Contents – Buzzez http://buzzez.co.uk/ Tue, 28 Jun 2022 17:01:24 +0000 en-US hourly 1 https://wordpress.org/?v=5.9.3 https://buzzez.co.uk/wp-content/uploads/2021/05/cropped-icon-32x32.png Contents – Buzzez http://buzzez.co.uk/ 32 32 Yolanda Sangweni Promoted to Vice President of Programming and New Content Development : NPR https://buzzez.co.uk/yolanda-sangweni-promoted-to-vice-president-of-programming-and-new-content-development-npr/ Tue, 28 Jun 2022 17:01:24 +0000 https://buzzez.co.uk/yolanda-sangweni-promoted-to-vice-president-of-programming-and-new-content-development-npr/

Yolanda Sangweni pictured at NPR’s office in New York

Laylah Amatullah Barrayn/NPR


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Yolanda Sangweni pictured at NPR’s office in New York

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Washington, DC, July 28, 2022 — Anya Grundmann, NPR’s Senior Vice President of Programming and Audience Development, today announced that Yolanda Sangweni has been promoted to Vice President of Programming and New Content Development.

“Yolanda is a dynamic and caring content leader who has already moved NPR forward in so many ways. She has overseen award-winning work, built successful teams, and designed initiatives that will transform our efforts to make NPR relevant to new, traditionally misunderstood audiences. served by public media. I am delighted that she is positioned to have even more impact in her new role,” said Grundmann.

Since joining NPR in 2020, Sangweni has overseen the launch of Limits with Jay Williamsthe evolution of It’s been a minutecreating a new radio show for NPR’s landmark podcast Crossing linewho just won a Peabody Award, she sponsored the organization-wide NPR Oye initiative, which systematically advances NPR’s service to Hispanic audiences and engagement with Latinx creators, and the reimagining of our content development and pitching processes.

As Vice President, she will continue to lead and grow a growing portfolio of culture-focused programs and podcasts. She will also oversee NPR’s content development process to bring out great ideas and innovative programming that supports NPR’s mission.

“I’m so excited to take on this new role,” said Yolanda Sangweni. “This is an incredible opportunity to bring more stories and voices to NPR. I hope to expand NPR’s programming in a way that is rich in nuance, culturally resonant, with a high level of excellence. And I can do it with the best of the best – the content development team and journalists behind shows like Crossing line, code switch and It’s been a minute, who are truly world class.”

Sangweni came to NPR in 2020 from Luminary, where she was responsible for improving podcast discovery for users through a variety of methods as Director of Programming and Editorial. She also spent nine years working for Essence, where she started as an entertainment editor and eventually became chief digital content officer, leading the company’s cross-platform digital content strategy. She is also the founder of African Women Create, a collective of African women in the creative arts.

About NPR

NPR’s rigorous reporting and unparalleled storytelling connect millions of Americans every day – on the air, online and in person. NPR strives to create a more informed audience – one challenged and invigorated by a deeper understanding and appreciation of events, ideas and cultures. With a national network of award-winning journalists and 17 international bureaus, NPR and its member stations are never far from where a story unfolds. Listeners can find NPR by logging into their local member stations (npr.org/stations), and it’s now easy to listen to our stories on smart speakers. Ask your smart speaker to “Play NPR“, and you’ll be connected to your local member station’s live stream. Your speaker can also access the NPR, NPR One, NPR News Now podcasts, and the Visual Newscast is available for selected speakers. Get more info on npr .org/about and following NPR Extra at Facebook, Twitter and instagram.

Media contact:

Isabelle Lara

ilara@npr.org

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Google signs trade deal with Wikipedia to pay for content https://buzzez.co.uk/google-signs-trade-deal-with-wikipedia-to-pay-for-content/ Mon, 27 Jun 2022 02:10:52 +0000 https://buzzez.co.uk/google-signs-trade-deal-with-wikipedia-to-pay-for-content/

Tech giant Google has agreed to pay for Wikipedia content displayed by its search engine. Google will be the Wikimedia Foundation’s first paying customer. The Wikimedia Foundation is a charitable organization that oversees Wikipedia which is currently constantly updated by volunteers and uses donations to keep it afloat.

The foundation added that the commercial agreement will not impact individual users. Lane Becker, Senior Director of Earned Revenue at the Wikimedia Foundation, said: “We are delighted to work with Google as long-time partners, and Google’s insights have been essential in creating a compelling product that will be useful to many. many types of organizations.”

Google and the Wikimedia Foundation have worked together on a number of projects and initiatives. Content from Wikimedia projects helps power some of Google’s features, including being one of the many data sources that appear in its knowledge panels. Through this partnership, Wikimedia Enterprise will help make the content sourcing process more efficient.

Tim Palmer, Managing Director, Search Partnerships at Google, said, “Wikipedia is a unique and valuable resource, created freely for the world by its community of dedicated volunteers. We have a long history of supporting the Wikimedia Foundation in pursuing our common goals of expanding access to knowledge and information for people around the world. We look forward to deepening our partnership with Wikimedia Enterprise, investing further in the long-term sustainability of the foundation and the knowledge ecosystem it continues to build. The deal mirrors some of the other recent news contracts Google has signed with news outlets in Europe in recent times.

Last year, Google agreed to pay Agence France-Presse (AFP) for news content. The partnership lasts for five years and comes after France enacted a copyright law that creates “neighbouring rights”. The law requires big tech companies to engage in discussions with publishers who want a license payment.

Meanwhile, last year the Wikimedia Foundation officially launched its commercial product, Wikimedia Enterprise, for large-scale reusers and distributors of Wikimedia content. The opt-in product, operated by Wikimedia, was created to help organizations easily reuse content from Wikipedia and Wikimedia projects at high volume. Wikimedia Enterprise was also created to help diversify the foundation’s financial support, but is expected to represent a small portion of the organization’s revenue.

“In 20 years, Wikipedia has become one of the most trusted knowledge resources in the world,” said Lisa Seitz-Gruwell, director of advancement at Wikimedia. “As people and businesses increasingly seek to leverage its value, we created Wikimedia Enterprise to address the growing number of ways people encounter Wikipedia content outside of our sites and to further support our mission. free knowledge.”

Seitz-Gruwell added that the product meets the growing needs of commercial content re-users, making it easier to discover, search and share content from its sites, while providing commercial companies with a way to support and invest. in the future of Wikimedia knowledge. ecosystem.

The creation of Wikimedia Enterprise grew out, in part, of the movement’s recent strategy – the comprehensive and collaborative strategy process to lead the future of Wikipedia by 2030, designed side-by-side with movement volunteers. By facilitating the discovery, search and sharing of Wikimedia content, the product addresses the two key pillars of the 2030 Strategy recommendations: advancing knowledge equity and knowledge as a service.

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MY Newspaper Publishers Association pushes for ‘joint efforts’ as Google starts paying for quality content

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The Pentagon specifies the content of its latest security assistance program for Ukraine https://buzzez.co.uk/the-pentagon-specifies-the-content-of-its-latest-security-assistance-program-for-ukraine/ Sat, 25 Jun 2022 03:13:00 +0000 https://buzzez.co.uk/the-pentagon-specifies-the-content-of-its-latest-security-assistance-program-for-ukraine/

The United States is providing 18 patrol boats, four HIMARS systems, tens of thousands of artillery munitions and numerous other weapons and equipment as part of a $450 million security assistance program announced earlier this week.

“On Thursday, the United States pledged $450 million in security assistance through the Presidential Withdrawal Authority – the 13th such expenditure this year. This package included 18 coastal and river patrol boats,” the US Department of Defense said. reported Friday.

In particular, two 35ft small unit river craft, six 40ft sea combat craft and ten 34ft Dauntless Sea Ark patrol craft will be dispatched.

Read also: Zelensky thanks US for additional HIMARS systems

“They largely serve to protect the waterways and allow Ukraine to retain control over the waterways. They can also be used in near coastal areas,” a senior defense official said during the briefing. a briefing today at the Pentagon.

In addition to coastal and river patrol boats, the Presidential Withdrawal Authority’s latest security assistance program to Ukraine includes four High Mobility Artillery Rocket Systems, or HIMARS; 36,000 rounds of 105mm; 18 tactical vehicles with which to move the 155 mm artillery; 1,200 Mk 19 grenade launchers; and 2,000 machine guns.

“Obviously with each of these packages, we [also] provide lots of spare parts,” the official said.

Read also: Ukrainian intelligence services respond to Russian threats to attack the United States embassy in Kyiv

He also pointed out that Ukraine has not only the assistance of the United States, but also of nearly 50 member countries of the Contact Group for the Defense of Ukraine.

As noted, the White House on Thursday formally announced a new $450 security assistance package for Ukraine.

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Lessons for Elon Musk from Meta Content Moderation https://buzzez.co.uk/lessons-for-elon-musk-from-meta-content-moderation/ Thu, 23 Jun 2022 10:06:42 +0000 https://buzzez.co.uk/lessons-for-elon-musk-from-meta-content-moderation/

How often do moderators appointed to keep unwanted content off social media get it wrong? Much more than you think.

In its first 15 months of existence, the independent board created by Facebook (now renamed Meta) to oversee the company’s moderation practices offered a sample of 130 content removal decisions it deemed questionable.

Reviewing these cases, Meta itself concluded that its moderators had applied the company’s own rules incorrectly 51 times: in essence, they had failed in their job about 40% of the time.

While this sample comes close to being representative of moderation practices more broadly, it is only the tip of a very large iceberg. This week, the Meta Oversight Committee said to have received 1.1 million complaints in total about how the company’s Facebook and Instagram services acted against user content.

The scale of dissatisfaction – and the seemingly high failure rate in judgments about what users should see – might seem to support Elon Musk’s case for putting fewer controls on online speech. Musk said a key reason for his attempted purchase of Twitter was to remove barriers to online communication, provided it was legal. But he has tacitly changed course in recent weeks, conceding things won’t be as simple as he’s been letting on.

At a Financial Times event last month, Musk said he planned to block “world-destroying” content on Twitter, while saying he would use tactics such as limiting the distribution of certain tweets or the temporary suspension of the accounts of certain users. Last week, he also told Twitter employees that he planned to take action against harassment on the network.

This suggests that it will face many of the same challenges as Meta. For the Facebook owner, bullying and harassment was the largest category of user dissatisfaction, accounting for nearly a third of complaints to the board of supervisors (the other two main sources of dissatisfaction, fueling half of complaints to the advice, relate to Meta’s actions against hate speech, and against violence and incitement).

If Musk wanted to limit the annoyance that his own efforts to control content would generate, he could do worse than look to Meta’s example. Letting an outside board question some of its decisions meant giving up power over an important aspect of its user experience. But it has the advantage of taking some of the controversy away from the company, transferring at least partial responsibility to an independent group designed to act as an outsourced conscience.

Separating tricky decisions like this also helps shine a light on the sheer complexity of applying hard and fast rules to something as malleable as language. The review process is arduous. In its first full report this week, the council said it had taken on just 20 cases in its first 15 months and ended up reversing Meta moderation decisions in 14 of them – one tiny proportion of the total number of complaints it had received.

Publishing details of individual moderation decisions is also a good way to neutralize critics who might be tempted to make categorical judgments about the rights and wrongs of social media ‘censorship’. There’s little black and white here, just shades of gray.

It also doesn’t hurt that by pushing for more influence, the Supervisory Board becomes something of a thorn in Meta’s side. He agitated for more data on how moderation works and pushed the company to be more transparent about its decisions to users. It also tries to have a say in the content policies Meta puts forward for the Metaverse even before this new immersive online environment takes shape.

This all helps keep Meta on its toes, while adding to the perception that it is responding to outside pressure – which could dampen calls for more direct government regulation.

Yet, as the 40% error rate for a small sample of moderation decisions shows, the effort remains woefully insufficient. Human speech is probably too nuanced – and human beings themselves too fallible in their judgments – ever to make content rules capable of rigorous enforcement.

Should he decide to buy Twitter, these are lessons Musk may soon learn the hard way. On the other hand, given his appetite for controversy, jumping into the center of an all-powerful battle over online content might be exactly what the world’s richest man has in mind.

richard.waters@ft.com

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Google resolves French copyright dispute over online content https://buzzez.co.uk/google-resolves-french-copyright-dispute-over-online-content/ Tue, 21 Jun 2022 20:23:00 +0000 https://buzzez.co.uk/google-resolves-french-copyright-dispute-over-online-content/

PARIS, June 21 (Reuters) – The Google Alphabet unit (GOOGL.O) has pledged to resolve a copyright dispute in France over online content, the country’s antitrust authority said on Tuesday. , as pressure mounts for big tech platforms to share more of their revenue. with the media.

Google, owned by Alphabet, also dropped its appeal against a 500 million euro ($528 million) fine, the authority said. The fine was paid last year. Read more

The decision ends the authority’s investigation into Google, which agreed to talks with news agencies and other publishers about paying them for using their news on its platform.

Join now for FREE unlimited access to Reuters.com

Google will commit to a compensation proposal within three months of the start of negotiations, and if no agreement can be reached, the case will be decided in court.

The US company will also ensure that the negotiations have no impact on how information is presented on its search pages.

The decision comes as international pressure mounts on online platforms such as Google and Facebook to share more revenue with the media.

“The authority considers that the commitments made by Google have the characteristics to respond to competition problems,” said the Competition Authority in its judgment.

Antitrust chief Benoit Coeure said the decision would be closely scrutinized by other European countries.

He wraps up a three-year-old case sparked by complaints from some of France’s biggest news agencies, including AFP.

THE MEDIA “DEPRIVED OF POTENTIAL REVENUE STREAM”

News publishers had argued that Google’s increased online ad sales were underpinned by exploiting snippets of their online news content, depriving them of a potential revenue stream at a moment of decline in print sales.

The tech giant, which has since signed settlements with several of the plaintiffs, initially dismissed the claims, saying the web traffic it was bringing in through its search engine and news aggregator was driving significant numbers of internet users. to news websites, allowing publishers to generate their own advertising revenue.

AFP and several leading news outlets, including Le Monde, Le Figaro and Liberation newspapers, have since announced separate agreements with Google, intended to cover this copyright law.

Terms of the agreements were not disclosed.

Sébastien Missoffe, country manager and vice-president of Google France, wrote in a blog post that Google had agreements with more than 150 press publications in France for “neighbouring rights”.

“We will continue to work to secure more deals with eligible French publishers and news agencies to further support journalism in France, building on many years of investment,”

Google agreed to pay $76 million over three years to a group of 121 French newspaper publishers to end the copyright row, according to documents seen early last year by Reuters.

($1 = 0.9471 euros)

Join now for FREE unlimited access to Reuters.com

Reporting by Dominique Vidalon and Mathieu Rosemain; Editing by Louise Heavens and Bernadette Baum

Our standards: The Thomson Reuters Trust Principles.

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We are storytellers, content creators who disrupt the status quo and enliven culture | New https://buzzez.co.uk/we-are-storytellers-content-creators-who-disrupt-the-status-quo-and-enliven-culture-new/ Sun, 19 Jun 2022 17:23:40 +0000 https://buzzez.co.uk/we-are-storytellers-content-creators-who-disrupt-the-status-quo-and-enliven-culture-new/

Black content creators drive culture and can change the trajectory of a brand, for good or ill. Our cultural foundation in intellectual pursuits such as storytelling, art, music, food, and performance fuels our approach to content creation. The authenticity, innovation and vibrancy of our content goes viral and in its expansion influences the industry and other creators.

On Juneteenth, we celebrate black excellence in the past, present, and future, and our freedom to reclaim our stories. Walmart’s collaborations with Black Creators illustrate how brands should champion black content creators and ensure they are paid fairly. Walmart’s commitment to amplifying diverse voices is just one of the ways it supports content creators and storytellers like Trey Bryant.

Trey Bryant, image consultant, lifestyle expert, men’s stylist, brand ambassador and sought-after speaker, embodies the unique and dynamic way content creators influence and drive culture. His company, Lifestyle of Trey, has created a platform to encourage men to be confident in their appearance. Bryant successfully speaks to the mutually symbiotic relationship between outward appearance and inner confidence and sense of self.

Interviewed by cross-platform storyteller, Cori Murray, Bryant discusses content creation and his path to success. Not only does Bryant’s success story make this conversation wonderfully insightful, but Cori Murray’s own success as a digital and media visionary adds to the appeal and richness of their talk. As a former associate editor at ESSENCE, Murray led the brand’s digital and print platforms that serve 31 million black women. As a cultural critic, she has appeared on many national media platforms.

This conversation, between Murray and Bryant, comes at a time when we are focused on reclaiming our history and mastering our future. Juneteenth is the celebration at the cornerstone of this movement in time as we seek to share our proud stories – many of which are filled with humor and certainly with authenticity.

The road to content creation

“I’ve always had a vision,” Trey says, describing content creation as a vehicle for his passion for helping men feel confident, both personally and professionally. He strives to help black men through his mission to improve behavior, communication, and appearance in the workplace, as well as in dating, relationships, and everyday life.

It all started for Bryant in high school, where he started acting. From there he hosted shows in college, at Johnson C Smith at age 18. He then started modeling, where he learned to walk and style his clothes. “It propelled me to be a successful content creator because you create looks before you turn on the camera and you do the transitions,” Bryant says looking back on his early days.

When transitioning into content creation, it was so hard to find black people to create content, Bryant recalls, especially for men, who are visual, “we need something to identify with” . At school, Bryant says, guys would talk about dates or what to wear — you picked up stuff on the fly. Later, Bryant explored YouTube for spaces that offered content similar to what his friends were looking for in conversations. He found no black spaces, “I thought there must be someone we identify with, whether you’re in Africa, the United States or Paris.”

That was Bryant’s passion, to create something that black men could relate to.

Bryant remembers that his inspiration came from the movies. In particular, the movie Hitch, where Will Smith’s character sets men up, teaching them how to dress, how to talk, and setting men up for success in finding their wives and in the end feeling more confident.

As he began to build his brand, Bryant felt isolated. Growing up, he turned to his friends in Dallas, Texas, where there is a close black fashion community. “There’s a movement where guys get together called Flash Mobs Black Man. They get together and everyone is dressed in costume and network and meet. It was the start for me to build this community with other guys who were into fashion and lifestyle.

For Bryant, it served as a space to foster community with other suit and menswear enthusiasts. With the influence of this community, Bryant began to build his platform. Other fashion designers and influencers weren’t Bryant’s only supporters in his journey, his family also plays a big role in his content creation.

It can be hard to enjoy the moment. For content creators, the desire to get a million views makes them always think about how to promote content. “That sometimes leads to burnout.” Bryant describes the ways in which there can be over-consumption, working on your own content and then watching other content can lead to over-stimulation.

“You might want to take a break, but let’s say you want to take a break and not post for a week, but you still have brand partnerships,” which you have to show up for and at the end of the day, says Bryant, “you take your creative energy and put it on screen.” It takes a lot to create content, says Bryant, which is why a team is so important.

To thrive with all things content creation, Bryant relies on his team, namely his wife who is a creative consultant on all of his looks. He also named his sister as a big help – his first photographer and creative influence. Before publishing, he sends his photos to his mother, sister and wife for consultation. It’s a family business.

And as a frequent Walmart contributor, Bryant is part of a community of influencers who thrive on their journey of storytelling through creating content with a single vision, the support of their village and Walmart.

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ABC taps Ari Goldman as SVP Scheduling; ups Candace Bejune – Deadline https://buzzez.co.uk/abc-taps-ari-goldman-as-svp-scheduling-ups-candace-bejune-deadline/ Thu, 16 Jun 2022 21:00:00 +0000 https://buzzez.co.uk/abc-taps-ari-goldman-as-svp-scheduling-ups-candace-bejune-deadline/

EXCLUSIVE: ABC is making changes to its scheduling service. Ari Goldman will join the network as senior vice president, content strategy and programming, while longtime ABC executive Candace Bejune has been promoted to vice president, program planning and programming.

Goldman will report to Craig Erwich, president of Hulu Originals and ABC Entertainment, while Bejune will report to Goldman.

“Ari is a capable executive whose understanding of the changing media landscape is undeniable,” Erwich said in a statement. “His strategic vision to optimize our schedule, backed by his extensive experience in data analytics, will be invaluable to our audience-driven strategy.” We are thrilled to have him on our side to help propel our business into the future.

“ABC has a proven track record of success, and I’m honored to join such a talented team of innovators in this transformative time for television,” Goldman added in a statement. “I look forward to working alongside Craig Erwich and my new colleagues as we continue to evolve the way audience data informs our program scheduling decisions.”

The decision to hire Goldman and promote Bejune comes after Whitney Holland – ABC’s newest vice president of program planning and programming who was hired in 2013 – left the network in February.

Goldman has spent most of his career at NBC, starting as a research analyst and rising to serve as vice president, analytics and cross-platform analytics. In his most recent role, he served as the West Coast Research Manager for Program Audience Insights and was responsible for media analytics at the broadcast and cable entertainment properties of NBCUs. He holds a Bachelor of Science degree with a double major in Applied Economics and Management. and Communication from Cornell University.

Bejune is a 14-year ABC veteran with expertise in linear and digital content planning strategy. She holds a Bachelor of Science degree with a major in sociology and a minor in sports management from the University of California, Santa Barbara.

“We are also delighted to recognize Candace’s many contributions to the business, as she and our talented program planning team continue to apply their deep understanding of our content to our ever-evolving programming strategy,” said continued Erwich.

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LEVEL Magazine gives black men the content they need https://buzzez.co.uk/level-magazine-gives-black-men-the-content-they-need/ Tue, 14 Jun 2022 14:36:55 +0000 https://buzzez.co.uk/level-magazine-gives-black-men-the-content-they-need/

Image for article titled LEVEL Magazine gives black men the content they need

Photo: Jermaine Room

Once a popular Medium post that featured content aimed at black men, LEVEL Magazine now has its own website where black men can read about race, identity and culture.

“LEVEL has built an ecosystem for black men,” said Jermaine Hall, CEO and Founder of LEVEL. “We’ve created a space where this audience with massive disposable income and cultural currency can be seen. The response from our audience has compelled us to expand our offerings and create a larger universe for them to come together, lower the keep and share ideas.

LEVEL features long-form stories, journalism and reporting from a myriad of creative and talented writers, which sometimes includes high profile celebrities such as Colin Kaepernick and Charlamagne Tha God.

The root sat down with Jermaine to discuss LEVEL’s purpose and their need to deliver creative, thoughtful and insightful content to their readers.

The root: What is LEVEL Magazine?

Jermaine Hall: LEVEL is a digital publication for black men 30+. I started LEVEL in 2019 and pitched the idea to Siobhan O’Connor and Ev Williams at Medium because I never felt like there was a legit home for black men, in especially older black men. I always think of people as digital nomads, we go to all these places to get a lot of stuff but there’s never this one brand that’s right for us. That’s why I started LEVEL.

TR: What prompted the decision to relaunch LEVEL and create your own website?

Jermaine Hall: On Medium, 70% of our traffic came from the platform and we were sitting behind a paywall. So Ev decided it made sense to migrate the property off the platform (Medium) and give it a chance to reach over 70% that we were already interacting with when we were on Medium.

TR: What does LEVEL content focus on?

Jermaine Hall: Race and identity has always been our main content. It’s the content that I’ve always felt if we had like the best black writers in the country writing about it, it can be a real differentiator for us. The second bucket is what I like to call the bucket of life. In this category, we strive to make black men better tomorrow than they are today. We want them to learn about financial literacy and what sex, relationships, fatherhood and mental health look like in their 30s, 40s and 50s. There should be differences between each decade.

The third bucket is the culture bucket, which is what I’ve been doing for most of my career. I’ve always covered celebrities in music or movies or someone who has a book coming out. But I didn’t want LEVEL to cover things that were in the news cycle. I wanted the stories to have much more nuanced conversations with these people who were insightful about things going on in the world.

Image for article titled LEVEL Magazine gives black men the content they need

Chart: levelman.com

TR: What was behind the decision to make most LEVEL articles long rather than fast and short news articles?

Jermaine Hall: Medium was the right partner for LEVEL because I’ve always felt that people who subscribe to Medium are avid readers. They pay $5 a month to read 10-15 minute stories. The identity that we were able to establish while we were on this platform was that we were going to be a brand for avid readers. Readers who want to know more about black men and who would benefit from the information we publish about black men. I would say Gen X is our sweet spot. Imagine men with disposable income who enjoy reading more than a 20-year-old.

TR: How do you make sure your content doesn’t get lost in all the digital content options black men have on the internet?

Jermaine Hall: There is one question we ask ourselves before publishing each piece of content. Will this make black men better? Are black men going to get something out of it and put it into their daily lives? From an aggregate news perspective, there are so many places you can get that. It can help them with their sex life, their finances, it can help them be a better father, or it can provide them with entertainment that isn’t necessarily in the news cycle.

TR: What is the process for finding other ways to tell stories other than just self-help articles?

Jermaine Hall: Because we receive pitches from writers so often, we tend not to pay attention to stories that will be out of the news cycle in one day. Unless it’s like an opinion piece about something that happened. These are like our versions of quick hits. Even these pieces end up running for 750 words. But the way we choose stories is usually that we try to find amazing evergreen content that we think will be entertaining for the reader.

TR: What’s the balance between having big name names (Colin Kaepernick, Charlamagne Tha God) on your platform versus lesser known writers?

Jermaine Hall: I want to find the next great writer and blast him to LEVEL and make him a bigger entity than he was when he got here. I want to be that gateway for great writers. We will always be able to weed out the Nelson Georges of the world because they are the writers we have found, they are the writers we know and have relationships with. But I would also love to be that platform that elevates the next great writers.

TR: Why should I read Llevel ? If I am a new reader.

Jermaine Hall: You should read LEVEL, especially if you’re a black man, because I guarantee you’ll leave this experience smarter than when you arrived.

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Netflix Shakeup Won’t Slow Content, Producers Say – Produced By – Deadline https://buzzez.co.uk/netflix-shakeup-wont-slow-content-producers-say-produced-by-deadline/ Sun, 12 Jun 2022 20:17:00 +0000 https://buzzez.co.uk/netflix-shakeup-wont-slow-content-producers-say-produced-by-deadline/

Netflix’s cutbacks after the loss of a subscriber sent the streamer’s stock price plummeting have some industry players worried the content gold rush is over. Producers on the “IP IQ” panel, sponsored by Deadline, at the Produced By conference, said there was nothing to worry about. Girl from Plainville and The stall Executive producer Liz Hannah, head of A&E studios Barry Jossen and UTA partner and co-head of media rights Jason Richman said they don’t anticipate any slowdown for streamers needing content.

“I didn’t feel any slack, which I think is just indicative of high demand,” Richman said. “There are a lot of musical chairs in the studio landscape, but it will calm down. The new holders must constitute their new slates. We see this as an opportunity to bring the artists we represent into their lives and fill the empty space.

Jossen said what might change is the demand for international productions. Netflix has announced season 2 of squid game Sunday morning, and Jossen saw the success of this and other international fairs opened the doors to the potential of international fairs.

Squid Game, Money Heist, Babylon Berlin, Tehran taught us to watch shows from other parts of the world,” Jossen said. “Technology has been very helpful in this process. You literally press a button and can watch an English dubbed show [or] the original language with subtitles. There are many other languages. I think we’re going to see an even bigger increase in exposure to shows born somewhere else in the world than in North America.

Hannah said the uncertainty about what might turn out to be a hit has allowed creators like her to take more risks.

“That fear and dread is really liberating from a creator’s perspective, because what else are we going to do,” Hannah said. “I actually feel more apt to take risks as a creator because no one has a clue what’s hitting or why it’s hitting.”

Hannah gave two examples from her series, Plainville’s daughter, on the true story of Michelle Carter. Carter was convicted of manslaughter in the death of Connor Roy, whom she suggested he kill himself via text message.

“With Plainville, there are three musical numbers, four different timelines,” Hannah said. “Elle Fanning, who is the star of Plainville and also an executive producer, she was like, ‘Let’s go weirder, let’s go darker. ‘There’s a shot at the end of Episode 7. She dreams of a sequence from ‘Teenage Dirtbag’ where her sister is in a glee club tormenting her, and it turns into a nightmare. There’s a moment at the end, which is this take that She made. It was the very last take. We were like, ‘Do you just want to do something really, really weird? She did and that’s the catch that was in the show.

Wondery Head of TV/Film Aaron Hart was also part of the “IP IQ” panel.

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The Fiji Times » Akbar attacks the Fiji Times; content taken directly from the minister’s speech – Wesley https://buzzez.co.uk/the-fiji-times-akbar-attacks-the-fiji-times-content-taken-directly-from-the-ministers-speech-wesley/ Sat, 11 Jun 2022 03:06:46 +0000 https://buzzez.co.uk/the-fiji-times-akbar-attacks-the-fiji-times-content-taken-directly-from-the-ministers-speech-wesley/

Minister for Women and Children Rosy Akbar yesterday attacked the Fiji Times, saying it had published ‘incorrect and out of context information’ about her comments at a conference on gender-based violence last week.

Ms Akbar was responding to a statement released by Director of Public Prosecutions Christopher Pryde criticizing her comments during a consultation on the National Action Plan to Prevent Violence against Women and Girls with the justice sector.

At the consultation, Ms Akbar said she wanted to take ‘the opportunity to push for tougher action in every case of domestic violence and sexual offenses because we need to stop taking risks’.

Mr Pryde said it was inappropriate for Ms Akbar, as a government minister, to interfere with criminal sentencing, which he said was a judicial function.

Ms Akbar said Mr Pryde had ‘used incorrect and out-of-context information published in the Fiji Times and made a factually inaccurate statement’.

“The Department would like to state explicitly and unequivocally that it has never, or intends to, interfere in the sentencing process of the justice system and it is regrettable that the DPP has relied on the Fiji Times, who has been caught numerous times in the past spreading false information as a source of information,” its statement read.

“The proper way to handle this would have been to pick up the phone and call the department for clarification instead of making factually incorrect statements, and we urge the DPP to regularly exercise their best judgment to verify information.

“The ministry does not intend to interfere in the sentencing process of the justice system and it is regrettable that the DPP relied on the Fiji Times as a source of information,” the statement said.

Fiji Times editor Fred Wesley said the content of an article titled “Judicial Affairs Reminded of Their Roles” published on Thursday, June 9, was taken directly from a speech she gave.

“The Minister’s claim that the Office of the Director of Public Prosecutions has used incorrect and out-of-context information published in the Fiji Times and that the Fiji Times” on several occasions in the past, has been caught disseminating information erroneous as a source of information “is a serious allegation, and it should be backed up with evidence,” Wesley said.

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