Spicy Village is a New York Chinatown institution, a hole-in-the-wall spot renowned for its hand-pulled noodles, meat-filled buns, and famous “big tray chicken.” The restaurant’s owner, Wendy Li, runs the cult favorite with her husband and two children; they’ve earned accolades from the likes of celebrity chefs, the Village Voice, and the Michelin Guide. Before the pandemic, the line went out the door virtually every night.<br />
<br />
For Chinatown restaurants like Wendy’s, the impact of Covid-19 will soon become too much to bear. Business took a spike in February 2020—and not just because of a lack of foot traffic. Racism and xenophobia have threatened these places’ survival, too, with anti-Asian sentiment on the rise. Spicy Village’s future is under threat. They desperately need a show of support from New York’s noodle-lovers.<br />
<br />
This short film from cross-cultural documentary collective HiLo offers a glimpse behind the scenes at Spicy Village, on one of the few days they take time off: Chinese New Year. A time for celebration and togetherness with family, hindered by the pandemic for the second year running.<br />
<br />
Directed by Jia Li<br />
Camera by Jia Li, Yiwei Chen, Stevie Borrello, Kristofer Rios<br />
Produced by Joshua Frank, Kristofer Rios<br />
Edited by Jia Li, Yiwei Chen <br />
Sound mix by Kristofer Rios<br />
Special thanks Carver Audain<br />
<br />
A HiLo Production<br />
hi-lo.tv

PPP LOAN FRAUD SENTENCING is based on the Federal Sentencing Guidelines. In any federal fraud case, sentences are based on the "intended loss." That means that if you applied for a $1million loan but didn't receive it, you intended to take $1million from the bank and could be sentenced based on that loan amount. If you committed loan fraud and received a smaller amount like $10,000 or $20,000, there is a good chance that you won't be sentenced to prison but you might be convicted of a federal felony. The larger the loan amount, the longer the sentence.

I CANNOT ANSWER GENERAL PPP LOAN QUESTIONS. Please only call if you have been charged with fraud, you are under investigation or if your accounts have been frozen. Thank you. 🙏🏻

Law Office of Diane C. Bass
A Professional Law Corporation
5440 Trabuco Road
Irvine, California 92620
Hppts://www.dbasslaw.com

The video for „Pay Mi In Cash“ dramatizes frustration and anger due to exploitation of BIPoC. By applying the repetitive principle of the song to the video the director created a fascinating visual mantra.<br />
<br />
Director: Justyna Obasi<br />
DoP: Konstantin Mazov<br />
Producer: Felix Knabel<br />
Choreography: Kiani del Valle<br />
Styling: Kamilla Richter <br />
Make Up: Servulo Méndez <br />
Hair: Tini Amoako<br />
Art Dep: Juliette Valone<br />
Focus: Julian Hansche<br />
Gaffer: Luke Sullivan<br />
Grip: Dennis Klemba<br />
Runner / PA: Emil Baikousis<br />
Editor: Matthias Graatz<br />
Grading: Julia Rossetti<br />
VFX: Katalyst Berlin<br />
Designers: Helena Stölting<br />
Joshua Sengespeick<br />
Laura Gerte<br />
Neith Nyer via Autrement PR <br />
Helene Zubeldia<br />
Lucien Pagès<br />
Design Assistants:<br />
Isabelle Thiede<br />
Sammy Cullis<br />
Joana Zibat

Watching Netflix, Amazon Prime and YouTube have exploded during the pandemic. But streaming video has a growing and significant environmental impact that goes far beyond your tv or phone.<br />
<br />
http://www.cnn.com/video/data/....2.0/video/world/2021

ANIMATION by Chris Daykin<br />
A new film reflection on the animation students and their work from the animation department. Liverpool , 1981.<br />
The film is my memory (from student days) of the films of Jonathan Hodgson, Susan Young, tony Collingwood, Fiona Macvicar Arthur White, and myself.. It was a small group but influential<br />
[email protected]

This video is about MALCOLM HILL peforming stand up comedy at the stress factory comedy club dec. 23, 2012

Entrevista de Israel Bujarski para a CNN internacional

⁣CNN Think Big - Desert Control - March 2021

How can splintered stereotypes become mechanisms for portraying a fuller self?

Summoning experiences from his formative years, performance and socially-engaged artist Shaun Leonardo embarks on bold explorations of the ways that art has allowed him to expose and distort societal perceptions of Brown and Black people, and, in the process, make sense of his identity. Born to Latin American immigrants in Queens, New York, and recruited to play football at a private New England college, Leonardo recounts a seminal moment on the playing field: a beloved coach provokes him to play as if he was "just let out of Rikers." For Leonardo, the incident revealed the hypervisible and dehumanizing ways that Black and Brown bodies are perceived, setting him on a path to seek ways that he might exist more fully and freely in his body.

Leonardo recounts early performances of "El Conquistador vs The Invisible Man" (2006) and "Bull in the Ring" (2008), which drew upon his experiences as a former athlete. In each, Leonardo puts himself through physically exhausting processes, reflecting violence and hypermasculinity back to the audience. In more recent works, such as "Primitive Games" (2018) and "Mirror/Echo/Tilt" (2019), he engages participants in movement workshops and nonverbal storytelling exercises as a way of understanding their own experiences.

Spurred by the police killings of young Black men, Leonardo reflects on the community of his youth and asks, "Why me? Why was I the one that was able to make it out?" This questioning led Leonardo to more direct action with Assembly, an arts diversion program for court-involved youth that he co-founded with the non-profit organization Recess in 2017. Since that time, Leonardo has grappled with the philosophical crisis of operating within a criminal justice system, but remains committed to directly engaging with and caring for the participants. "Being able to exist in your own body and understand that you do not need to be defined by an experience—arrest and incarceration—allows you to move forward with a little more sense of joy," says the artist. "To get anyone to start imagining possibilities for themselves again, that is what we all should be after."

Shaun Leonardo (b. 1979, Queens, New York, USA) lives and works in Brooklyn, New York. Learn more about the artist at:
https://art21.org/artist/shaun-leonardo/

CREDITS | "New York Close Up" Series Producer: Nick Ravich. Director: Nick Ravich. Editor: Nadine Mundo. Additional Editor: Troy Herion. Cinematography: Jarred Alterman. Additional Camera: Logan Quarles and Brian Wengrofsky. Grip: George Schramm. Sound: Trokon Ngabe. Production Assistant: Meghan Garven. Color Correction: Addison Post. Sound Design & Mix: Gisela Fullà-Silvestre. Design & Graphics: Andy Cahill and Chips. DIT & Assistant Editor: Jasmine Cannon. Music: Troy Herion. Artwork Courtesy: Shaun Leonardo. Archival Media Courtesy: Melvin Barinas, Brad L. Cooper, Melanie Crean, Armando Croda, Sebástian Diaz, Mariam Dwedar, Giacomo Francia, Adam Gundersheimer, and Sable Elyse Smith. Thanks: Melissa Saenz Gordon, High Line, Brian Losier, New Museum, Emma Nordin, Recess, Sugartone Brass Band, The Solomon R. Guggenheim Museum, Justin Waldstein, and YouTube Space NY. © Art21, Inc. 2021. All rights reserved.

"New York Close Up" is supported by The Andy Warhol Foundation for the Arts; and, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council; Dawn and Chris Fleischner; and by individual contributors.

#ShaunLeonardo #Art21 #Art21NewYorkCloseUp

Directed by Carrie Brownstein
Director of photography: Shawn Kim