Podcasts about The White Wall

VEM: Anna Knochenhauer EPISOD: 38 (Säsong 3 avsnitt 3) EN PODD AV: Simon Kölle www.linktr.ee/simonkolle PRODUCERAS AV: Simon Kölle & Amir Noghabai SÄSONG 3 GÖRS I SAMARBETE MED: FrameSage, med hjälp utav FrameSage kan du finansiera ditt filmprojekt.  Besök www.framesage.com  SÄSONG 3 SPONSRAS AV: Story Academy och Film Crew. Drömmer du om att jobba med film och TV? På Gotlands folkhögskola finns Story Academy och Film Crew – två utbildningar för dig som vill in i branschen. Om Episoden:  Hur ser vardagen ut för en av Sveriges mest erfarna postproducenter? I det här avsnittet av Filmbranschpodden möter vi Anna Knochenhauer, en drivande kraft bakom några av de mest framgångsrika svenska filmerna och tv-serierna. Med över 25 år i branschen har hon arbetat med produktioner som Whiskey on the Rocks (SVT/Disney+), Jönssonligan kommer tillbaka, Så länge hjärtat slår, Comedy Queen, Hilma, Euphoria, Fartblinda, Vi i villa, White Wall, Den allvarsamma leken, Jätten, Ensamma i rymden, Hundraåringen som klev ut genom fönstret och försvann och Känn ingen sorg. I detta avsnitt djupdyker vi i postproduktionens avgörande roll och utforskar hur Anna ser på sitt arbete – från tekniska detaljer till kreativa beslut som formar en film eller tv-serie. Hon delar värdefulla insikter om branschens utmaningar, hållbart arbete, motivation och lärdomar.

This week on the Expert Voices podcast, Randy Wootton, CEO of Maxio, speaks with Drew Neisser, Founder and CEO of Renegade Marketing. Drew shares his extensive experience and key insights into the dynamic relationship between CEOs and CMOs, especially for early-stage founders. Randy and Drew explore crucial aspects such as hiring strategies for the first CMO, balancing roles between C-suite executives, and how to set up CMOs for success in the evolving SaaS landscape. Drew illustrates how innovative marketing strategies can significantly affect business outcomes and common pitfalls that can lead to CMO failures. Quotes“You need something called a reverse migration strategy. Normally you would take two years to migrate a brand from one place to another. Think about a trade show. You go to a trade show booth and I see a brand, oh look, there's the Microsoft Windows booth, just in case you happen to be a customer. If you're a customer of theirs, you're going to stop. But if they suddenly changed their name to White Wall, you're not going to stop. Those aren't your people. You're not a customer. So you need to be thinking about your customers and their ability to find you at a trade show.” -Drew Neisser [17:45]“There is a real misunderstanding, and this is the mistake I think CMOs make. They go in, new job, and they say, "Oh, it's a brand problem. We need a new website, we need a new logo, we need a new color," and that's all they change. To me, if you understand strategy, if you're changing your strategy, you're changing your product. And say we're doing a brand refresh and we're not changing something about the product, why are you bothering?” -Drew Neisser [37:46]Expert Takeaways Strategic Alignment: Define clear roles and set expectations between CEOs and CMOs to ensure a unified approach toward growth and marketing strategies.Courageous Strategy: Emphasize daring and distinctive strategies in marketing, focusing on differentiation and simplicity.Artful Ideation: Engage employees and cultivate creativity within the marketing efforts to create compelling narratives and pithy brand stories.Execution and Measurement: Implement a scientific method to measure the impact of marketing activities, ensuring actions align with broader business goals.Avoiding Pitfalls: Recognize the top reasons CMOs fail, such as mismatched expectations and not having a cohesive operating system, to navigate and correct these issues proactively.Timestamps(00:00) Building Effective CEO and CMO Relationships(06:01) The Importance of Taking Time for Personal Growth(07:40) The Relationship Between CEOs and CMOs in Business Strategy(13:25) Building Brand Reputation and Navigating Rebranding Challenges(21:22) Renegade Marketing: Courageous, Artful, Thoughtful, Scientific Strategies(25:41) The Power of a One Word Strategy in Branding(27:41) Engaging Employees and Customers to Build a Strong Brand(36:13) Top Reasons CMOs Fail and How to Avoid ThemLinksMaxioUpcoming Events

In this episode, we're excited to dive into Day One Shorts, an awesome annual series of short films by up-and-coming rangatahi filmmakers all over Aotearoa. We had the opportunity not only to watch them early but to also interview each of the young filmmakers behind every short. ⁠Click here to watch all eight shorts⁠ before getting the inside scoop on their amazing work. Big thanks to ⁠Day One⁠ and ⁠818⁠! CHAPTERS (00:00:00) Day One Shorts (00:06:24) Wilbert Wire (00:21:07) Lemons (00:33:35) Behind the White Wall (00:42:03) Sua - Portrait of a Retired Bus Driver (00:43:29) Detangling the Stigma (00:55:27) Yeah Pare (01:04:29) Holy Ghost (01:13:33) Taurewarewa (01:26:46) Next week LINKS Send us an email at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠1978podcast@gmail.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Follow us on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, and ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Letterboxd⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Songs by ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Stanley Gurvich⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and ⁠⁠⁠⁠Manos Mars⁠⁠⁠⁠⁠⁠.

Episode 52 is a round table considering the impact of Ernest Hemingway's writing on the works of Cormac McCarthy.  Joining us for this discussion are Dr. Olivia Carr Edenfield, Professor of English at Georgia Southern University.  She is a founding member of the Society for the Study of the American Short Story and Director of the American Literature Association.  She has recently published a defense of the mother in The Road  in the CMJ.     Dr. Brent Cline is an associate professor of English at Hillsdale College.  He has published articles and chapters involving disability on Walker Percy, James Agee, and Daniel Keyes. His review of The Passenger/Stella Maris was published with The University Bookman. His article on The Mexican Revolution and All the Pretty Horses was just published in the CMJ.   Dr. Bryan Giemza is an Associate Professor of Humanities and Literature in the Honors College at Texas Tech University. He  is author or editor of  numerous books on American literary and cultural history, ten book chapters, and more than thirty published articles and reviews. His books include Irish Catholic Writers and the Invention of the American South, and more recently Science and Literature in Cormac McCarthy's Expanding Worlds (2023), and the forthcoming Across the Canyons: Transdisciplinary Approaches to Divisive Communications in West Texas and Beyond, Texas Tech UP.   Dr. Allen Josephs joined us for a discussion of All the Pretty Horses.  A past president of the Ernest Hemingway Foundation and Society and the South Atlantic Modern Language Association in 2008, where he was awarded the continuing honorary membership.  He is the author of some 15 books, including On Hemingway and Spain: Essays and Reviews 1979 – 2013; White Wall of Spain: The Mysteries of Andalusian Culture; and For Whom the Bell Tolls: Ernest Hemingway's Undiscovered Country. He is the author of four critical editions of the poetry of Federico García Lorca and a book of translations of Lorca's poetry and prose, Only Mystery: Federico García Lorca's Poetry in Word and Image. . His book On Cormac McCarthy: Essays on Mexico, Crime, Hemingway and God, was published in 2016. Dr. Josephs is professor emeritus from the University of West Florida where has taught for more than five decades and now resides in Spain.  As always, readers are warned: there be spoilers here.  Thanks to Thomas Frye, who composed, performed, and produced the music for READING MCCARTHY.  The views of the host and his guests do not necessarily reflect the views of their home institutions or the Cormac McCarthy Society, although in our hearts we hope they'll someday see the light.  If you enjoy this podcast you may also enjoy the GREAT AMERICAN PODCAST, hosted by myself and Kirk Curnutt. To contact me, please reach out to readingmccarthy(@)gmail.com. Despite the evening redness in the west Reading McCarthy is nominally still on Twitter/X.  The website is at readingmccarthy.buzzsprout.com.Support the Show.Starting in spring of 2023, the podcast will accept minor sponsorship offers to offset the costs of the podcast. This may cause a mild disconnect in earlier podcasts where the host asks for patrons in lieu of sponsorships. But if we compare it to a very large and naked bald man in the middle of the desert who leads you to an extinct volcano to create gunpowder, it seems pretty minor...

ON THIS WEEKS PODCAST: Kevin Thompson interviews Emily Flitter, author of "The White Wall: How Big Finance Bankrupts Black America." They discuss systemic discrimination in the financial industry, focusing on the experiences of Black employees and customers at major banks. Topics include the lack of diversity on arbitration panels, the use of NDAs to silence discrimination victims, and the need for reparations and equity. They also examine the impact of discriminatory practices on individuals and communities, and the importance of systemic reforms. Emily highlights efforts by some banks to change practices and support disenfranchised communities, while Kevin emphasizes understanding different perspectives and the historical context of these issues. The episode concludes with a call to action for listeners to engage with the content and approach the book with awareness.Why Did You Write The Book: (2:50)Arbitration Panel and Diversity: (6:36)Financial Institutions Use of NDA'S: (11:05)What is Affirmative Defense: (13:35)JP Morgan Chase: please Use Caution: (15:27)Ghetto Loans: (18:20)Solutions to these Issues: (21:58)DEI and Reparations: (25:43)Website: http://www.9icapitalgroup.com

Lee shares with us a revelation of how to live as who God designed us to be. https://www.visioneternity.org/ https://soundcloud.com/vision-eternity-ministrie

  When TOILET PAPER was the hottest commodity around! #Laughter is the BEST medicine

An in-depth spoiler free discussion about the new film by the world's greatest living director Martin Scorsese as he returns to the big screen with his epic crime Western, Killers of The Flower Moon starring Leonardo DiCaprio, Robert DeNiro and Lily Gladstone. What is the film really about? Is it too long? Is it Scorsese's best film? Find out in our podcast now. Hosted on Acast. See acast.com/privacy for more information.

A special bonus episode because bad things happen to words outside of books too. So we're talking about bad worship remakes, demonic takes and the bad theology beneath it all. (Early and with no ads for the People of Jod. Thank you ❤️) BAD W

FILMBRANSCHPODDEN - A PART OF ACASTING VEM: Lisa Ambjörn YRKE: Manusförfattare, Showrunner, Exekutiv Producent SÄSONG: 1  EPISOD: 1  EN PODD AV: Simon Kölle linktr.ee/simonkolle SPONSRAD AV: Ritualen - www.ritualen.com OM: Lisa Ambjörn berättar initierat om filmbranschen och sin spännande resa i karriären, sin roll som skapare av serier, huvudförfattare, showrunner, om Young Royals alla säsonger, serien Sjukt, STDH, sin tid i London, vad hon gjorde i Kongo, om sjukdom, kärleken till Farsta och mycket mer.  NÄMNER (bland annat):  Ali Abbasi, Amanda Högberg, Anton Nykvist, Attack the Block, Axel Stjärne, Biskops Arnö, Black Island, Carla Sehn, Craig Mazin, DI, Djo Mungo, Drottning Kristina, Ebba Stymne, Erika Calmeyer, Exekutiv Producent, Fans, Farima, Farsta, Filmbranschpodden, Filmrecensioner, Fire Monkey, Four Lions, Guldbaggen, Ingemar Bergman, Intimitetskordinator, Jack Kerouac, Jerry Karlsson, Jesse Armstrong, Johan Rosell, Julia Andem, Julia Lindström, Kongo, Kristallen-galan, Linnea Roxeheim, London, Lukas Moodyson, Malin Nevander, Manus, Michelle King, Mikko Pöllä, Moon, Morfar, Netflix, Nice Drama, Nokia, Nordic Talents, Palmira Koukkari Mbenga, Peep Show, Pia Gradvall, Rederiet, Ridley Scott , Robert King, Rojda Sekersöz, Rågsved, Sci-fi, Showrunner, Simon Kölle, Sjukt, Viva Riva!, Skam, SKHL, Sofia Coppola, Sofie Forsman, Sommaren 85, Spung, Star Wars, STDH, Stockholm, Succession, The Cancer Hangover, The Crown, The Good Fight, The Good Wife, The Last of Us, Theo Bugoslaw, Tomten är far till alla barnen, Tove Forsman, Ung utan Pung, Voice Over, Volvo, White Wall, Young Royals, Young Royals säsong 1, Young Royals säsong 2, Young Royals säsong 3 Med mera

One half of the movie event of the summer, Greta Gerwig's Barbie movie gives us plenty to chew on as we discuss the adventures of Margot Robbie, Ryan Gosling, Will Ferrell and America Ferrera in Barbieland. Is it a cinematic feminist triumph or another great victory for corporate movie merchandising?White Wall Cinema is an independent cinema based in Brighton, focusing on interesting, unusual, overlooked cinema, classic and new. Find us at:www.whitewallcinema.co.ukwww.instagram.com/whitewallcinema Hosted on Acast. See acast.com/privacy for more information.

In 2018, Emily Flitter received a tip that Morgan Stanley had fired a Black employee without cause. Flitter had been searching for a way to investigate the deep-rooted racism in the American financial industry, and that one tip lit the sparkplug for a three-year journey through the shocking yet normalized corruption in our financial institutions. Examining local insurance agencies and corporate titans like JPMorgan Chase, BlackRock, and Wells Fargo and reveals the practices that have kept the racial wealth gap practically as wide as it was during the Jim Crow era. Flitter exposes hiring and layoff policies designed to keep Black employees from advancing to high levels; racial profiling of customers in internal emails between bank tellers; major insurers refusing to pay Black policyholders' claims; and the systematic denial of funding to Black entrepreneurs. She also gives a voice to victims, from single mothers to professional athletes to employees themselves: people who were scammed, lied to, and defrauded by the systems they trusted with their money, and silenced when they attempted to speak out and seek reform. Flitter connects the dots between data, history, legal scholarship, and powerful personal stories to provide a “must-read wake-up call” (Valerie Red-Horse Mohl, president of KNOWN Holdings) about what it means to bank while Black. As America continues to confront systemic racism and pave a path forward, The White Wall: How Big Finance Bankrupts Black America (Atria/One Signal Publishers, 2022) is an essential examination of one of its most caustic contributors. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

In 2018, Emily Flitter received a tip that Morgan Stanley had fired a Black employee without cause. Flitter had been searching for a way to investigate the deep-rooted racism in the American financial industry, and that one tip lit the sparkplug for a three-year journey through the shocking yet normalized corruption in our financial institutions. Examining local insurance agencies and corporate titans like JPMorgan Chase, BlackRock, and Wells Fargo and reveals the practices that have kept the racial wealth gap practically as wide as it was during the Jim Crow era. Flitter exposes hiring and layoff policies designed to keep Black employees from advancing to high levels; racial profiling of customers in internal emails between bank tellers; major insurers refusing to pay Black policyholders' claims; and the systematic denial of funding to Black entrepreneurs. She also gives a voice to victims, from single mothers to professional athletes to employees themselves: people who were scammed, lied to, and defrauded by the systems they trusted with their money, and silenced when they attempted to speak out and seek reform. Flitter connects the dots between data, history, legal scholarship, and powerful personal stories to provide a “must-read wake-up call” (Valerie Red-Horse Mohl, president of KNOWN Holdings) about what it means to bank while Black. As America continues to confront systemic racism and pave a path forward, The White Wall: How Big Finance Bankrupts Black America (Atria/One Signal Publishers, 2022) is an essential examination of one of its most caustic contributors. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

In 2018, Emily Flitter received a tip that Morgan Stanley had fired a Black employee without cause. Flitter had been searching for a way to investigate the deep-rooted racism in the American financial industry, and that one tip lit the sparkplug for a three-year journey through the shocking yet normalized corruption in our financial institutions. Examining local insurance agencies and corporate titans like JPMorgan Chase, BlackRock, and Wells Fargo and reveals the practices that have kept the racial wealth gap practically as wide as it was during the Jim Crow era. Flitter exposes hiring and layoff policies designed to keep Black employees from advancing to high levels; racial profiling of customers in internal emails between bank tellers; major insurers refusing to pay Black policyholders' claims; and the systematic denial of funding to Black entrepreneurs. She also gives a voice to victims, from single mothers to professional athletes to employees themselves: people who were scammed, lied to, and defrauded by the systems they trusted with their money, and silenced when they attempted to speak out and seek reform. Flitter connects the dots between data, history, legal scholarship, and powerful personal stories to provide a “must-read wake-up call” (Valerie Red-Horse Mohl, president of KNOWN Holdings) about what it means to bank while Black. As America continues to confront systemic racism and pave a path forward, The White Wall: How Big Finance Bankrupts Black America (Atria/One Signal Publishers, 2022) is an essential examination of one of its most caustic contributors. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sociology

In 2018, Emily Flitter received a tip that Morgan Stanley had fired a Black employee without cause. Flitter had been searching for a way to investigate the deep-rooted racism in the American financial industry, and that one tip lit the sparkplug for a three-year journey through the shocking yet normalized corruption in our financial institutions. Examining local insurance agencies and corporate titans like JPMorgan Chase, BlackRock, and Wells Fargo and reveals the practices that have kept the racial wealth gap practically as wide as it was during the Jim Crow era. Flitter exposes hiring and layoff policies designed to keep Black employees from advancing to high levels; racial profiling of customers in internal emails between bank tellers; major insurers refusing to pay Black policyholders' claims; and the systematic denial of funding to Black entrepreneurs. She also gives a voice to victims, from single mothers to professional athletes to employees themselves: people who were scammed, lied to, and defrauded by the systems they trusted with their money, and silenced when they attempted to speak out and seek reform. Flitter connects the dots between data, history, legal scholarship, and powerful personal stories to provide a “must-read wake-up call” (Valerie Red-Horse Mohl, president of KNOWN Holdings) about what it means to bank while Black. As America continues to confront systemic racism and pave a path forward, The White Wall: How Big Finance Bankrupts Black America (Atria/One Signal Publishers, 2022) is an essential examination of one of its most caustic contributors. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

In 2018, Emily Flitter received a tip that Morgan Stanley had fired a Black employee without cause. Flitter had been searching for a way to investigate the deep-rooted racism in the American financial industry, and that one tip lit the sparkplug for a three-year journey through the shocking yet normalized corruption in our financial institutions. Examining local insurance agencies and corporate titans like JPMorgan Chase, BlackRock, and Wells Fargo and reveals the practices that have kept the racial wealth gap practically as wide as it was during the Jim Crow era. Flitter exposes hiring and layoff policies designed to keep Black employees from advancing to high levels; racial profiling of customers in internal emails between bank tellers; major insurers refusing to pay Black policyholders' claims; and the systematic denial of funding to Black entrepreneurs. She also gives a voice to victims, from single mothers to professional athletes to employees themselves: people who were scammed, lied to, and defrauded by the systems they trusted with their money, and silenced when they attempted to speak out and seek reform. Flitter connects the dots between data, history, legal scholarship, and powerful personal stories to provide a “must-read wake-up call” (Valerie Red-Horse Mohl, president of KNOWN Holdings) about what it means to bank while Black. As America continues to confront systemic racism and pave a path forward, The White Wall: How Big Finance Bankrupts Black America (Atria/One Signal Publishers, 2022) is an essential examination of one of its most caustic contributors. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/economics

In 2018, Emily Flitter received a tip that Morgan Stanley had fired a Black employee without cause. Flitter had been searching for a way to investigate the deep-rooted racism in the American financial industry, and that one tip lit the sparkplug for a three-year journey through the shocking yet normalized corruption in our financial institutions. Examining local insurance agencies and corporate titans like JPMorgan Chase, BlackRock, and Wells Fargo and reveals the practices that have kept the racial wealth gap practically as wide as it was during the Jim Crow era. Flitter exposes hiring and layoff policies designed to keep Black employees from advancing to high levels; racial profiling of customers in internal emails between bank tellers; major insurers refusing to pay Black policyholders' claims; and the systematic denial of funding to Black entrepreneurs. She also gives a voice to victims, from single mothers to professional athletes to employees themselves: people who were scammed, lied to, and defrauded by the systems they trusted with their money, and silenced when they attempted to speak out and seek reform. Flitter connects the dots between data, history, legal scholarship, and powerful personal stories to provide a “must-read wake-up call” (Valerie Red-Horse Mohl, president of KNOWN Holdings) about what it means to bank while Black. As America continues to confront systemic racism and pave a path forward, The White Wall: How Big Finance Bankrupts Black America (Atria/One Signal Publishers, 2022) is an essential examination of one of its most caustic contributors. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/politics-and-polemics

In 2018, Emily Flitter received a tip that Morgan Stanley had fired a Black employee without cause. Flitter had been searching for a way to investigate the deep-rooted racism in the American financial industry, and that one tip lit the sparkplug for a three-year journey through the shocking yet normalized corruption in our financial institutions. Examining local insurance agencies and corporate titans like JPMorgan Chase, BlackRock, and Wells Fargo and reveals the practices that have kept the racial wealth gap practically as wide as it was during the Jim Crow era. Flitter exposes hiring and layoff policies designed to keep Black employees from advancing to high levels; racial profiling of customers in internal emails between bank tellers; major insurers refusing to pay Black policyholders' claims; and the systematic denial of funding to Black entrepreneurs. She also gives a voice to victims, from single mothers to professional athletes to employees themselves: people who were scammed, lied to, and defrauded by the systems they trusted with their money, and silenced when they attempted to speak out and seek reform. Flitter connects the dots between data, history, legal scholarship, and powerful personal stories to provide a “must-read wake-up call” (Valerie Red-Horse Mohl, president of KNOWN Holdings) about what it means to bank while Black. As America continues to confront systemic racism and pave a path forward, The White Wall: How Big Finance Bankrupts Black America (Atria/One Signal Publishers, 2022) is an essential examination of one of its most caustic contributors. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/journalism

In 2018, Emily Flitter received a tip that Morgan Stanley had fired a Black employee without cause. Flitter had been searching for a way to investigate the deep-rooted racism in the American financial industry, and that one tip lit the sparkplug for a three-year journey through the shocking yet normalized corruption in our financial institutions. Examining local insurance agencies and corporate titans like JPMorgan Chase, BlackRock, and Wells Fargo and reveals the practices that have kept the racial wealth gap practically as wide as it was during the Jim Crow era. Flitter exposes hiring and layoff policies designed to keep Black employees from advancing to high levels; racial profiling of customers in internal emails between bank tellers; major insurers refusing to pay Black policyholders' claims; and the systematic denial of funding to Black entrepreneurs. She also gives a voice to victims, from single mothers to professional athletes to employees themselves: people who were scammed, lied to, and defrauded by the systems they trusted with their money, and silenced when they attempted to speak out and seek reform. Flitter connects the dots between data, history, legal scholarship, and powerful personal stories to provide a “must-read wake-up call” (Valerie Red-Horse Mohl, president of KNOWN Holdings) about what it means to bank while Black. As America continues to confront systemic racism and pave a path forward, The White Wall: How Big Finance Bankrupts Black America (Atria/One Signal Publishers, 2022) is an essential examination of one of its most caustic contributors. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/finance

A lively discussion about the latest film from the director of Hereditary and Midsommar - Ari Aster's divisive Beau is Afraid, starring Joaquin Phoenix, Parker Posey, Amy Ryan, Nathan Lane and Stephen McKinley Henderson.White Wall Cinema is an independent community cinema based in Brighton, focusing on interesting, unusual, overlooked cinema, classic and new. Find us at:www.whitewallcinema.co.ukwww.instagram.com/whitewallcinema Hosted on Acast. See acast.com/privacy for more information.

Dan Crawford is joined by Oscar Bloom and Joe Gunning to look back on a wonderful day with the White Wall in 2018 when the Whites won promotion at Wembley. The boys look ahead to the final game of the season at Manchester United on Sunday and pick out some of their favourite moments from a stellar season. Hosted on Acast. See acast.com/privacy for more information.

From the director of Whiplash, La La Land and First Man comes early Hollywood epic, Babylon (2022), starring Margot Robbie, Brad Pitt, Toby Maguire and Diego Calva.White Wall Cinema is an independent community cinema based in Brighton, focusing on interesting, unusual, overlooked cinema, classic and new. Find us at:www.whitewallcinema.co.ukwww.instagram.com/whitewallcinema Hosted on Acast. See acast.com/privacy for more information.

We discuss Scorsese's overlooked feminist classic Alice Doesn't Live Here Anymore (1974), starring Ellen Burstyn, Kris Kristofferson, Harvey Keitel, Diane Ladd and Jodie Foster.White Wall Cinema is an independent community cinema based in Brighton, focusing on interesting, unusual, overlooked cinema, classic and new. Find us at:www.whitewallcinema.co.ukwww.instagram.com/whitewallcinema Hosted on Acast. See acast.com/privacy for more information.

► See Gordon Strachan LIVE with ACSOM: https://www.skiddle.com/whats-on/Glasgow/Barras-Art-And-Design-%28BAaD%29/An-Audience-with-Gordon-Strachan/36355297/ ► See Jackie McNamara LIVE with ACSOM: https://www.skiddle.com/whats-on/Glasgow/Graces-Irish-Sports-Bar-Glasgow/Jackie-McNamara-live-with-a-Celtic-State-of-Mind-/36328793/ ► Download THE GLORY & THE DREAM: https://ditto.fm/the-glory-the-dream ► Donate to CELTIC'S BIRTHPLACE: https://www.gofundme.com/f/the-acsom-charity-weekender?utm_campaign=p_cf+share-flow-1&utm_medium=copy_link&utm_source=customer ► Support ACSOM by visiting our shop: https://acsom.net/shop/ A Celtic State of Mind is a five-time award-winning broadcast, having won Football Blogging / Content Awards in 2018, 2021 (x3) & 2022. In this latest episode, Paul John Dykes is joined by Lloyd Patrick Jepson, Alan Morrison & Brian Degning to discuss the last 24 hours in the world of Celtic. A Celtic State of Mind has gone from strength-to-strength over the last five years, and there are many more guests lined up in the weeks ahead from the world of sport, music, film, art, broadcasting, literature and politics. Connect with A Celtic State of Mind @PaulJohnDykes and @ACSOMPOD and subscribe to the podcast via iTunes or through your podcast player. #AngePostecoglou #KyogoFuruhashi #ReoHatate #YosukeIdeguchi #DaizenMaeda #CelticFC #CelticFootballClub #TheAcsomBulletin #ACSOM #ACelticStateOfMind #AwardWinningPodcast #Charity #ScottishFootball #Soccer Learn more about your ad choices. Visit megaphone.fm/adchoices

New York Times reporter Emily Flitter joins the show to discuss her new book, "The White Wall," and the way present-day racism holds Black bank employees and customers back. Then, Detroit Community Wealth Fund co-founder Margo Dalal joins the show to discuss how it is trying to create wealth for Black residents in Southeast Michigan.

Een vriendin van Hans kent een loodgieter. Hij heet Don Segerius en hij is een fan van Voorruit. Hoe bijzonder is dat? Elke luisteraar van Voorruit is bijzonder natuurlijk, maar een loodgieter, die zijn meestal erg pragmatisch. Een loodgieter die achter elkaar drie afleveringen van onze toch behoorlijke filosofische podcast luistert, wie had daar op durven hopen? Hans de loodgieter bellen, geen voorgesprek, meteen een afspraak gemaakt om te gaan posten in Amsterdam. Zitten ze te posten, blijkt dat er nogal wat dingen zijn die Don ergeren.  Wat er zoal aan de orde komt. -In Artis heb je dieren, maar vooral ook mensen. -Je raadt nooit waar Don zijn gereedschap bewaart. -De detectives worden uitgescholden maar schieten in de lach. -GPS busstation 52.36993, 4.87686-GPS zwanenhals 52.36987, 4.86514-Onbehaarde apen, Wat langdurige stress doet met je brein-J Qaurtet, White Wall

► Donate to CELTIC'S BIRTHPLACE: https://www.gofundme.com/f/the-acsom-charity-weekender?utm_campaign=p_cf+share-flow-1&utm_medium=copy_link&utm_source=customer► Watch THE GLORY & THE DREAM: https://www.youtube.com/watch?v=_8rhytkWL7U► See ACSOM LIVE: https://www.skiddle.com/whats-on/Glasgow/Graces-Irish-Sports-Bar-Glasgow/Danny-McGrain-live-with-a-celtic-state-of-mind-/36252905/► Support ACSOM by visiting our shop: https://acsom.net/shop/A Celtic State of Mind is a five-time award-winning broadcast, having won Football Blogging / Content Awards in 2018, 2021 (x3) & 2022.In this latest episode, Paul John Dykes is joined by Kevin Graham & Lloyd Jepson to discuss the last 24 hours in the world of Celtic.A Celtic State of Mind has gone from strength-to-strength over the last five years, and there are many more guests lined up in the weeks ahead from the world of sport, music, film, art, broadcasting, literature and politics.Connect with A Celtic State of Mind @PaulJohnDykes and @ACSOMPOD and subscribe to the podcast via iTunes or through your podcast player.

For Black and Brown Americans, access to capital, getting a home appraised, or even access to standard banking services can be challenging. After centuries of targeted policies that set Black and Brown Americans behind, the racial wealth gap has only grown--fueling inequities in communities of color. Systemic racism inside the American financial services industry serves as yet another barrier for not only banking customers and budding entrepreneurs, but also internal employment practices at the banks themselves.rnrnEmily Flitter covers banking and Wall Street for The New York Times. Before this, she spent eight years at Reuters, writing about politics, financial crimes, and the environment. In her new book, The White Wall: How Big Finance Bankrupts Black America, Flitter connects the dots between data, history, legal scholarship, and offers powerful personal stories as America continues to confront systemic racism and pave a path forward.rnrnJoin us at the City Club for a conversation with Flitter, moderated by Danielle L. Sydnor, President of the Cleveland Branch NAACP and Founder and CEO of We Win Strategies Group, on the racial wealth gap, civil rights, and what it means to bank while Black.

The Context of White Supremacy welcomes Emily Flitter. A White Woman (Racist Suspect), New York Times journalist, Flitter covers banking and Wall Street in her highly acclaimed, well followed column. She began receiving individual reports about black people alleging mistreatment from White banking employees. Flitter launched an investigation into how the System of White Supremacy works in the area of economics. Her book, The White Wall: How Big Finance Bankrupts Black America, investigates the many ways that Whites financially rape and ruin black people. One of the key aspects of the book is how Whites deliberately withhold information from non-white people. Flitter presents this repeatedly and in a variety of different circumstances. White insurance appraisers have extraordinary discretion about which claims they pay, the criterion they use for determining payouts, and what information they divulge to the public. This often applies when black employees allege they are being mistreated by a financial institution. Private settlements frequently include non-disclosure agreements. In fact, Flitter documents how a number of companies begin destroying evidence before they initiate punitive action against black workers. Flitter, like most Whites, was very resistant to logically conclude and publicly acknowledge that she and other White people are more informed about White Supremacy/Racism. Even though her book kicks off with a Yale study that details that black people grossly underestimate the economic power Whites wield over our lives. #RacistBanksters #WhitePeopleLie INVEST in The COWS – http://paypal.me/TheCOWS Cash App: https://cash.app/$TheCOWS CALL IN NUMBER: 605.313.5164 CODE 564943#

Episode 35 takes a first ride across the border with the novel that would elevate McCarthy's profile and career.  All the Pretty Horses won McCarthy the National Book Award following its publication in 1992 and was McCarthy's first best-selling novel. Our guest for this episode is Dr. Allen Joseph. A Hemingway scholar as well as a Cormackian, Allen Joseph is a past president of the Ernest Hemingway Foundation and Society and a past president of the South Atlantic Modern Language Association. He is the author of 15 books, including On Hemingway and Spain: Essays and Reviews 1979 – 2013; White Wall of Spain: The Mysteries of Andalusian Culture; and For Whom the Bell Tolls: Ernest Hemingway's Undiscovered Country. He has edited four critical editions of the poetry of Federico García Lorca and a book of translations of Lorca's poetry and prose, Only Mystery: Federico García Lorca's Poetry in Word and Image. He has published numerous articles on Spain and Hispanic culture in the Atlantic, the New Republic, the Virginia Quarterly, the North Dakota Quarterly, and New York Times Book Review, as well as many publications in scholarly journals. Additionally he has published numerous essays on McCarthy, some of which have been collected in  On Cormac McCarthy: Essays on Mexico, Crime, Hemingway and God, published by New Street in 2016. Recently, he has translated with his daughter poet Laura Juliet Wood the work of Spanish poet Fernando Valverde, and their translation of The Insistence of Harm appeared in 2019 from the University Press of Florida. Future projects include a thematic memoir, centered on Josephs' literary and taurine experiences from 1962 to the present. He is University Research Professor and Professor of Spanish at the University of West Florida where he has taught for more than five decades.  Thanks to Thomas Frye, who composed, performed, and produced the theme music and interludes for READING MCCARTHY.  The views of the host and his guests do not necessarily reflect the views of their home institutions or the Cormac McCarthy Society. To contact me, please reach out to readingmccarthy(@)gmail.com. Find us on Twitter and Facebook; the website is at readingmccarthy.buzzsprout.com, and if you'd like to support the show you can click on the little heart symbol at the top of the page to buy the show a cappuccino, or you can support us at www.patreon.com/readingmccarthy. Note: the first drop of this episode had a 10 second dead spot at about the 25:40 mark; that's been fixed.  If you still have it on your episode, either refresh or delete the episode and download again.Support the show

The White Wall: How Big Finance Bankrupts Black America by Emily Flitter An explosive and deeply reported look at the systemic racism inside the American financial services industry, from acclaimed New York Times finance reporter Emily Flitter. In 2018, Emily Flitter received a tip that Morgan Stanley had fired a Black employee without cause. Flitter […] The post Chris Voss Podcast – The White Wall: How Big Finance Bankrupts Black America by Emily Flitter appeared first on Chris Voss Official Website.

Emily Flitter delivers an explosive and deeply reported look at the systemic racism inside the American financial services industry. In 2018, Emily Flitter received a tip that Morgan Stanley had fired a Black employee without cause, that one tip lit the spark plug for a three-year journey through the shocking yet normalized corruption in our financial institutions. From local insurance agencies and corporate titans like JPMorgan Chase, BlackRock, and Wells Fargo, The White Wall reveals the practices that have kept the racial wealth gap practically as wide as it was during the Jim Crow era. Join us when acclaimed New York Times finance reporter Emily Flitter examines hiring and layoff policies designed to keep Black employees from advancing to high levels; racial profiling of customers in internal emails between bank tellers; major insurers refusing to pay Black policyholders' claims; and the systematic denial of funding to Black entrepreneurs, on this installment of Leonard Lopate at Large.

The New York Times' Emily Flitter reports on the barriers that people of color face when interacting with the U.S. financial services industry. She's interviewed by author and Brookings Institution senior fellow Andre Perry. Learn more about your ad choices. Visit megaphone.fm/adchoices

(Airdate 10/31/22) Emily Flitter covers banking and Wall Street for The New York Times. Before joining The Times in 2017, she spent eight years at Reuters, writing about politics, financial crimes and the environment. She is the author of “The White Wall: How Big Finance Bankrupts Black America,” published by One Signal Publishers in 2022.

New York Times finance reporter Emily Flitter joins us to talk about her new book, The White Wall: How Big Finance Bankrupts Black America, which includes a deeply reported look into systemic racism within the American financial industry and the practices keeping the racial wealth gap in place. "She also gives a voice to victims, from single mothers to professional athletes to employees themselves: people who were scammed, lied to, and defrauded by the systems they trusted with their money, and silenced when they attempted to speak out and seek reform."

New York Times finance reporter Emily Flitter joins us to talk about her new book, The White Wall: How Big Finance Bankrupts Black America, which includes a deeply reported look into systemic racism within the American financial industry and the practices keeping the racial wealth gap in place. "She also gives a voice to victims, from single mothers to professional athletes to employees themselves: people who were scammed, lied to, and defrauded by the systems they trusted with their money, and silenced when they attempted to speak out and seek reform."

Emily Flitter, a senior banking reporter for the New York Times and author of The White Wall: How Big Finance Bankrupts Black America, discusses why she decided to write the book, what she uncovered, and how discrimination continues to be a formidable challenge.

The White Wall: How Big Finance Bankrupts Black America by Emily Flitter An explosive and deeply reported look at the systemic racism inside the American financial services industry, from acclaimed New York Times finance reporter Emily Flitter. In 2018, Emily Flitter received a tip that Morgan Stanley had fired a Black employee without cause. Flitter had been searching for a way to investigate the deep-rooted racism in the American financial industry, and that one tip lit the sparkplug for a three-year journey through the shocking yet normalized corruption in our financial institutions. Examining local insurance agencies and corporate titans like JPMorgan Chase, BlackRock, and Wells Fargo, The White Wall reveals the practices that have kept the racial wealth gap practically as wide as it was during the Jim Crow era. Flitter exposes hiring and layoff policies designed to keep Black employees from advancing to high levels; racial profiling of customers in internal emails between bank tellers; major insurers refusing to pay Black policyholders' claims; and the systematic denial of funding to Black entrepreneurs. She also gives a voice to victims, from single mothers to professional athletes to employees themselves: people who were scammed, lied to, and defrauded by the systems they trusted with their money, and silenced when they attempted to speak out and seek reform. Flitter connects the dots between data, history, legal scholarship, and powerful personal stories to provide an assiduously reported, eye-opening look at what it means to bank while Black. As America continues to confront systemic racism and pave a path forward, The White Wall is an essential examination of one of its most caustic contributors.

This week, Templeton Elliott, Patrick Kigongo, and Al Brown are talking about Jim Greco's White Wall and learning to appreciate Frog Skateboards.

Jim Greco's "White Wall" part, Jim Greco's part from Baker 2G, Budget Or Buttery, Alex Sorgente's part "Vero Amore”, What We Found On The Internet And Some Stuff, Gilbert Crockett's Quasi Part "Denim Car”, Streamer xQc Does Tricks In His Living Room Live On Stream, Deep Dive Into The DC x Venture Collab Shoe, Hongo Brothers DC Shoes Part, Eldy's Pick Of The Week and much more! Learn more about your ad choices. Visit megaphone.fm/adchoices

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Ep.119 features Sarah Arison. Born and raised in Miami, Arison is President of the Arison Arts Foundation, a private grant-making organization that supports emerging artists and the institutions that foster them. She was immersed in the arts from a young age by her grandparents, visionary philanthropists Ted and Lin Arison, who founded Arison Arts Foundation, YoungArts, and the New World Symphony, among their many philanthropic endeavors. Arison is active across a broad cross-section of national arts organizations. She is Chair of the Board of YoungArts, where she has developed strategic partnerships with the Center for the Art of Performance at UCLA, Jacob's Pillow, The Metropolitan Museum of Art, Sundance Film Festival and more to provide aspiring talent with presentation and mentorship opportunities. Arison is also the Chair of the board of MoMA PS1; a trustee of MoMA; Board President of American Ballet Theatre; a trustee of Lincoln Center; a trustee of the Brooklyn Museum and Chair of the Education Committee; a trustee at New World Symphony; a member of the Board of Directors of Americans for the Arts; and a trustee of the Americas Foundation of the Serpentine Galleries. Arison has also ventured into film producing, supporting projects that shed light on lesser-known aspects of the arts. In 2015, she produced her first feature film, Desert Dancer, starring Freida Pinto. She later went on to co-produce The First Monday in May, a documentary film chronicling the creation of The Metropolitan Museum of Art's Costume Institute blockbuster exhibition China: Through the Looking Glass. She co-produced The Price of Everything which was acquired by HBO and she most recently served as an executive producer for the film Aggie, which premiered at the Sundance Film Festival. Photo by Nick Garcia | Provided courtesy of National YoungArts Foundation YoungArts Foundation https://youngarts.org/ MoMA PS1 https://press.moma.org/news/moma-ps1-announces-new-board-leadership/ NYTimes https://www.nytimes.com/2018/12/26/arts/design/show-us-your-wall-sarah-arison.html WSJ https://www.wsj.com/articles/a-day-in-the-life-of-philanthropist-sarah-arison-1527612533 Cultured Magazine https://www.culturedmag.com/article/2021/11/10/on-its-40th-anniversary-youngarts-is-just-getting-started Observer https://observer.com/2016/03/young-collectors-showed-their-apetite-for-art-last-night-at-the-bowery-hotel/ Anderson Ranch https://www.andersonranch.org/blog/summer-series-2019-in-review-sarah-arison-in-conversation-with-anne-pasternak/ Miami Herald https://account.miamiherald.com/paywall/subscriber-only?resume=259706365&intcid=ab_archive Aspen Art Museum https://www.aspenartmuseum.org/summermagazine2022/young-patrons/ Galerie Magazine https://galeriemagazine.com/creative-minds-sarah-arison/ White Wall https://whitewall.art/art/sarah-arison-returns-as-guest-editor-of-whitewaller-miami-2021 Modern Luxury Miami https://digital.modernluxury.com/publication/?i=732871&article_id=4185630&view=articleBrowser Social Miami SocialMiami - Sarah Arison Northern Trust Sarah Arison When Passion Meets Purpose | Northern Trust Artnet https://news.artnet.com/art-world/sarah-arison-art-basel-miami-beach-2042017 Americans for the Arts https://www.americansforthearts.org/about-americans-for-the-arts/board-of-directors/sarah-arison Larry's List https://www.larryslist.com/artmarket/features/16-next-gen-women-collectors-influencing-the-art-scenes/

Oliver is joined by Jack, Adam and Luke to look back on the 0-0 draw against Wigan Athletic. We also look towards the game against Hull City at Deepdale with the fan-led White Wall for Alan Kelly Town End. And how we need to create a greater atmosphere to make Deepdale a fortress.

Episode image : Sir Zanele Muholi, Vumani II, Boston, 2019 Show notes/blog post: https://www.hoodgrownaesthetic.com/post/white-wall-review-being-muholi

In this twenty-third episode of Learned Hands, the Official Podcast of the Westerosi Bar Association, Maester Merry, Clint from Laws of Ice and Fire, and special guest Akash J. Saran, J.D., ask: Does any leader at the Wall have 'good' immigration policies? How do they compare to those in the real world?Our analysis this week includes:We describe how the Free Folk are similar to refugees, asylees, and immigrants.Special guest Akash gives us a full rundown of the history of US immigration laws.Merry and her Law Hounds deliver a passionate defense of amnesty.Clint does his best accent work, probably ever.The team does a deep dive of Jon Snow's immigration policies.Learned Hands interrogates the legitimacy of the Wall itself.An update on the Westerosi Bar Association and the 2021-2022 Pledge drive.A musical cold open.Seriously, the accents are bananas.Supplemental reading: Bumpers by Sanrixian. Intro & Outro music courtesy Sid Luscious & The Pants. None of this should be construed as legal advice OBVIOUSLY. Support the show (https://www.WesterosBar.org)

Probably every society goes through revisionist history. Usually this happens gradually, over time, as stories become myths which become legends. Truth or fiction, it doesn't really matter, does it? Even now, stories are being retold to serve various agendas. The story of the election in 2020 has become a dark and witchy fairy tale on the left and a religious persecution story on the right. Each side clings to the myth that helps them sleep better at night. Yes, there are monsters roaming the countryside but it's okay because we have MSNBC to protect us. Trump didn't really lose the election because superhumans do not lose. Trump is an omnipotent force two ways it seems. Devil or Diety. Take your pick. The truth is much less complicated but it is risky to abandon the myths because the myths define us. There probably isn't a single event that can't be told a different way, or from a different perspective. I often think about that one Quaker back in Salem who spent a year in jail to make sure the story of mass hysteria and hangings was told. The horrors of Salem are so much bigger and so much more terrifying that the kitschy way Salem is remembered as witch hats and broomsticks is misleading. These are stories of children being forced to condemn their parents as witches. Poor women and their babies dying in prison. A man being crushed to death because he would not confess. Hangings that were applauded by the townspeople in the town square. Fear does strange things to us humans. Collective fear is unmanageable. The Monica Lewinsky myth is being retold because in the post Me Too era even the die-hard Democrats have turned on the withering charmer. He isn't now an echo of JFK whose romps with women were part of his legend at a time when men were applauded for their James Bond-like sexual allure. I remember being at a party in the 90s and making the joke about the Lewinsky scandal, “when they were handing out b*******s in the Oval Office where was I?” It wasn't much of a joke. But people did laugh. I suspect every single person at that dinner party now believes Clinton Me Too'd Monica. Or Monica Me Too'd Clinton.We women who lived through these eras remember full well what things were like, and even as far back as the 1970s when it was not uncommon for 12 and 13 year-olds to lose their virginity and brag about it. Molestation was everywhere, hidden from view or barely noticed or addressed. Adulthood was cool, childhood wasn't. Not until the 1990s. Then those of us who grew up in the careless 70s began to notice that it was all bad, hardly any of it good. No seatbelts, smoking at 10, smoking pot, watching porno, rated-R movies. The parents who protected their kids tended to be Conservatives who still went to Church on Sundays. But kids of the Left? We were raised like weeds. Some of us made it, some didn't. Then in the 90s we all watched Oprah and went to therapy. Then we figured out that everything was bad. We vowed to raise our kids better. Monica was a kid of the 70s too who grew up in the 90s to think it was cool to chase a married guy with seismic charisma. She famously flashed him her thong to show interest. And back then, wearing a thong was kind of risque. Not like now when everyone wears them. Poor Monica thought he was in love with her and that he would treat her well. She didn't realize that when she became a problem she'd be tossed in the garbage. And trust me, as someone who knows all too well what it's like to get in the way of a man who is using you as a side piece, that doesn't feel good. To her credit, Monica doesn't entirely blame “Predator Bill” for the affair. But she does tell a big lie in the casting. Beanie Feldstein is no Monica Lewinsky. They want it to look like Bill Clinton cornered a wallflower who isn't used to male attention, and while that might have been how Monica saw herself, that isn't how the world saw her then or now. She was vivacious and pinup-like in her beauty. Beanie Feldstein is pretty in a different way. There is no polite way to talk about the differences between the two women - it is a matter of taste and the fact is, Monica was his taste and Beanie Feldstein would have been easier to resist. Although I suspect that if she flashed her thong at Bill he would have still gone for it. It isn't so much an insult to Beanie Feldstein as it is a distortion by Monica to edge ever so slightly to the person she wants the public to think she was, rather than the bubble-headed girl she actually was.You see, the Me Too movement depends on one simple fact - women are never to be held accountable ever for anything they do regarding sex. It is always the man's fault because men are predators and women are innocent. Always. To tell this story from the vantage point of now requires Monica be rewritten as Beanie Feldstein because that is the only way to see the power imbalance between the two. If they had cast someone more Monica-like, the show would have been accused of trying to blame the victim. They would say the show sexualized a child, even though Monica was in her early 20s. It's gross what Bill Clinton did, what Hillary Clinton did, and how all of us defended them for so long. To me, the worst thing he did was move her out of the White House when she became a problem. That is sexual harassment because he's punishing her for their affair when in fact, he was an equal participant. Why should she have to suffer? No, he should not have been impeached for it, and yes it was yet another in an ongoing string of attacks to bring down the Clintons. And the public back then did not care because being “good” was not the ultimate goal of the left like it is now. Goodness rules everything. Monica wants to be seen as good and so this story helps her do that. Bill Clinton also wants to be seen as good but there isn't much he can do about it now except keep apologizing and hiding from the press. But still, Monica was punished more or less and Bill Clinton wasn't. I guess punished might be too strong of a word - after all, Monica has relied on this story her entire life for both her work and her image. What bothered me most was the attention and time it took to chase the Clintons and the attention Bill Clinton had to pay to his impeachment instead of focusing on the job of the American people. After all, 9/11 would happen not too long after this. We need our elected officials with their eyes on the ball. That is their job. But the opposition party wanted the Clintons out because they had held onto power for so long because his charisma put him in power for two terms. I feel that way now about the four years Trump was in office and how badly we all handled COVID in his last year. We could have and should have worked together rather than continue to rip the country apart to make sure Trump left office. The truth is that the Democrats wasted time and energy chasing Trump, energy that could have been spent a different way. The Democrats are now in the same place the Republicans were back then - doing everything they can to destroy the other side to remain in power.The Lewinsky story will always be told only one way from now on. Those of us who lived through it will soon die off, and all that will be remembered is that Bill Clinton was not JFK but something closer to Harvey Weinstein. The Academy Museum is a Beautiful LieIt is indeed beautiful, what the Academy wants to be. They, like all of Hollywood, all of science, all of the medical-industrial complex, heck even Nike and the NFL have decided that their very existence is exemplary of “White Supremacy” and that their history, their achievements, their glory and everything the public loves about them is not a source of pride but a source of shame. White shame. Or, as we used to say in the 80s, white guilt. I didn't used to know what a “self-hating Jew” was back when I first heard the term. I was in my 20s and a Woody Allen fan. I would hear that phrase a lot back then, along with “white guilt.” Now I know what a “self-hating Jew” is. I know why they would be self-hating. I guess it's similar to being called an “Uncle Tom.” It's about moving beyond your own station, which is defined by your ethnicity, to join the ranks of the WASPs. Woody Allen was called a “self-hating Jew” because his movies were, for a time, about escaping his own history and his own heritage and remaking himself as someone of that privileged, white elite on the Upper East Side. Being Jewish in Hollywood was never all that popular when it came to whom they'd cast in movies, even if it was popular in who made those movies. The reason there were so few Jews in movies was probably baked-in anti-semitism throughout the country, but it was also because the country was mostly white and mostly Christian. The market decided what got made and justified its “white wall” when it came to the Oscars. We woke up from 2020 without the free market to remind us of what actually sells and what doesn't. 2020 was like a massive ship wreck that sends all of the debris floating to the surface, with everything seen in one big picture to be judged. Just as the Titanic had lower and upper classes, how the rich survived and the poor didn't, the ship wreck tells the tale. There was no market so there was no justification and suddenly the ruling class scattered in a panic, caught in the bright light, their entire past suddenly upended and floating on the surface.It did not go well. By the end of it, the Academy implemented an inclusion mandate to “instruct” production companies and creatives to make sure they hired BIPOC and women - at a time when there is some debate over what the word “woman” even means. My friends who crow at me about being a conservative apologist on abortion always say, “wait, you're defending the side that is robbing women of rights they've fought for over decades.” I always think, but don't say, “you mean birthing people?”The Golden Globes were cancelled when Tom Cruise, Scarlett Johansson and Mark Ruffalo were SHOCKED, shocked that racism was going on here, even though the HFPA nominated a black female director before the Academy ever did. Oh, wait, the Academy never has. The British Film Academy (BAFTA) took the voting rights away from its members entirely, opting instead for a select committee to hand-pick nominees to meet the diversity and inclusion standards 2020 demanded. In the end, they picked two white actors for the leads anyway who they went on to win Oscars. And we have the Academy museum, a beautiful building with some film memorabilia that is worth seeing, and a drop dead gorgeous Hayou Miyazaki exhibit, but it is most definitely a somber reflection to ease the pain of so many good people in the Academy who do not want to be seen as dirty rotten racists. That isn't really something any good liberal in this town would want to admit, but take it from someone who knows Oscar history inside and out and has been covering it for 20 years — this is the Oscar museum that would very much catch 2020 Hollywood in a time capsule but it is not Oscar history. Every part of it is like trying to head off any potential criticism that would become clickbait for the major newspapers and Twitter. The lesson of 2020: don't become someone's sanctimonious, self-righteous think piece that goes viral. They definitely subverted 90% of their actual history and cherry-picked what diversity they could find here and there to portray a reimagined version of the last 94 years. I know about the Academy's White Wall. I have been writing about it since 2001. I wrote about it so emphatically that I lost half my readership in 2011. For a long time I was known as the only person covering the Oscars who wrote from the POV of “diversity and inclusion.” I remember when no one used the word “inclusion” at all and then suddenly just using “diversity” was wrong. I pushed for movies by black directors to be recognized, and for black actors to be recognized. I did this every year because I thought it mattered. Walking through the museum you'd never know what their history was or why activists fought so hard for inclusion in the first place. Sacheen Littlefeather is now a point of pride for the Academy when it was a point of embarrassment way back when. To date, only one black female has won in Lead, Halle Berry in 2001, but she is featured at the Academy Museum. They have devoted an entire room to Spike Lee and walking through you might think Do the Right Thing was nominated for Best Picture. It was not. He has won a single Oscar for writing BlackKklansman. You also might think that Citizen Kane, featured prominently at the museum, won Best Picture. It did not. How Green Was My Valley did but it is nowhere to be seen. They have the gorgeous backdrop for North by Northwest hung on a wall. You might think Hitchcock won an Oscar for directing. He did not. Or that he was nominated for North by Northwest. He was not. They could not even show Mount Rushmore, however, without affixing a mea culpa:Then why use it at all? Why hang the backdrop to begin with if you are ashamed of it? And if you are ashamed of it, why not put up all of the things you are ashamed of? I guess because this way they can have their cake and eat it too. They can display the cool art as long as they slap down the whites for their bad bad dirty rotten behavior of the past. Gee, sounds fun, doesn't it?What you won't see are the icons the Oscars were actually made on, maybe because their histories are too problematic? The big studios aren't even represented a little bit. The major icons who won Oscars aren't there - no Marlon Brando, or Dustin Hoffman or Meryl Streep? Where was Meryl? Did I see her there, icon that she is? I cannot recall. Steven Spielberg's Jaws was nominated for Best Picture, but not Director. He is a big donor and has quite a presence in the museum. There are bits and pieces of the empire that Hollywood once was but they have been sidelined in order to amplify the marginalized faces and voices who fought so long and hard to be seen in an industry that was driven by the market and a market that was driven by the white majority. That's the truth. But Hollywood does not want that to be the truth.That's why you're seeing so much awkward colorblind casting now. I just watched a movie that took place in the late 70s that was based on a memoir of a working-class white male who got into Yale and pined for the Westport girl who was simply out of his league. She slept with him but never really considered having a relationship with him and ends up marrying the right kind of man. This is based on a true story but they thought casting a black female in that role was “inclusive” — in fact, it throws the whole thing off because you're thinking about Yale and Westport and WASPS and the Great Gatsby and actual white supremacy and the white wall - and working-class New York who aren't exactly woke and weren't then. You can't just erase that history. That is what led to the activism now. Otherwise, there is no need for diversity and inclusion. But the point is to look good. That is what everyone in Hollywood and on the left wants more than anything. I felt a little funny walking around the museum, knowing everything I know about the Oscars. But it's very much in keeping with how I feel now, as a person from the left trying to make sense of what has become the left in 2021. I barely recognize it and they barely recognize me. The good people of the Left will love this museum. It is a monument to their new religion, after all, their utopia's screed writ large. This is who they will be going forward, and all they ever wanted to be looking backward. They are happy to have the heat of accountability taken off, even if it means sweeping everything under the carpet for a time. Maybe someday it will all be told, the good, the bad, and the ugly. But that day is not today. And that museum is not this one. Kim Kardashian is Finally Accepted It was a long hard road for Kim Kardashian. Hated for so long by a culture that just didn't know she was what it wanted. She hung on. Her family has built an empire worthy of the gilded age and is maybe the best example of America in decline. How many billions do they make in a year? Kim is vegan now, as is her sister Kortney and Kylie Jenner has announced her entire product line will be going vegan. They display their massive wealth - their many cars - their huge mansions - their luxurious vacations - their revolving door of men - their next generation ready to carry on in their high heeled footsteps. America's new aristocracy.Twitter and Reality TV might have birthed Trump, but Instagram and Reality TV birthed the Kardashians. There isn't any stopping any of them, especially since Kim is now part of the ruling class and an accepted member of the new woke elites who have gamed the system in order to indulge in their excess, guilt-free. Just signal your virtue and you'll be fine. I can't criticize Kim too much. After the 2016 election, the only thing I could do was watch Keeping up with the Kardashians. I watched the entire show, season by season because it was so empty-headed, so pointless, there would never be a single thing to trigger me in any direction. I could just lay there and stare at them under all that makeup, eating their Health Nut salads and blathering about this or that. But Kim has made it. She hosted SNL. She is now one of them. Like all of Hollywood, especially comedy, finding anything funny is not easy. They have sadly been sucked into the overly sensitive ideology of the new left where offending anyone is off the table. It's a win-win to bring on Kim, a subject often mocked by the likes of SNL. Now they can scramble for ratings somehow, some way. Their ratings were way down for their premiere so they are in desperate need of Gen-Z love. Kim's appearance boosted SNL's ratings from a 3.5 to a 3.8. They saw a similar boost when Elon Musk hosted, according to The Wrap. It's not hard to figure out why that might be. Hollywood overall is alienating people with its politics. Take out politics completely, or people whose identities are wrapped up in politics and maybe you can start to bring around the rest of the country. It's a trade-off. Success via the market or virtue without it. It's a beautiful thing, revisionist history. Gen-Z would never know, and will never know, just how hated the Kardashians once were. They'll never know why anyone would care whether there was Reality-TV or not. The Kardashians aren't doing anything major corporations haven't been doing for decades: selling beauty to women whose identities still depend on it. It's funny that in a time when gender is fluid and female sexuality is being purged from Hollywood action movies, the Kardashians wear their hyper-extended curves with such pride, caked in layers of makeup, stuffed full of fillers and implants - so female it's practically visible from outer space.How do those kids make sense of all of it? The cameras everywhere, the social media personas, the millions of likes on pictures of them, the massive birthday and Christmas displays of their lives for Instagram, the balloons, the flowers, the private jets, the makeup tutorials, the closets, the playhouses. Gobs and gobs of money and stuff. Kim can now tell her life's story with pride about all that she's accomplished in the time she's been in the spotlight. She's finally gotten back her old body from before she had kids. She's working on her law degree and freeing people from prison. The Academy, Kim, Monica have erased how others saw them and have reimagined a better story. Those stories have become legends and will one day be myths. No one ever has to know the truth. After all, isn't truth, like beauty, in the eye of the beholder? Get full access to Free Thinking Through the Fourth Turning with Sasha Stone at sashastone.substack.com/subscribe

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Today we are exploring what it takes to open a “White Wall” or “White Box” Gallery. How to scout a site. Things to look for and consider either as a potential gallerist or as an artist looking at a new gallery opportunity. We explore the traditional marketing plan and culture of this type of gallery and the who, what, when , why and how's and more of setting up a white box gallery. --- Send in a voice message: https://podcasters.spotify.com/pod/show/artwonk/message

Theo Delaney is joined by Abbi Summers, Pete Haine and Simon Lipson to discuss Spurs' defeat to Manchester City and the impending FA Cup semi final against Manchester United. The Spurs Show is backed for the season by Ladbrokes Check out the latest offers and odds at bet.spursshow.net If you want a chin as smooth as Theo's and have some Harry's in your bathroom, you can get started shaving with Harry's today by claiming your Trial Set for just £3.95. Support The Spurs Show and get your Trial Set delivered to you – including a razor handle, 5-blade cartridge, foaming shave gel and travel blade cover –by going to Harrys.com/spursshow right now!   AND - come and join us in person with Alan Mullery and Ryan Mason for our next #SpursShowLIVE podcasts and meet the stars for only a tenner! Check out season.spursshow.net for details (or miss out again!). spursshow.net @spursshow Support us at season.spursshow.net Produced by Paul Myers and Mike Leigh Engineered by David Akosim A Playback Media Production playbackmedia.co.uk Copyright 2018 Playback Media Ltd - playbackmedia.co.uk/copyright Our GDPR privacy policy was updated on August 8, 2022. Visit acast.com/privacy for more information. Learn more about your ad choices. Visit megaphone.fm/adchoices

The 605 Show is back once again at the lovely Ode to Food & Drinks, where to crew is toasting the show's new sponsor, Cortrust Bank, and talking amuse bouche with Chef Bob. Co-owner of Total Drag Liz Nissen shows up to talk about the venue/record store's renovation, running a cool all ages venue, and play Alana's morbid celebrity death quiz, “R.I.P. Music Trivia.” Then Jeff Zueger of the White Wall Sessions stops by to talk about the show's upcoming fifth season, band riders, and doing what he can to make local musicians stars. 605magazine.com Ode to Food and Drinks: odetofoodanddrinks.com/ Total Drag: totaldragrecords.com White Wall Sessions: thewhitewallsessions.com/ Featured music: “Stay Young” by NE-HI “Doris Passing” by Jami Lynn Theme music: “Rockin With the Best” by V the Noble One The 605 Show is brought to you by Cortrust Bank. cortrustbank.com