It took a one-way road trip for Jeff Langlois to cultivate a passion for photography. The adventure to LA brought forth stunning deserts and mountainous peaks, as he drove from Minneapolis through the Rockies – in a 2002 Honda Civic; eager to jumpstart a career at a commercial house called The Mill. The best way to balance out the fast-paced, unpredictable, and ever-changing environment that is advertising, was to break away and see what the west coast really looks like. Traveling solo allowed him to arrive in beautiful destinations and wait for these locations to unveil their scenic characteristics. Jeff notes that the best shots always come unexpectedly. Now while still mainly shooting the outdoors, he plans just enough to get him out and moving around, but his best and most memorable shots come unexpectedly. It’s about showing up and being patient and receptive to what’s going on.
theQoos Inc. has launched a data-based media service app platform that targets English reading K-Pop fans. Through aggregating K-Pop content, theQoos attempts to lock-in users and create communities among K-Pop fans. theQoos Inc. was established in February 2019 with a Seoul office established in April. The venture founders are composed of experienced members from Kakao, Samsung Electronics and, YG Entertainment USA. An investment by SK Group, South Korea’s third largest conglomerate, was completed earlier this year.
2019 has been yet another record-breaking year for K-Pop with BLACKPINK signing to Interscope/Universal Records and being the first K-Pop girl-group to perform at Coachella. BTS became the first Korean act to perform on “Saturday Night Live” and followed up with performances on “The Late Show with Stephen Colbert,” “Good Morning America” and “The Voice.” A new study by Hyundai Research Institute found that the boy band is worth more than $3.6 billion yearly to Korea’s economy. Both acts contributed to the “Hallyu” (or Korean wave) fanbase which is estimated to grow to 100 million fans by 2020 and leading the way for other acts globally such as Monsta X and NCT. In the first half of 2019, there were over 50 concerts taking place in North America and as STYLE put it, “K-Pop is now more popular and profitable in the West than ever before.”
With the increased interest in K-Pop globally, theQoos set out to build a roadway for content by gathering as many select English-written sources of K-Pop into one feed. The idea is that fans who have an enthusiastic passion for K-Pop are called “theQoos” and want to consume all of the content that exists out there without having to search or open multiple applications. These content sources include K-Pop news sites, reputable global news sites that cover K-Pop, artists’ official social media, and YouTube but also fan-made content such as reaction videos, and fancam footage. Since many K-Pop fans usually find their news through K-Pop sites, theQoos also gathers in-depth coverage from respected major media outlets so users can see content they might not normally come across. theQoos also gathers album and concert reviews from various lesser known sites/blogs that deserve to be read as well as fan-made content that are meant to entertain and be enjoyed.
In 2018 BTS was the most tweeted about account worldwide and a tweet featuring BTS member J-Hope participating in the #InMyFeelingsChallenge was the Most Liked Tweet worldwide last year with 1.8 million Likes. Since K-Pop thrives on Twitter, we also gather many official and non-official Twitter accounts into our feed.
Users are able to “Save,” “Like,” and “Share” content but also organize the feed based on their favorite artist(s). Artist pages also include discography and links to music videos. theQoos promises this release to be their minimal viable product and has already planned for many features including in-app commenting and a community section so that Users can have “real interaction”.
theQoos is dedicated to encouraging the growth and distribution of, English language, K-Pop content, and to provide this content to fans free of charge. We want to build a bridge between K-Pop fans across the world and the content that exists in the universe. As the fan community continues to grow, we want to create a platform for them to engage with each other in a genuine way. By promoting users to enter their real information into their profiles we believe that real commentary and real interaction will create a positive space for K-Pop.
By learning who our users are and what their interests are in, we will be able to understand this community like no one has before us. Imagine a world in which every English reading K-Pop fan can freely view and share K-Pop content & be part of a community – which they can take with them, everywhere. theQoos: We are your gateway to the K-Pop Universe.
Ahead of today’s House Judiciary Hearing, the Save Journalism Project held a press call with Rep. Mark DeSaulnier (CA-11); journalists Laura Bassett, laid off by HuffPost; and John Stanton, laid off by BuzzFeed; and Neil Chase, CEO of CalMatters and former executive editor of The Mercury News and East Bay Times.
The monopolistic power of big tech companies like Google, Facebook, and Apple is destroying the economic model of the entire journalism industry, whether its traditional circulation newspapers or digital news outlet.
This week’s hearing on how digital platforms affect news organizations marks the much-needed return of congressional antitrust scrutiny to big tech companies, which have gained a monopolistic position that lets them dominate the digital advertising marketplace and distribute massive amounts of content from news publishers on their platforms without paying to produce the content.
Rep. Mark DeSaulnier (CA-11) said, “I don’t think there’s anything more important right now than this issue. Being from the Bay Area, I have been to every big tech company. After meeting with them, I think it’s time to make it easier for licensing like the music and movie industries have done. We are members of Congress, you are journalists, and we have to keep an appropriate Constitutional distance, but there are policy proposals in our legislation that protect the freedom of the press and are necessary to keep the industry alive. When I was first elected to the Concord City Council there was a reporter who was consistently in the front row keeping officials accountable. His presence made local government work, and it is vital that we protect the journalism industry to make sure leaders are kept accountable and communities are informed.”
Laura Bassett, a reporter who was laid off by HuffPost, commented, “In the first few months of 2019, I was one of about 2,400 journalists and media staffers who lost our jobs. Even though I was aware the cuts were coming, it was still shocking to be laid off after nearly a decade in my newsroom. The reason for the mass layoffs, I found out, was that Big Tech companies like Google and Facebook are dominating the digital ad market, swallowing about 60 percent of all revenue and making it difficult for journalism to survive. News publishers are being forced to give a cut of their ad revenue to these companies- revenue that would otherwise go to hiring journalists. Because a well-funded news media is vital to a healthy democracy, the public needs to be aware of Big Tech’s death grip on publishers. At the House Judiciary Hearing today, lawmakers in Congress need to address this bipartisan issue and find legislative solutions that regulate tech giants and restore fairness to the digital ad market. Journalists are taught not to be the story, but as Big Tech’s digital ad monopoly benefits off of our revenue streams, it’s incumbent upon us to fight for the future of our industry. One or two companies should not have the power to cripple the free press.”
“After 20 years of covering Congress and the White House for BuzzFeed, I found out layoffs were coming in a tweet from the Wall Street Journal,” said John Stanton, former Buzzfeed Washington Bureau Chief before being laid off. “Despite the great work my colleagues and I were doing for the publication, there simply wasn’t enough money. Because stories that lead to changes in state and federal law, jailing of criminals and exposing wrongdoing — cost money. Money that is increasingly gobbled up by Google and Facebook. To try to survive, slashes had to be made. To entire desks. The reason advertising revenue has fallen so steeply is that Google and Facebook dominate the digital ad market, consuming more than 60 percent of all revenue. And their share is growing, because they devour nine out of every ten new dollars that are spent on digital advertising. Big Tech’s monopoly has a death grip on publishers. Congress needs to be discussing how to regulate this imbalance and restore competitive fairness in the digital market.”
Neil Chase, CEO of CalMatters and former executive editor of The Mercury News and East Bay Times, added, “We all believe journalism is central to democracy. Newspapers have experienced a decline not in the past five years, not in the past ten or fifteen years, but in the past seventy-five years. Newspapers have been declining since World War II. The problem is that we are essentially sitting on a 200 year-old product, but are trying to compete with new and changing technologies. Newspapers have maintained a monopoly for over 200 years. This is how people historically gained all their information; how they found where to buy clothing, where to buy their groceries, and where they got their news. With the change in how society works, all we have is the news. In order to solve this problem, we need a multi-pronged approach. We need to engage in philanthropy, which my company is already focused on this aspect. We need newspapers with benevolent leaders, not the leaders that we have at some major news organizations now. We need support from legislators. And, we need people paying for the news. We need a lot of support from a lot of different places in order to make this work.”
Great entertainment requires authentic stories and genuine representation of all people. This includes diverse people with physical, cognitive, sensory, mental health and other disabilities. Hence, RespectAbility, the nonprofit that produced The Hollywood Disability Inclusion Toolkit, is thrilled to offer an innovative lab series for emerging entertainment talent, as well as a track for mid-level career professionals. This 5-week, nine-session summer lab program is for people with disabilities and/or strong disability connections interested in development, production, and post-production, including careers as writers, directors, producers, cinematographers, animators, and other production roles.
“What we see on screen influences how we act in real life, but that is dependent on filmmakers choosing to include individuals with disabilities in diverse and accurate portrayals, which then helps remove the stigmas that currently exist about interacting with individuals with disabilities,” said Program Director Lauren Appelbaum, who leads RespectAbility’s Hollywood Inclusion efforts as the organization’s vice president, communications. “One purpose of this program is to continue building the talent pipeline of young professionals with disabilities looking to work behind the scenes. We do not want anyone to have an excuse that they could not find a writer, editor or any other position with a disability.”
Several sessions will meet at various studios where program participants will have the opportunity to learn about possible career paths and have networking opportunities. Furthermore, entertainment professionals in positions of power to hire will meet a group of qualified individuals and potentially shift their mindsets in equity goals for hiring. After all, opening the inclusion umbrella is the right thing to do as well as economically smart given that the disability market is valued at more than $1 trillion. According to Nielsen Research, Americans with disabilities represent the third largest market behind Baby Boomers and the mature market.
The remaining sessions will meet at RespectAbility’s partner locations around the city. Each lab session will include guest speakers and leaders in the industry, including from Bunim/Murray Productions, GLAAD, LeVar Burton Media, Producers Guild of America, Sundance Institute, Writers Guild of America West and more.
Faculty Advisors, who have been helping to develop the curriculum as well as in recruiting and evaluating participants, include: Karim Ahmad (Director, Outreach & Inclusion, Sundance Institute), Deborah Calla(Chair, Diversity Committee, Producers Guild of America; Media Access Awards), Elaine Hall (Founder, The Miracle Project), Diana Elizabeth Jordan (Actor/Director/Producer, Performing Arts Studio West), Sue Obeidi (Director, Hollywood Bureau, Muslim Public Affairs Council), Jonathan Murray (Founder and Executive Consultant, Bunim-Murray), David Renaud (Writer, The Good Doctor), Donna Walton (Founder, The Divas With Disabilities Project), Delbert Whetter (Chief Operating Officer & Head of Business Affairs, Exodus Film Group), and Gail Williamson (Talent Agent, KMR Diversity Department). In addition, Tatiana Lee, an actress, model and social influencer who is a wheelchair user with Spina bifida, will be assisting with this program.
RespectAbility’s President Jennifer Laszlo Mizrahi added, “Entertainment contributes to our values and ideals. With just 2.1 percent of scripted television characters having disabilities, compared to 25 percent of American adults having a disability, we will continue to work with entertainment leaders to promote positive, accurate, diverse and inclusive media portrayals on TV and in film.”
This program is made possible with support by Comcast NBCUniversal, Jonathan Murray, and The Walt Disney Company.
Learn more and apply: www.respectability.org/respectability-la-lab.
Pininfarina Battista Electric Hypercar Debuts in North America
The Battista represents a new reality for electric car desirability in cities, in suburbs and on circuits
Automobili Pininfarina launched its stunning pure-electric 1,900hp Battista hypercar in North America – just one year after the company was introduced at the 2018 Rome Formula E race. Shown in the days leading up to the New York Auto Show, the production-ready model was debuted during an exclusive, invite-only event at Studio 525 in Chelsea by Michael Perschke, CEO and Luca Borgogno, Design Director.
During the event, one of only 150 Battistas, painted in a stunning Grigio Luserna satin-grey carbon with Blu Iconica design accents, was on display. The world-first car was revealed to an excited audience of car collectors, supercar owners, business leaders, automotive influencers and members of the media.
To celebrate its arrival in the world’s biggest market for both supercars and electric cars, a new film of the Battista in action, driving through the streets of New York has been released.
“The Battista’s arrival in New York is a proud moment for the entire Automobili Pininfarina team, as we can finally begin to bring the next generation of hypercars to discerning customers throughout North America” said Perschke. “We’re quite confident that this is the car that makes the United States fall in love with ultra-high-performance electric vehicles.”
Pulling from traditions of Italian design and European engineering, alongside the latest in cutting- edge technology, the company is entering a previously unoccupied market segment with great potential. The new demand for high performance zero-emission vehicles, driven by the increasing emissions regulations in the urban centers of major global cities, puts the Pininfarina Battista at the forefront of a growing trend in the ultra-luxury automobile market.
The Battista’s showing in New York coincides with the beginning of Pininfarina’s search for strategic partners to execute the next phase of its development plans. Following the enthusiastic reception of the Battista, Pininfarina plans to launch a full range of high-end, zero emissions SUVs, broadening its consumer reach in the luxury electric vehicle market.
Deliveries of the Battista to North American clients begin in late 2020, with over half the allocation already reserved.
Follow Automobili Pininfarina on Social Media
WATCH NOW: EPISODE FOUR OF REFINERY29’s ORIGINAL SERIES
Style Out There
Style Out There, Refinery29’s award-winning video series is back with the fourth episode of season 3. With over 26 million views, host and journalist Connie Wang digs into the way clothing has given women a way to speak out, look within, and identify the forces that limit their potential. Through these stories, Wang discovers the powerful way fashion illuminates social and political issues, ranging from the connection between sexy clothing and sexual assault to instances when cultural appropriation can actually be both useful and productive.
In episode four, Connie Wang explores the all-female teams in the equestrian sport Escaramuza, which is a treasured Mexican tradition melding riding, fashion, and national identity. But for the athletes living in America, there’s an added vulnerability in literally wearing their Mexican pride on their sleeves.
Episode Four Highlights
On Making Women Confident
“I say it’s contributed because practicing Charrería, and more in the United States, it magnifies and gives you a confidence as a Mexican to be able to open all the doors, remove all the barriers and not fear anything.” – Frine, Coach, Real De Valle
On Escaramuza Telling a Story from the Past
“Charging through the arena like true warriors Las Coronelas De Illinois are poised, powerful and in control. As I watch them spin in layers of crinoline Vision of Adelitas from centuries ago it occurs to me that, today, this sport and its pageantry really tells a story about the grace and bravery of these women who dedicate their lives to it.”
“On top of their horses, in these dresses, Escaramuza like Mireya are proudly announcing who they are and where they belong.” – Connie Wang, Host
On the Dress Being a Symbol of Pride
“Ever since the elections, I do feel that wearing the Escaramuza dress is more than just wearing team gear it’s more like sending a message and proving that I am proud of being Mexican-American .” – Mireya, Las Coronelas De Illinois
Style Out There will premiere new episodes every week on Refinery29’s YouTube channel, exploring Japanese Cholas subculture in Nagoya, the rise of Afrofuturism across the globe, the American Escaramuzas, and Jamaica’s dancehall queens.
Please let us know if you are able to share this with your readers or if you would like to speak with Connie about the series or the reporting.
Refinery29 is the leading media and entertainment company focused on women. Through a variety of lifestyle stories, original video programming, social, shareable content, and live experiences, Refinery29 provides its audience with the inspiration and tools to discover and pursue a more independent, stylish, and informed life. Please visit www.refinery29.com/en-us, www.refinery29.com/en-ca, www.refinery29.uk and www.refinery29.de for more information and to browse content.
As the curtain fell on Prolight + Sound Guangzhou 2019 (PLSG), show organisers announced a new record of 1,353 exhibitors who flocked to the annual event from 25 countries and regions, along with 81,154 professional visitors (7% up) from the entire professional lighting, audio, event management, stage design, system integration and AV technology industry chain. Combined with an overall exhibition area of over 130,000 sqm, this marks the largest ever edition of PLSG to date.
Ms Judy Cheung, Deputy General Manager of Messe Frankfurt (HK) Ltd, is delighted with the turnout this year: “PLSG is committed to supporting the industry’s development by offering a first-class business and information exchange platform for the entertainment sector. We wanted our exhibitor showcase and fringe events to cover every corner of the industry’s needs, and to echo the growing trends in media technologies and system integration. We’re proud to be able to capture so many opportunities all under one roof.”
Much to the delight of participants, many key pro audio and lighting brands could be found across all of the halls this year, including Adamson, AKG, Antari, APG, Art Sound, Asystems, Audinate, Audio-technica, Beta Three, Beyma, BIK, BMB, Boray, Bosch, Bose, Broad Future, Celestion, Charming, DAS, Colour Imagination, CD-Stage, d&b Audiotechnik, db Technologies, DMT, Eagle, EM Acoustics, Ezpro, Faitalpro, Fane, FBT, Fidek, Fine Art, Funktion-one, Gonsin, Haimei, Harman International, Hivi, HTDZ, IAG, ITC, Klotz, Konig & Meyer, Kvant, Laserworld, Lavoce, Lewitt, Longjoin, Mascot, Meyer Sound, Mipro, Mode, Montarbo, Nan Yi, Nexo, Nightsun, Pangolin, PCI, Phoenix, Plustruss, Polarlights, QSC, Rainbow, RCF, Redx, Ruisheng, SAE, SE Audiotechnik, Sennheiser, Seikaku, Showven, Shure, Soundking, ST Audio, Star-net, SWS, Taiden, Takstar, Tendzone, Thunderstone, TOA, Top Plot, TW Audio, Viashow, Vue Audiotechnik, Yamaha, Yes-tech and more.
The success of the fair and its increased global brand representation were clearly reflected on the show floor. The event served as an opportunity for brands to showcase their latest innovations to the region for the first time in 2019, many of which have been specifically catered to the Chinese market. The show’s display areas were presented under a new arrangement this year too, with the ‘Media Systems and Solutions’ and ‘Communication and Conference’ halls under the show’s Audio Brand Name halls receiving high praise.
The event’s popularity this year can be attributed to its extensive cooperation with local and overseas industry associations, leading companies and professional media. Each contributed by inviting a number of high quality buyer groups and organising well-attended fringe events. A total of 11 domestic and international visitor groups attended the fair, and local industry media HC360 hosted a product presentation for over 1,000 professional buyers. Elsewhere, increased internationalism was also reflected in the show’s premium buyer groups, some of which came from the China Association of Recording Engineers, the Guangdong Association of Stage Art, the Zhejiang Province Stage and Audio Institute and Entertainment Equipment Industry Technology Association (EEITA) from Taiwan.
In terms of the PLSG fringe programme this year, both attendees and speakers emphasised how each event offered valuable information exchange, networking and educational and training opportunities which added an extra dimension to the show’s offerings. Digital audio networks in particular were heavily discussed, including through a sold out panel discussion on AVIT and how artificial intelligence (AI) solutions can influence the market, as well as the returning Dante Certification courses. Elsewhere, one of the most popular concurrent activities was the series of four Outdoor Line Arrays, which welcomed 41 international and domestic brands and a double-string display, which was ever-busy thanks to the favourable weather conditions.
Meanwhile, the first interactive multimedia display in PLSG, the Lighting and Art Space, was extremely well attended with lots of professional visitors and industry new force across the entertainment, media creative and stage design sectors. The area was established to showcase new media technologies associated with 3D mapping, stage machinery, lighting installation, new media art, stage tech innovations and more. Developed in cooperation with Chinese media giant Visual Jockey, the area featured a total of 18 professional visual and display companies and brands, including Epson, Hecoos, Music Trick Lighting, X Color and more demonstrating their latest projection and display systems, and was bustling with intrigued visitors throughout the show.
Participants admire comprehensive coverage across each sector
Mr Hai Xiang, Area Manager, Beijing Tricolor Technology Co Ltd
(Communication and Conference Hall Exhibitor)
“Right now, the key digitalisation trends of the media systems industry involve more intelligent technology, more AI, and more integrated management systems, which all can be seen here at PLSG. We’re promoting our ‘Apollo’ and ‘CrossMedia’ audio and visual monitoring systems in the Communication and Conference Hall of PLSG, which can be applied for security surveillance. The show has such a strong influence in the industry and every year, there are more exhibitors joining which is testament to the organisers. It also helps us learn from our industry peers to continue improving and developing our products in line with the trends.”
Ms May Song, Vice President, Beijing Oriental Prime Connections Film/TV Technology Co Ltd
(Media Systems and Solutions Hall Exhibitor)
“This year is the 20th anniversary for our company, and we chose to host a press conference on the first day of PLSG because it’s such an influential show associated with our field of work. We’re also here to showcase some of our audio products which have been used in the Olympic Games and at a number of national conferences. The high visitor flow is a huge benefit for us, because a lot of quality buyers have been interested in visiting our booth, including from China, India, the Philippines, Vietnam and Korea. The show acts as a bridge between us and new business opportunities, because clients can discover us for the first time and we can interact with them face-to-face. It also helps us better understand customers’ demands to produce better products.”
Mr Allen Tan, Product Marketing Manager, Bosch (Shanghai) Security Systems Ltd
(Media Systems and Solutions Hall Exhibitor)
“The PLSG show is very influential, has a huge scale, and is the first major exhibition after the Chinese New Year, which helps gather a lot of buyers from both China and overseas. This also makes the show very suitable for us to launch new products and technologies, and showcase the strength of our brand to the right audience. All in all, we’ve met a lot of potential clients already, and the results are very exciting for us.”
Ms Julie Zhu, Vice President of China Region, Kvant Ltd
(Lighting Hall Exhibitor)
“Kvant has exhibited at PLSG for 10 years and manufactures laser display systems. The entertainment industry in China is growing robustly and has huge potential, and even some of the tourist spots here are demanding these kinds of advanced audio and visual technologies for creative performances. The fair always provides us a good chance to further promote our brand and showcase our advanced laser lighting products to buyers. It is one of the most important platforms for us to better understand the Chinese market trends.”
Mr Yosef Levy, Owner, RST Audio Equipment Ltd
“I’m here at the show to source new audio equipment and technology from the Asian market, so I can develop my own business in Tel Aviv, Israel. I’ve noticed there are a lot of brands here who are working on integrated solutions and providing systems of international quality. It’s also been very busy, which means there are a lot of opportunities for me to chat with industry peers from all around the world, as well as many domestic and international audio brands. I’d like to follow up my time at the show by placing some orders, and I may meet with my new contacts again at the Shanghai show later this year.”
Mr Eli Wu, System Designer, Shenzhen Ezpro Sound and Light Technology Co Ltd
“This is my fourth time to visit PLSG and I’m looking for some audio and lighting related solutions for my company. The fair accommodates both large and small scale exhibitors from local and overseas, and allows visitors to find a wide range of products. It definitely caters to buyers’ needs comprehensively. I’ve met lots of high quality suppliers at the fair, and their products are useful and provide a perfect user experience at the same time. The fair not only allows us to learn the industry latest trends through its well-rounded fringe programme events, but also acts as an important meeting point for the industry.”
Mr Kane Zhang, Senior Application Engineer, Biamp Systems
“This is my first time to PLSG, where I’m hosting a session on AVB and also a panel discussion on AVIT. The content and details for these kinds of fringe events offer a face-to-face element and a more intimate setting for people to voice out their thoughts to learn from one another. Only through these platforms can we tap into future technologies and continue developing our industry. To me, PLSG is a huge show with lots of industry experts coming together, which has allowed it to grow into such a good platform to match our industry goals.”
Mr Kevin Gu, Vice President, Shanghai Epean Exhibition Creative Development Co Ltd
(Lighting and Art Space Attendee)
“The new Lighting and Art Space offers a very comprehensive coverage of reflected technology for sound and lighting electronic innovations in an exciting way. The light show for the miniature St Paul’s Cathedral replica is particularly impressive. Nowadays, visitors are looking for more ways to interact with hands-on exhibits, and I believe some of the technologies shown in this space will be part of the industry’s biggest trends in the future, as they can be widely applied to many cultural and creative events such as in art exhibitions and museums. It will help different kinds of innovations become a reality, and makes the experience more fun.”
The 2020 edition of Prolight + Sound Guangzhou will be held from 19 – 22 February 2020 at Area A and B of the China Import and Export Fair Complex in Guangzhou, China. Prolight + Sound Guangzhou is organised by Messe Frankfurt and the Guangdong International Science and Technology Exhibition Company (STE). For more details about the show, visit www.prolightsound-guangzhou.com.
Other shows under the Prolight + Sound brand include:
Prolight + Sound
2 – 5 April 2019, Frankfurt
Prolight + Sound NAMM Russia
12 – 14 September 2019, Moscow
Prolight + Sound Shanghai
10 – 13 October 2019, Shanghai
Prolight + Sound Middle East
15 – 17 October 2019, Dubai
Women’s Media Center Releases 2019 Status of Women in U.S. Media Report:
Men dominate news, entertainment and digital media
94 studies — including new research from WMC — detail the shape and scope of women’s participation in media
The Women’s Media Center (WMC) today released its 2019 report on the status of women in U.S. media, which shows that despite some gains, men still dominate in every part of news, entertainment and digital media.
“The Status of Women in the U.S. Media 2019” is comprised of 94 studies, including original research by WMC and aggregated research from academia, industry and professional groups, labor unions, media watchdogs, newsrooms and other sources.
Julie Burton, president of the Women’s Media Center, said the data in the report paints a stark picture. “The media is in a state of great disruption, but despite all of the change, one thing remains the same: the role of women is significantly smaller than that of men in every part of news, entertainment and digital media. It is clear that a cultural, systemic shift is necessary if all parts of the U.S media are to achieve gender and racial parity and move toward a world where stories fully represent the voices and perspectives of diverse women,” she said. “Research spotlighted in this report shows that diversity boosts corporate profits. When boardrooms, newsrooms, studios and tech companies fully reflect the faces, genders and myriad talents of our society, we’re all exceedingly better served.”
The report includes several original WMC studies, including “Divided 2019: The Media Gender Gap,” an assessment of where women stand as media writers, reporters, correspondents and anchors in the major news media platforms, including the prime-time broadcast news programs, print publications, wire services and online news sites. Across all media platforms, men receive 63 percent of bylines and credits; women receive only 37 percent.
“Women have been fighting for greater parity and equality in the news media for decades,” said Maya Harris, co-chair, Women’s Media Center. “This report shows that more work needs to be done to level the playing field. Women and our male allies will not rest until we see wholesale change.”
“When we watch the evening news, we’re not seeing an America that truly reflects all voices,” said Pat Mitchell, co-chair, Women’s Media Center. “Too often, the voices we hear and the images we see are men’s. Men largely are reporting and telling the story even though women represent more than half the U.S. population.”
The report is inclusive and also features WMC’s “The Status of Women of Color in the U.S. News Media 2018,” which offers a rare look at where women journalists of color are — and aren’t — in legacy print, radio, TV, and digital news.
“Missing women of color in the newsrooms of this country is an injustice in itself, and an injustice to every American reader and viewer who is deprived of great stories and a full range of facts,” said Gloria Steinem, WMC co-founder. “Inclusiveness in the newsroom means inclusiveness in the news. Racism and sexism put blinders on everyone.”
In an expanded section on tech, social media, gaming and engineering, “Status 2019” also spotlights the growing threat online to women in media and the perils of failing to protect free and safe speech.
“As part of their day-to-day work, women journalists often face a torrent of harassment, denigration, and threats. The point of this hostility is to silence women, most frequently women of color,” said Soraya Chemaly, director of WMC’s Speech Project. “The onus continues to fall on women’s shoulders as individuals. Media companies have to develop institutional responses to these threats if they are serious about building inclusive organizations.”
Here are the Status report highlights in traditional print and online-only, radio and television, news consumption, entertainment media and technology, social media, gaming and engineering:
In news media: print and online-only:
- The American Society of News Editors’ latest tally found that women comprised 41.7 percent and people of color 22.6 percent of the overall workforce in those responding newsrooms.
- Sports desks at 75 of the nation’s newspapers and online news sites earned a “B+” for racial diversity, a “D+” for gender and racial diversity, combined, and a sixth consecutive “F” for lack of gender equity. (Associated Press Sports Editors)
- Editors of the nation’s 135 most widely distributed newspapers are overwhelmingly male and White. (Columbia Journalism Review)
- 69 percent of news wire bylines (AP and Reuters) are snagged by men, 31 percent by women; 63 percent of TV prime-time news broadcasts feature male anchors and correspondents; 37 percent feature women; 60 percent of online news is written by men, 40 percent by women; 59 percent of print news is written by men, 41 percent by women. (Women’s Media Center)
In news media: radio and television:
- A record number of women are employed in TV news, including as news directors, but fewer women and people of color work in radio news. (Radio Television Digital News Association)
- Women owned 7.4 percent of the nation’s commercial TV stations. (Federal Communications Commission)
In entertainment media: film, TV & online streaming:
- Over 12 years, through 2018, men accounted for 93.4 percent, or, 654, of the 704 individual directors of the highest-grossing films. Women accounted for 6.6 percent, or, 46 of those 704. (University of Southern California’s Annenberg Inclusion Initiative)
- The number of women working on-screen in television and online streaming entertainment shows declined 2 percentage points from 2016-17 to 2017-18, when 40 percent of all speaking characters were female and 60 percent were men. (San Diego State University’s Center for the Study of Women in Television & Film)
- The share of women among nominees in the Oscars’ 19 non-acting categories rose slightly from 23 percent to 25 percent from 2018 to 2019, but women were shut out of nominations for cinematography, directing, editing, original score and visual effects. (Women’s Media Center)
- The proportion of lesbian, gay, bisexual, transgender and/or queer regular (LGBTQ) characters cast during the 2018-19 broadcast TV season — 8.8 percent of 857 regular characters — was the highest tallied in 14 years. (Gay & Lesbian Alliance Against Defamation)
In tech, social media, gaming, engineering:
- 45 percent of U.S. gamers were female, reflecting continued, year-over-year increases in female gamers. (Entertainment Software Association)
- Over a decade, there was no significant rise in the number of female tech workers and Black tech workers. (U.S. Government Accountability Office)
- 53 percent of women and 16 percent of men said they had been harassed at work. (Women Who Tech)
About The Women’s Media Center
The Women’s Media Center, founded by Jane Fonda, Robin Morgan, and Gloria Steinem, is an inclusive and feminist organization that works to make women visible and powerful in the media. We do so by promoting women as decision-makers and as subjects in media; training women to be effective in media; researching and exposing sexism and racism in media; and creating original online and on-air journalism.
Caesars Entertainment Corporation announced today an unprecedented 15-year partnership that will make Caesars Entertainment (Caesars) the first founding partner of the Las Vegas Stadium, the future home of the Las Vegas Raiders, elevating Caesars’ profile in professional sports.
“The Raiders are proud to welcome Caesars Entertainment as a founding partner of Las Vegas Stadium,” said Marc Badain, President of the Raiders. “We are honored to align with a company that shares the Raiders’ values of improving the local community and delivering exceptional customer service in creating this transformative project.”
“Sports have long been a core part of the Caesars experience,” said Chris Holdren, Chief Marketing Officer for Caesars Entertainment. “With this deep partnership, Caesars will become an essential part of the game time ritual for Raiders fans everywhere. From activations to exclusive experiences, fans of the silver and black will see Caesars as their home on game day.”
The historic partnership also marks the first Raiders deal with a gaming and hospitality company, providing select Caesars Entertainment customers and Total Rewards members access to exclusive experiences like the customized Caesars-branded Owners Suite at the 50-yard line of the Las Vegas stadium, VIP Dinners on the field, training facility events, fantasy camp participation, stadium tours, along with tickets to home games and most stadium events.
As a Founding Partner, Caesars Entertainment will host a branded stadium entrance and drop off zone, digital signage, media, radio and print assets in addition to alumni, player and cheerleader appearances – giving the company a commanding presence.
This partnership with the Las Vegas Raiders follows the company’s recent announcement with the Baltimore Ravens, Maryland’s only partnership between a National Football League team and a casino.
The 65,000-seat stadium will bring 520,000 people to home games each year, when it opens for the 2020 NFL season.
Bravo Media is spicing up Sunday nights when “The Real Housewives of Atlanta” returns for an unforgettable eleventh season on Sunday, November 4 at 8pm ET/PT. Favorite Southern sophisticates Cynthia Bailey, Kandi Burruss, NeNe Leakes and Porsha Williams are all back and will be joined by newest housewives Eva Marcille and Shamari DeVoe. Marlo Hampton and Tanya Sam join the season as friends. For a sneak peek at this season, visit http://www.bravotv.com/the-real-housewives-of-atlanta/season-11/videos/your-first-look-at-the-real-housewives-of-atlanta
Fresh off her stand-up comedy tour, NeNe is busier than ever with the opening of a new location for Swagg Boutique. Business as usual comes to a halt however, as Gregg faces a cancer diagnosis. Cynthia struggles with the idea of becoming an empty nester, but is excited about the new man in her life. Kandi decides to launch a risqué burlesque show while she and Todd explore the idea of expanding their family yet again. Porsha is over-the-moon excited to welcome her first bundle of joy and finally have the family of her dreams. Meanwhile, Eva and her fiancé Michael welcome a beautiful baby boy and are busy planning a fairytale wedding. Shamari DeVoe, known from the multi-platinum R&B group Blaque, is new to the mix and is planning to launch new music with her husband Ronnie DeVoe, formerly of New Edition. Marlo Hampton is back on the scene, joined by newcomer Tanya Sam, a tech savvy business woman who enjoys the finer things in life.
“The Real Housewives of Atlanta” is produced by Truly Original with Steven Weinstock, Glenda Hersh, Lauren Eskelin, Lorraine Haughton-Lawson, Ken Martinez, Anne Swan and Glenda Cox serving as Executive Producers. Erika Bryant and Kenny Loeliger-Myers serve as Co-Executive Producers. Anthony Sylvester serves as Consulting Executive Producer. Andy Cohen also serves as an Executive Producer.
About Bravo Media:
Bravo Media is the premier lifestyle and entertainment brand that drives cultural conversation around its high-quality, interactive original content across all platforms. The network has a diverse slate of original programming that includes scripted series “Girlfriends’ Guide to Divorce” and the recently announced anthology series “Dirty John,” along with unscripted favorites such as Emmy Award-winning “Top Chef,” “Vanderpump Rules,” “Below Deck,” “Southern Charm,” and the popular “Million Dollar Listing” and “The Real Housewives” franchises. Bravo also boasts the only live late-night talk show on television with the critically acclaimed “Watch What Happens Live with Andy Cohen,” which has become a nightly destination for A-list celebrities. Available in 87 million homes, Bravo is a program service of NBCUniversal Cable Entertainment, a division of NBCUniversal, one of the world’s leading media and entertainment companies in the development, production, and marketing of entertainment, news, and information to a global audience. Watch Bravo anywhere: on demand, online, or across mobile and connected TVs. Bravo has been an NBCUniversal cable network since December 2002 and first launched in December 1980.