41:45Of course, to download Fanbase, we have a new version of audio, we have audio chat rooms that are monetized. So a new version of audio is coming in, like, probably, like a couple of weeks, we have our version of TikTok and Reels called Flicks so you can make short form video. And we have stories that are for followers and subscribers. So you can put your stories behind a subscription paywall as well. And I think that's something that's amazing, too. baseLike I said, monetizing content for everybody is just something that I think the world is gonna be all immersive in in the future, say right now is that kind of that friction point where it's like, is it really going to be a thing? And people are going to resist it at first, but once it becomes part of the norm the same way with all these other media verticals, our social media is just a next vertical for subscription.Dan Runcie 42:46Definitely, we see where it's all heading right. 10 years ago, people thought it was gonna be crazy, like, oh, you're gonna pay people at social media to do posts and now influencers do it on the regular. It's just a matter of timing, platform, and everything. And I feel like you got the right mix.Isaac Hayes III 42:40Thank you very much. Appreciate it.Dan Runcie 42:42Thanks, Isaac. This is great. Appreciate it. If you enjoyed this podcast, go ahead and share with a friend. Copy the link, text it to a friend, post it in your group chat, post it in your Slack groups. Wherever you and your people talk, spread the word. That's how Trapital continues to grow and continues to reach the right people. And while you're at it, if you use Apple podcast, go ahead, rate the podcast, give it a high rating, and leave a review. Tell people why you liked the podcast. That helps more people discover the show. Thank you in advance. Talk to you next week.Advertising Inquiries: https://redcircle.com/brands

Join us as we discuss A24, life in San Francisco, and gentrification with Prince Jackson!

Kylie and Elliott return to talk about the movies they watched over the past week while searching for better cinematic dads. Along the way, they discuss how Hollywood nostalgia just isn't their thing, that feeling when you discover a new favourite movie, the reason they always watch through the credits, and Elliott struggles with a certain French-Canadian director's name (among other things).This week's movies are: Incendies (2010), Under the Silver Lake (2018), Inland Empire (2006), Thoroughbreds (2017), The Last Black Man in San Francisco (2019), Barton Fink (1991)Follow along onInstagram: @baddad.raddadTwitter: @BadDadRadDadLetterboxd: kylieburtonLetterboxd: ElliottKuss Hosted on Acast. See acast.com/privacy for more information.

Katie checks in with stage manager Ryan Gohsman, whose credits include Here Lies Love, The Death of the Last Black Man, The Light Years, and Mary Jane, and who is currently the production stage manager for Little Shop of Horrors at The Westside Theater (featuring Christian Borle, Tammy Blanchard, and Conrad Ricamora).

Writer/director Joe Talbot

Reynaldo Piniella is an actor, writer, educator and activist from East New York, Brooklyn. He is an Advocacy Leadership Institute Fellow with the National Association of Latino Arts and Cultures (NALAC). He currently serves on the Council of the Episcopal Actors' Guild, a nonsectarian charitable organization that provides food and financial assistance to actors in need. He co-runs Youth Onstage!, a free youth theater training program for young people from underserved communities across the country. As an actor, he's been seen Off-Broadway in The Death of the Last Black Man…, Venus (Signature), The Skin of Our Teeth (TFANA), Lockdown (Rattlestick), The Space Between the Letters (The Public/UTR), Terminus (NYTW Next Door). Regional work includes Baltimore Center Stage, Syracuse Stage, Sundance Theatre Lab in Morocco, the O'Neill and the Cleveland Playhouse. TV credits include Blue Bloods, Sneaky Pete, Flesh & Bone, Greenleaf, The Carrie Diaries, Law & Order: SVU, NYC 22, Us & Them, Louie and The Daily Show with Jon Stewart. Film credits include Madeline's Madeline, Shadows, One Percent More Humid and Broken City. His writing has been developed and commissioned by Baltimore Center Stage, the National Black Theater, San Diego Rep, Single Carrot Theater, Pioneer Theatre Guild, Shakesqueer Theater Company, HB Studio and NYU. Piniella's play Black Doves won the Thomas Barbour award for Playwriting. Philanthropic/Activist Causes: Episcopal Actors Guild National Association of Latino Arts and Culture, Weeksville Heritage Center

In today's episode of Art of the Cut, we sit down with the editors of Marvel's first Asian-led action feature, Shang-Chi and the Legend of the Ten Rings, Nat Sanders, ACE, Elízabet Ronaldsdóttir, ACE, and Harry Yoon, ACE. Nat Sanders has worked with director Dustin Daniel Cretton multiple times, as well as with Barry Jenkins on the Oscar-winning Moonlight and If Beale Street Could Talk. Elízabet Ronaldsdóttir started her career in her native Iceland more than twenty years ago, and we've talked before on Art of the Cut about Mile 22 and Atomic Blonde. She's also edited The Deep, John Wick, and Deadpool 2, among others. Harry Yoon has previously been on the show for his most recent project, Minari, and for Best of Enemies and has also been involved in other projects featured on Art of the Cut, including Last Black Man in San Franciso, First Man, Detroit, and The Revenant. Thanks to Frame.io for their support of Art of the Cut and their pledge to keep this content coming your way. Read this interview and many others at blog.frame.io, where you'll also find expert guides, tutorials, and insights from veteran filmmakers across the film and TV industry.

The No More Movies duo takes a turn to speak on a movie they both watched for the first time, less than 24 hours before their conversation. They might have been running on POC time, which was why they were late to the "LBMiSF" party, but they made it. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/knowmoremoviespodcast/support

I interview Michael Marshall (sometimes professionally known as Mike Meezy) about his incredible multi-decade career as an R&B singer.  We dive deep into exploring the impact of the hit 'I Got 5 On It' on Michael's life, his solo work, and his contributions to the soundtrack to The Last Black Man in San Francisco.  We also talk at length about Michael's musical philosophies and his rapidly growing marijuana business in California.

Alex and Adora are joined by sisters Briana and Zaria from The Blk Lens (@theblklens) to discuss The Last Black Man in San Francisco, adding their perspective as SF natives. They get into their experience growing up in SF, how it's changed, where it's taken them, and get into the some hot takes on dating in the Bay Area. Follow them on IG: @theblklens Listen to them on Apple: https://podcasts.apple.com/us/podcast/the-blk-lens/id1529163973 Listen to them on Spotify: https://open.spotify.com/show/69DrNOPMTMujKPy9NeNR0s?si=7qprF44wQKi5O_1IEytDOg Watch their podcast: https://youtu.be/-NlB5xLIf5M Young Community Developers: https://www.ycdjobs.org/ Follow us on IG: @inmy_opinionpod Take our survey: https://270f3rfd5kx.typeform.com/to/hWVfcOLG --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

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In this week's episode of The Casting Session, host Joanna Colbert sits down with Independent Casting Director Julia Kim. Julia's work has been recognized by a multitude of top-tier film festivals, and her credits include Minari and The Last Black Man in San Francisco. For her, it's all about the story. She also started InvASIAN LA, an organization and community that teaches Asian actors industry-basics to be better prepared for increasing opportunities. Tune-in as Joanna and Julia discuss the differences between commercial casting, feature film casting, and remind actors that casting directors are their allies (that will literally give them the coats of their backs to help them get the job)! Thank you so much for listening to The Casting Session! Join the podcast every week as special guests examine filmmaking through the perspective of casting, giving actors insight into the audition and a behind-the-scenes look into the casting process. If you enjoyed the episode, follow the show on Instagram @thecastingsession or leave a review wherever you listen to the podcast to share your thoughts, feedback, and reactions to the show. Creator: Joanna ColbertExecutive Producer: Michael JereldProducer: Justin SinticEditor: Michael Jereld --- Send in a voice message: https://anchor.fm/thecastingsession/message

Today one of our newest TNR voices, Ocean, takes a trip with Steve to meet The Last Black Man in San Francisco. They agree that this is a film that has a distinctive opening, but there's a sharp difference of opinion at the heart of this episode. What does Steve see that Ocean doesn't? Does Ocean have valid points, or is a certain amount of suspended disbelief necessary for all films? Find out what makes the last Trailer Rewind of 2020 a contentious one. Join the conversation with movie lovers from around the world on The Next Reel's Discord channel! Film Sundries Thank you for supporting The Next Reel Film Podcast on Patreon! Watch this film: iTunes • Amazon • YouTube Script Transcript Original theatrical trailer Original poster artwork Flickchart Letterboxd

Today one of our newest TNR voices, Ocean, takes a trip with Steve to meet The Last Black Man in San Francisco.They agree that this is a film that has a distinctive opening, but there's a sharp difference of opinion at the heart of this episode. What does Steve see that Ocean doesn't? Does Ocean have valid points, or is a certain amount of suspended disbelief necessary for all films? Find out what makes the last Trailer Rewind of 2020 a contentious one.Join the conversation with movie lovers from around the world on The Next Reel's Discord channel!Film SundriesThank you for supporting The Next Reel Film Podcast on Patreon! Watch this film: iTunes • Amazon • YouTube Script Transcript Original theatrical trailer Original poster artwork Flickchart Letterboxd

Syd & Lex review fan favorite 'The Last Black Man in San Francisco'. The hosts share their experiences with gentrification in different cities across the country. Follow The New Chitlin Circuit Twitter: twitter.com/tnccpod IG: instagram.com/newchitlincircuit www.thenewchitlincircuit.com The New Chitlin Circuit is the only podcast dedicated solely to highlighting Black, independent film. Every Monday, Syd and Lex review a Black indie, low-budget, or direct-to-tv movie.

Jamal Trulove grew up in a poor community and spent more than six years in prison before being exonerated, and is now on a mission to help those who are where he was.

President Obama's lists of his favorite books, movies, and TV shows of 2019 are out. They include a number of titles that are showing up on proper critics' lists -- The Irishman, The Last Black Man in San Francisco, Parasite, Unbelievable, Watchmen, etc. -- but there are some surprises too. At the same time, here are all the books President Trump recommended in 2019. One other movie that shows up on Obama's list is Greta Gerwig's new version of Little Women, which is being celebrated as "a cinematic achievement" and "a masterful, passionate, all-in kind of adaptation." Some other stuff that happened this week, give or take: The Best (and Worst) Food Trends From the Past Decade The Absolute Best Way to Fry an Egg, According to 42 Tests A Serious Conversation With the Man Who Made Cats Wait, What Went Down Between John Boyega and Star Wars Fans on Twitter Last Night? The Game of Thrones Creators Just Departed From Their Upcoming Star Wars Trilogy Bumble dating app blocked Sharon Stone after users thought her profile was fake This Toilet Patent Makes Workers Uncomfortable Taking Long Bathroom Breaks KISS Frontman Gene Simmons' Cereal Hack Is Melting Down Social Media Adam Sandler is the uniter we need right now Has J.K. Rowling figured out a way to break our cancel culture? GUESTS: Rebecca Castellani - A music writer for the Red Hook Star Revue Cara McDonough - A freelance writer; you can read her blog at caramcduna.com Carolyn Paine - An actress, comedian, and dancer; she is founder, director, and choreographer of CONNetic Dance Join the conversation on Facebook and Twitter. Colin McEnroe and Chion Wolf contributed to this show.Support the show: http://www.wnpr.org/donateSee omnystudio.com/listener for privacy information.

The Nose is off this week (because, on any given day, it's entirely possible that our whole show will be off with all this impeachment nonsense going on), so David Edelstein joins Colin for the hour to talk about some of the best (and some of the worst) movies of the year. The Irishman, Diane, Once Upon at Time... in Hollywood, Uncut Gems, The Last Black Man in San Francisco, The Lighthouse, Ad Astra, Marriage Story, The Goldfinch, and Dolemite Is My Name all get mentioned. But which ones are the best, and which ones are the worst? And what about Toy Story 4? Colin's got it as his favorite movie of the year. (It's #2 on my list so far.) Edelstein's got a whole other take on the Disney/Pixar sequel. And speaking of Disney, there's some Marvel vs. movies talk here too. GUEST: David Edelstein - America's Greatest Living Film Critic Colin McEnroe contributed to this show. Join the conversation on Facebook and Twitter.Support the show: http://www.wnpr.org/donateSee omnystudio.com/listener for privacy information.

Nine years after we thought the series was over, here comes TOY STORY 4. Does it tarnish the legacy or enhance it? We discuss. Joe Talbot and Jimmie Fails just debuted with THE LAST BLACK MAN IN SAN FRANCISCO. You're gonna want to remember these names moving forward. Trust us. To pair with our marquee film this week, we decided to center the PICK SIX segment around our favorite Pixar movies. SIXAR, if you will. For the second straight episode we fulfill a listener demand for the THROWBACK CHALLENGE. Andy talks about his experience with Daisy Asquith's QUEERAMA, and Noah finally has a chance to sit down with Gus Van Sant's MY OWN PRIVATE IDAHO. The fellas are drinking Sex and Candy IPA from 18th Street this week. Cheers! --- Support this podcast: https://anchor.fm/the-film-harmonic/support

The Last Black Man in San Francisco is the story of Jimmy and his best front Mont trying to reclaim the house his grandfather built, while dealing with friendship, gentrification and finding a place to belong.

A lost archive episode for you guys! The B.E.G.I.N. crew breaks down The Last Black Man in San Francisco.

Sticks & Stones is Dave Chappelle's fifth standup comedy special for Netflix in three years. All four previous specials won the Grammy for Best Comedy Album, and one of them won the Emmy for Outstanding Variety Special. The critical response to this latest special, though, has been a bit more muted. The Last Black Man in San Francisco (out this week on DVD/Blu-ray/iTunes/Amazon/etc.) tells the semi-autobiographical story of Jimmie Fails, a man just trying to get his grandfather's house back. It's Joe Talbot's directorial debut, and it's been called the best film of the first half of 2019. Also this hour: an AccuFrankie dispatch live from Nedstock.Support the show: http://www.wnpr.org/donateSee omnystudio.com/listener for privacy information.

Will, Sammy and Av unveil their movie DNA, discussing Toy Story 4 before diving into the three movies that shaped their childhoods. June movies we recommend, besides Toy Story 4: The Last Black Man in San Francisco; Woman at War; Rolling Thunder Revue; Diamantino. Classics Corner: The Lord of the Rings Trilogy (2001-2003); Knock Knock […] Learn more about your ad choices. Visit megaphone.fm/adchoices

Actor Jimmie Fails gets personal with his own family legacy in "The Last Black Man in San Francisco".

In episode eighty-nine of movies imo., Ben, Brandon, and Daniel yell over each other about Joe Talbot's Park City sensation THE LAST BLACK MAN IN SAN FRANCISCO before discussing a few other recent films to win the Directing prize from the Sundance Film Festival: Eliza Hittman's BEACH RATS, Daniels' SWISS ARMY MAN, and Sean Durkin's MARTHA MARCY MAY MARLENE. Ben responds to Talbot and lead actor/collaborator Jimmie Fails' stylish evocation of Fails' personal narrative, Daniel hails Durkin's sense of parallelism, and Brandon mounts a vociferous argument for the destruction of a beloved Disneyland attraction. See acast.com/privacy for privacy and opt-out information.

Dave and Alonso disagree quite a bit this week, but they've got the same favorite among the seven films reviewed. Subscribe (and review us) at Apple Podcasts, follow us @linoleumcast on Twitter, Instagram and Facebook, flippin' like a pancake, poppin' like a cork. Join our club, won't you? Streaming pick of the week: BATHTUBS OVER BROADWAY DVD pick of the week: SUPERFLY (2018)

Julia Kim is a veteran casting director who's worked on such eclectic independent films as "But I'm a Cheerleader," "Starlet" and "Spa Night." She's also a really cool, smart, interesting woman whom Christy feels lucky to call a friend. Christy's fellow Los Angeles native talks about growing up in the San Fernando Valley in the '80s as the daughter of Korean immigrants, her early years performing as a classically trained pianist, working on "The Simpsons" during the show's '90s heyday and her 20-year career as a casting director, which includes the upcoming Sundance favorite "The Last Black Man in San Francisco." Julia also discusses her consulting company, invAsianLA, which helps Asian actors navigate the casting process, and offers tips on making your best impression during auditions. It's an especially informative episode of A La Carte, so we hope you enjoy.