Art

Mulan illustration by Maria Soloman for 360 Magazine.

Mulan Boycott

by Justin Lyons

A new movement is taking over social media as pro-democracy activists try to spread a boycott of the new Disney film Mulan.

Disney’s live-action remake of the 1998 original film hit Disney’s streaming service Disney+ this weekend. On top of the monthly subscription fee, those wanting to see Mulan would have to pay $29.99 to unlock it.

Social media users in Hong Kong, Taiwan and Thailand called for movie fans and Disney lovers to avoid the new film because of comments from Liu Yifei, who plays the titular Mulan.

In Aug. 2019, Liu expressed via Weibo, a Chinese social media site, that she supported Hong Kong police. The comments came amid pro-democracy protests in Hong Kong.

Liu was met with instant backlash, but now that her movie is available to stream, the widespread boycott seems to have intensified.

Joshua Wong, a Hong Kong activist, has been particularly outspoken regarding the situation. He asked everyone who believes in human rights to boycott the film.

He also retweeted multiple tweets from other activists. One of which was from Twitter user Gwyneth Kwai-lam Ho, who linked a story about the boycott from The Guardian.

“Not while the true Mulans are suffering in the darkness of a Chinese jail,” the tweet said.

Mulan currently sits at 78% on Rotten Tomatoes among critics but 55% among audience members. It had a production budget of $200 million.

Beyoncé - Black is King illustration done by Mina Tocalini of 360 MAGAZINE.

A Gift From Beyoncé

‘Superb. Reminiscent of Michael Jackson’s Remember The Time!’Vaughn Lowery, 360 Magazine

By Mina Tocalini

Beyoncé’s new film “Black is King,” a celebration of the “breadth and beauty of Black ancestry”, released on Disney+ today. Similar to Beyoncé’s 2016 film, “Lemonade,” “Black is King” acts as a visual album to her soundtrack, “The Lion King: The Gift.” Black Is King” explores the “timeless lessons” from Lion King in a visually rich modern journey of Black empowerment and resilience.

Beyoncé announced her excitement for the film’s release via Instagram, while further acknowledging the impact of its release and message: “The events of 2020 have made the film’s vision and message even more relevant, as people across the world embark on a historic journey… I believe that when Black people tell our own stories, we can shift the axis of the world and tell our REAL history.”

Beyoncé’s prideful film explores the Black experience and history through a young king’s story of “betrayal, love and self-identity.” Additionally, given the timing of its release, the film presents the necessity of honoring and telling stories from the Black perspective and that of any underrepresented community.

Simply put, the film is a celebratory visual journey of the Black experience. Initially the flow of the story seems interrupted and fast paced, but further on, it becomes clear that instead of following a linear narrative, it challenges the audience to find the connections within the short moments that frame each message.

Reiterating the same story we know and love is unnecessary, so rather, “Black is King” reinvents the Lion King through thematic experimentation intended to ignite pride in the Black identity. In a stunning collage of Afro-Soul music, narrative driven reflections and strikingly beautiful imagery, the film successfully expresses inspirational messages of hope, growth, love and community.

Some have critiqued the lavish presentation of Blackness via art, dance and fashion to be excessive and fast paced. Yet, this film’s message is focused on individuality and self love derived from the appreciation of Black culture. A culture of an entire continent and of Black communities around the world, it is anything but simple.

The immense detail in this film celebrates the complexity of Black beauty and the fast paced editing can not only be considered a reference to music video styles. It may originate from there, but can we not interpret it as being part of the overwhelming journey of defining your identity while struggling with the racial tensions in society.

Beyoncé did not create this to simply further enhance her image in a display of wealth, popular culture already associates her persona this way, we expect it and should not disregard the artistry for embracing it. She is simply using her power as a superstar to lead the unifying celebration, as should be done by those who can.

Additionally, Beyoncé is not the only star in “Black is King”, although American audiences may mainly recognize her. Emerging African artists such as Wizkid, Busiswa, Shatta Wale, Salatiel, Mr Eazi, Tiwa Savage, Yemi Alade, Burna Boy, Tekno, Moonchild Sanelly and Lord Afrixana were part of the album and in some in the film. Black American artists also include Kelly Rowland, 070 Shake, Childish Gambino, Jessie Reyez, Pharrell Williams, Nija, and Tierra Whack. The presence of these Black American legends establishes the familiarity necessary to create an alliance between both Black cultures and induce a movement of African diaspora celebration.

Follow Beyoncé: Facebook | Instagram | Twitter | YouTube

Bronson illustration done by Mina Tocalini of 360 MAGAZINE.

Bronson

Grammy-nominated duo Harrison Mills and Clayton Knight of ODESZA, and ARIA-platinum selling Australian producer Tom Stell of Golden Features, today release their highly anticipated self-titled debut album from their new joint project, BRONSON. Out on Foreign Family Collective and Ninja Tune, BRONSON is a striking collection of ten songs that vacillate between intense, emotive instrumental-heavy tracks and revelatory, melodic vocal-driven compositions. The trio embrace an alternate identity on the record, achieving a newfound limitlessness and ability to explore different soundscapes, free from any expectations attached to their respective projects. BRONSON welcomes guest features from notable vocalists including Gallant, Totally Enormous Extinct Dinosaurs, and lau.ra (of Ultraísta), as well as a surprise appearance from Harrison and Tom themselves providing the vocals for “CALL OUT.”

On the album, BRONSON reveals: “This record isn’t like anything any of us have done before; it’s a creative departure from the worlds of ODESZA and Golden Features – but that’s the beauty of it and the fundamental intention of the project. We initially began making music with one another with no goal in mind, we were just bouncing ideas back and forth (halfway across the world) and experimenting with new sounds. What ensued was the start of something we felt so pulled and drawn to explore further, so much so that the creation of the full-length album essentially took on a life of its own. BRONSON was born out of a need, almost subconsciously, to push our creative boundaries and build something bold and free of any expectations; it was a really cathartic process.”

Along with the album today arrives the stand-out track “KNOW ME”, featuring vocals from dazzling R&B talent, Gallant, who delivers a breath-y, raw vocal, that in turn, elevates the energy and intention of the track to an entirely different magnitude of depth. Paired with its emotive and pointed production, “KNOW ME” transcends as a cathartic calling, that speaks to the complexities of connection and the subsequent realizations we come to in the aftermath. 

Each track on the album stands as a testament to the trio’s artistic depth and sonic versatility as electronic visionaries, with an unparalleled ability to harmonize genres and unexpected sounds – from the slow-building modest synths on “FOUNDATION” to the high-octane industrial noise on “TENSE,” spanning to the lush, soaring lyrical moments heard on “DAWN”. Together, BRONSON set out to craft a body of work that was reflective of the duality of lightness and darkness, inherent to the human condition. The result is an introspective record with an extraordinary profundity, yet in the same breath, universal relatability, striking a delicate balance in which the listener can find a truly remarkable sense of solace and escape.

Follow ODESZA: Facebook | Instagram | Twitter | YouTube

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Galimatias illustration done by Mina Tocalini of 360 MAGAZINE.

Galimatias – Let Go

Danish-born, now LA-based artist & producer, Galimatias, today shares “Let Go,” the second single to be lifted from his forthcoming full-length album, Renaissance Boy, which will release on August 28th, 2020.

Following lead single “Redeye,” “Let Go” is another track submerged in Galimatias’s exquisite late-night, blurry-eyed feelings, bringing the sensuous and pensive palette of his upcoming debut LP into sharper focus. The opening half of “Let Go” foregrounds Galimatias’s fragile vocal performance over tender, dripping keys and crisp percussion while the second half blooms to life with orchestral flourishes and staccato piano. Started in 2018 and finished years later, “Let Go” is the sound of competing mindsets or feelings trapped in the past.

Of the inspiration behind the track, Galimatias shares that: “The song is about the reluctance to let go of someone or something you had a strong connection to. The ambivalence can be jarring, when you know that you would be better off moving forward and forgetting about it, but your psyche holds you hostage to the nostalgia.”

After coming to widespread attention with 2015’s Urban Flora, his critically acclaimed collaborative EP with Alina Baraz, Galimatias retreated from the spotlight. Slowing his output to a tantalizing trickle of standalone singles, he chose to refine his skills as a producer and vocalist in private, resisting the ever-present temptation to upload the fruits of his artistic growth before they were fully realized. 

Galimatias emerges from his artistic hibernation sounding revitalized and refreshed, reintroducing himself with a tastefully crafted brand of weightless, ornate R&B. Marrying the melancholic, downtempo beauty of his adolescence spent in the European electronic/hip-hop scene with the syrupy, sun-kissed atmosphere of his new locale, Galimatias is making music that feels as though it were filtered through a dream. 

Follow Galimatias: Facebook | Instagram | Twitter | YouTube

Superhero illustrated by Mina Tocalini for 360 MAGAZINE.

Marvel TV Auction

Prop Store, one of the leading film and TV memorabilia companies, in association with ABC Studios and Marvel Entertainment, has today announced the first MARVEL TELEVISION LIVE AUCTION to feature original costumes, props and set decoration from Marvel’s longest running live action television series MARVEL’S AGENTS OF S.H.I.E.L.D. 

Over 500 lots will be offered in this live auction, which takes place this November. Fans can register now to bid in the auction and to get updates at www.propstore.com/marvel.

Additional preview galleries focused on each of the seven seasons will be made available every Friday starting August 14th. Lots offered will span across each season, including items from many of the characters who originated from the series and others who make appearances from the broader Marvel Cinematic Universe or the pages of Marvel Comics.

Highlights of the upcoming auction that fans and collectors can bid on with estimated sale prices include:

  • Alphonso “Mack” Mackenzie’s Signature Shotgun Axe from Season 7, Est. $10,000 – $15,000
  • Daisy “Skye” Johnson’s “Quake” Costume from Season 5, Est. $8,000 – $10,000
  • Robbie Reyes’ “Ghost Rider” Costume from Season 4, Est. $8,000 – $10,000
  • The Darkhold Book from Season 4 and Marvel’s Runaways, Est. $8,000 – $10,000
  • Mike Petersen’s “Deathlok” Costume from Season 5, Est. $6,000 – $8,000
  • Bobbi Morse’s “Mockingbird” Costume with Batons from Season 2, Est. $6,000 – $8,000
  • Deke Shaw’s Space Costume with Light-Up Helmet and Light-Up Gravitonuim Belt from Season 5, Est. $6,000 – $8,000
  • Jeffrey Mace’s “The Patriot” Stunt Costume from Season 4, Est. $6,000 – $8,000
  • Nick Fury’s Costume Components with Toolbox Cube from Season 1, Est. $5,000 – $7,000
  • AIDA’s “Madame Hydra” Full Cloak Costume with Wig from Season 4, Est. $3,000 – $5,000
  • Asgardian Berserker Staff Pieces from Season 1, Est. $3,000 – $5,000
  • Elena “Yo-Yo” Rodriguez’s Gloves from Seasons 5-7, Est. $3,000 – $5,000
  • Phil Coulson’s Light-Up S.H.I.E.L.D. Badge from Season 1, Est. $2,500 – $3,500
  • Melinda May’s Hydra Costume from Season 4, Est. $2,500 – $3,500
  • Phil Coulson’s Chronicom LMD Costume from Seasons 6 & 7, Est. $1,500-$2,500

Each item comes with a Certificate of Authenticity signed by Prop Store and Marvel Entertainment EVP and Creative Director, Joe Quesada.  

Prop Store is offering a free chance to win a production used Marvel’s Agents of S.H.I.E.L.D “C.A.S.T.” chairback or one of four S.H.I.E.L.D. or Hydra production made patches to five winners who register for the auction. 

Chuck Costas, VP of Business Development & Operations for Prop Store, commented on the upcoming auction: “Marvel’s Agents of S.H.I.E.L.D was an innovative series that brought together an original S.H.I.E.L.D team with Marvel favorites from the broader Marvel Cinematic Universe and pages of Marvel Comics.  We’re excited to offer Marvel fans a curated selection of the most iconic props and costumes from the greatest moments in all seven seasons of this classic television series.  It’s amazing to see some of these gadgets and costumes in person… and now we’re giving people a chance to own them!” 

Mike Pasciullo, SVP, Marvel Marketing and Communications, spoke about the upcoming auction: “Marvel’s Agents of S.H.I.E.L.D. was not only our first live action television series, it’s also Marvel Television’s longest running television series. This show was truly made for the fans and it has been the fans’ support and excitement that has allowed us to have seven amazing seasons. I cannot imagine a better way to celebrate that fandom than by giving everyone a chance to add authentic pieces of this ground breaking series to their cherished collections.”

Operating since 1998, Prop Store founder Stephen Lane’s love for movies led him to begin hunting for the same props and costumes that were used to create his favorite films. He found that he could not only provide collectors with access to their most coveted pieces, but also establish archival standards for a new, pop-culture hybrid of fine art and memorabilia collecting – prop art. Prop Store handles prop disposal, sale, archive and auction services to production companies and distributors as well as fixed price item sale on its website.

Marvel Entertainment, LLC, a wholly-owned subsidiary of The Walt Disney Company, is one of the world’s most prominent character-based entertainment companies, built on a proven library of more than 8,000 characters featured in a variety of media for over eighty years. Marvel utilizes its character franchises in entertainment, licensing, publishing, games, and digital media.

Follow Marvel: Facebook | Instagram | Twitter

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Michael Brun illustration done by Mina Tocalini of 360 MAGAZINE.

Michael Brun – Bayo Tour

Michael Brun has been touring his critically acclaimed BAYO performances since the show’s inception on the streets of Haiti in 2016. Inspired by Haitian block parties, BAYO brought the energy and soul of these parties, as well as performances from numerous Haitian artists to sold-out venues across the US and Canada.

2020 would have been Bayo’s biggest year to date, but Coronavirus has halted touring around the world. Undeterred, Brun has sought out a pioneering new approach and model to touring during the Covid 19 crisis. This August, Brun will play three city specific Bayo shows which will give fans the unique sense of connection, intimacy and experience that we have all been missing in the absence of live touring. Brun will bring his BAYO Showcase to Chicago, Miami and Los Angeles August 14-15.

These Bayo concerts will be limited to ticket buyers located within 100 miles of each city. Brun will perform each show fully live with audiovisual technology creating a unique look and feel for each event, while also allowing fans to join in and be featured in the stream. Each show will feature exclusive footage from its respective cityscape, as well as past Bayo events and personal footage Michael shot in Haiti.  

These digital performances grew out of Brun’s recent experimentations with his IG streams, which have featured guests like J Perry, Paul Beaubrun and international stars like J Balvin and Jojo. In keeping with the Bayo tradition and Michael’s IG streams, fans can expect surprise guests during the upcoming tour.

Brun has always sought to push boundaries in the music industry. He has served as YouTube Foundry artist, consultant to Spotify, and Beats1 Guest DJ with Apple Music as well performing non-profit work with APJ and The Audio Institute in Haiti. A collaboration with BACARDÍ has been in discussion since last year, and their contribution enabled Michael to create a show that he felt was strong enough to push forward this new model and allow him to continue championing music and artists from the Afro-Caribbean diaspora despite the limitations of social distancing. 

Michael will perform each show from a fully built out production space, featuring state of the art audio visual technology, a full front of house lighting set-up and a multi-camera team. Tickets for each show will be available for sale on Tixr on August 1st at 10am PT starting at $4.99 and each event is 21+. Tixr innovated Bayo’s ticketing plus live-streaming solution, Tixr Play, powering a seamless purchase and viewing experience for fans. Limited edition merch offerings will be available in each city.

Produced in partnership with AWAL, EventCRU, New Epoch Software, Tixr, ToneDen

Follow Michael Brun: Facebook | Instagram | Twitter

Ballerina illustration done by Mina Tocalini of 360 MAGAZINE.

SF Ballet Release Film

San Francisco Ballet announces the premiere of Dance of Dreams, a new dance film directed by Benjamin Millepied, featuring San Francisco Ballet dancers performing choreography by Justin Peck, Dwight Rhoden, Janie Taylor, and Christopher Wheeldon. Filmed in iconic San Francisco locations including the Palace of Fine Arts and the Golden Gate National Recreation Area, the new six-minute film is set to “Scène D’Amour” by Bernard Hermann from Vertigo, Alfred Hitchcock’s San Francisco–based thriller film from 1958, played by members of SF Ballet Orchestra. “The connection of this company to the people of San Francisco is so strong. It’s a die-hard audience,” says director Benjamin Millepied. “Dance of Dreams is a moment of dancing, a moment of reconnecting dancers to the city and the thing they love most.” Click here to see the film trailer. “Here in San Francisco, we’re still sheltering in place and I wanted to explore new work under these circumstances. Dance of Dreams celebrates San Francisco, while giving our dancers the freedom to move outdoors in some of the most beautiful landscapes in the Bay Area, and with choreography by some of the finest choreographers of our time,” says SF Ballet Artistic Director Helgi Tomasson. “Benjamin [Millepied] felt like a natural fit to direct this project. I am thrilled to be able to work with him in a capacity that integrates his background in film and cinematography with dance.” 

Dance of Dreams offers a glimpse of San Francisco as the city enters its fifth month of shelter-in-place restrictions. The film is choreographed for six dancers, including solos for Principal Dancers Joseph Walsh and Frances Chung, choreographed by Peck and Taylor, respectively; and pas de deux for Soloists Ellen Rose Hummel and Daniel Deivison-Oliveira, choreographed by Rhoden, and Soloist Madison Keesler and Principal Dancer Benjamin Freemantle, choreographed by Wheeldon. SF Ballet Orchestra Music Director Martin West mixed and mastered the recording, which incorporates more than 150 tracks recorded remotely by more than 60 musicians from the Orchestra. With this project, the Company enters an era of unprecedented digital engagement via uncharted territories, grappling with what is lost while ushering in new future possibilities. Millepied and all of the choreographers generously donated their time, working remotely from their respective locales.

The film begins with Joseph Walsh on the grounds of the iconic San Francisco Art Institute in movements that suggest a yearning for what the past and future hold: community, connection, and love. Shifting to an evening scene beside the Golden Gate Bridge, San Francisco’s foggy weather greets Hummel and Deivison-Oliveira, leading to Chung in solitude against the rugged shores of Sausalito. Among the swells and sonorities of Hermann’s “Scène D’Amour,” the film ends at the Palace of Fine Arts, a location featured in the film Vertigo. Keesler and Freemantle offer a closing pas de deux—an ode to perseverance through challenging times.

Social distancing rules were observed during the filming process, and the pas de deux are danced by dancers who have been sheltered in place together. Dance of Dreams will be available to the public at 12 noon U.S. PDT on August 13, 2020 on SF Ballet @ Home, YouTube, Facebook, and IGTV.

Millepied and Tomasson’s professional relationship began two decades ago at New York City Ballet (NYCB), when Millepied danced a principal role in Tomasson’s Prism as part of NYCB’s 2000 Diamond Project IV. Millepied began choreographing while at New York City Ballet and created his first work for SF Ballet—set to John Adams’ “The Chairman Dances”—in 2017. He is now Artistic Director of L.A. Dance Project, and his career has expanded to include filmmaking; he founded The Amoveo Company, a multimedia production company, in 2012. For Dance of Dreams, Millepied selected the music and settings; Tomasson invited the participation of the four choreographers whose work the film features.

Director Benjamin Millepied is a choreographer, filmmaker, and artistic director distinguished by his career as a dancer at New York City Ballet and his growing body of creative work. Born in Bordeaux, France, Millepied trained with his mother, Catherine Flori; at the Conservatoire National de Lyon; and at the School of American Ballet before becoming a principal dancer with New York City Ballet. His choreography is performed by New York City Ballet, Paris Opera Ballet, San Francisco Ballet, American Ballet Theatre, Berlin Staatsoper, Mariinsky Ballet, among many others, and was featured in Darren Aronofsky’s award-winning film Black Swan, in which he also starred. Millepied founded the L.A. Dance Project in 2012. In 2013, he was appointed director of Paris Opera Ballet, where he was the subject of the documentary film Reset. He returned to Los Angeles in 2016 to focus on L.A. Dance Project and his own choreography and filmmaking. Among many awards and honors, Millepied was made a Chevalier of the Order of Arts and Letters by the French Ministry of Culture. 

Choreographer Justin Peck is Resident Choreographer and Artistic Advisor with New York City Ballet (NYCB). Peck joined NYCB in 2006 and was promoted to Soloist in 2013. He began choreographing in 2009 at the New York Choreographic Institute. In 2014, after the creation of Everywhere We Go, Peck was appointed Resident Choreographer of NYCB. He also served as a member of NYCB’s interim artistic team from December 2017 until his appointment as Artistic Advisor in February 2019. He has created more than 30 ballets, which have been performed by Paris Opera Ballet, San Francisco Ballet, Miami City Ballet, Pacific Northwest Ballet, L.A. Dance Project, Dutch National Ballet, The Joffrey Ballet, Houston Ballet, and Pennsylvania Ballet. In 2014, Peck was the subject of the documentary Ballet 422, which followed him as he created Paz de la Jolla, NYCB’s 422nd original dance. Peck choreographed the 2018 Broadway revival of Carousel, for which he was awarded the 2018 Tony Award for Best Choreography. In addition, Peck choreographed the feature film Red Sparrow, and will be creating new choreography for the upcoming film remake of West Side Story, directed by Steven Spielberg. His Rodeo: Four Dance Episodes won the Bessie Award for Outstanding Production in 2015. Peck created his first work for SF Ballet, In the Countenance of Kings, in 2017. His second work for the Company—Hurry Up, We’re Dreaming—was created for the 2018 Unbound: A.

Choreographer Dwight Rhoden is founding artistic director and resident choreographer of Complexions Contemporary Ballet. Born in Dayton, Ohio, he performed with Dayton Contemporary Dance Company, Les Ballets Jazz De Montréal, and as a principal dancer with Alvin Ailey American Dance Theater. He has choreographed for New York City Ballet, Alvin Ailey American Dance Theater, Aspen Santa Fe Ballet, BalletMet, Colorado Ballet, Dance Theatre of Harlem, Dayton Contemporary Dance Company, The Joffrey Ballet, Miami City Ballet, Pennsylvania Ballet, Philadanco, Pittsburgh Ballet Theater, The Washington Ballet, Ballet Nice Mediterranean, Rome Opera Ballet, and Tulsa Ballet, among others. Rhoden has directed and choreographed for television, film, and theater, including So You Think You Can Dance, Cirque du Soleil, world tours for Prince and Lenny Kravitz, and the feature film One Last Dance. Rhoden was nominated for a Benois de la Danse Award for his The Great Gatsby for the Mariinsky Ballet. He’s been an artist in residence at USC Kaufman, Boston Conservatory, The Juilliard School, New York University, and Southern Methodist University. Honors include a New York Foundation for the Arts award, induction in the NYFA Hall of Fame, the Choo-San Goh Award for Choreography, and an Honorary Doctorate from Boston Conservatory. Rhoden created LET’S BEGIN AT THE END, his first work for SF Ballet, for Unbound: A Festival of New Works in 2018.

Choreographer Janie Taylor is a dancer and stager with L.A. Dance Project and a former principal dancer with New York City Ballet. Born in Houston, she trained in Texas and Louisiana before attending the School of American Ballet in New York, where she received the Mae L. Wien Award. She joined New York City Ballet in 1998, and was promoted to soloist in 2001 and principal dancer in 2005. Taylor appeared in the 2000 feature film Center Stage. Since retiring from the New York City Ballet in 2014, she has staged ballets on companies around the world. She has also started a career in design, creating costumes for New York City Ballet and L.A. Dance Project. In 2016, she joined L.A. Dance Project as a dancer and rehearsal director. 

Choreographer Christopher Wheeldon, OBE, trained at The Royal Ballet School and danced with The Royal Ballet and New York City Ballet (NYCB). Wheeldon was named NYCB’s first resident choreographer in 2001 and has since created works for many of the world’s major ballet companies. He founded Morphoses/The Wheeldon Company in 2007. Wheeldon now serves as artistic associate of The Royal Ballet, where choreography credits include Alice’s Adventures in Wonderland and The Winter’s Tale. He choreographed Dance of the Hours for Ponchielli’s La Gioconda and Richard Eyre’s Carmen for the Metropolitan Opera, as well as a special excerpt for the London 2012 Olympics Closing Ceremony, ballet sequences for the film Center Stage, and the Broadway musical Sweet Smell of Success. In 2014, Wheeldon directed and choreographed the musical An American in Paris, for which he won the Tony Award for Best Choreography and Outer Critics Circle Award for Best Choreography and Direction. Other recent credits include a reimagination of The Nutcracker for The Joffrey Ballet, a gala presentation of Lerner & Loewe’s Brigadoon starring Kelli O’Hara and Patrick Wilson at New York City Center, the premiere of Corybantic Games with The Royal Ballet, and productions of Alice’s Adventures in Wonderland in Tokyo, The Winter’s Tale with The Bolshoi Ballet, and a re-staged version of Cinderella for the English National Ballet at The Royal Albert Hall. Among Wheeldon’s awards are two Olivier awards for Aeternum and Polyphonia, and two Benois de la Danse awards for Cinderella and The Winter’s Tale, as well as the Martin E. Segal Award, American Choreography Award, a Dance Magazine Award, multiple London Critics’ Circle Awards, and the Léonide Massine Prize for new choreography. In 2016, Wheeldon was named an OBE and made an Honorary Fellow of American Academy of Arts and Sciences. 

San Francisco Ballet, long recognized for pushing boundaries in dance, has enjoyed a long and rich tradition of artistic “firsts” since its founding in 1933, including performing the first American productions of Swan Lake and Nutcracker, as well as the first 20th-century American Coppélia. SF Ballet is one of the three largest ballet companies in the United States and currently presents more than 100 performances annually, both locally and internationally. The mission of SF Ballet is to share its joy of dance with the widest possible audience—in its community and worldwide—and to provide the highest caliber of dance training in its School. Under the direction of Helgi Tomasson, the Company has achieved an international reputation as one of the preeminent ballet companies in the world.

Follow San Francisco Ballet: Facebook | Instagram | Twitter | YouTube

Dennis Quaid illustration done by Mina Tocalini of 360 MAGAZINE.

Dennis Quaid × UTA

Leading global talent and entertainment company UTA has signed multi-hyphenate superstar Dennis Quaid for worldwide representation in all areas. UTA will support Quaid as he expands his newly launched podcast business while furthering his thriving career in film, television, music, touring and more. 

Most recently, Quaid co-founded Audio Up, a podcast content studio, network, and production company, and launched his own podcast, The Dennissance, on the platform. He will run Audio Up alongside CEO Jared Gutstadt. In addition to The Dennissance, Quaid is involved in several other Audio Up podcasts. He co-hosts The Pet Show with Jimmy Jellinek, which premiered on July 14; Uncle Drank: The Totally Hammered Podcast alongside Gary Busey, which will debut in October with Warner Records set to release the soundtrack; and Make It Up As We Go, which he is executive producing and is due to release this fall.

Quaid is an acclaimed actor known for his roles in hit films The Rookie, The Day After Tomorrow, Traffic, Vantage Point, Frequency, The Parent Trap, Soul Surfer, The Right Stuff, and Breaking Away. More recently, his latest big-screen credits include starring roles in Sony’s thriller The Intruder, Universal’s A Dog’s Journey and A Dog’s Purpose, and Roadside Attractions’ I Can Only Imagine, among others. For his role in Todd Haynes’ Far from Heaven, he won the New York Film Critics Circle Award for “Best Supporting Actor,” the Chicago Film Critics’ Association Award for “Best Supporting Actor,” the Online Film Critics Society Award for “Best Supporting Actor,” and the Film Independent Spirit Award for “Best Supporting Male.”

Currently, Quaid is developing The Charley Pride Story, which he will produce along with Ben Howard’s production company, Third Coast Content. Quaid is also set to star in the Ronald Reagan biopic, Reagan, produced by Mark Joseph, with production beginning in the near future.

On the television side, Quaid recently starred in and executive produced Netflix’s holiday-themed multi-camera comedy series Merry Happy Whatever. He also starred in the third season of Amazon’s Goliath opposite Billy Bob Thornton, which premiered in 2019. Previously, he was nominated for numerous awards including a Golden Globe, a SAG Award, and a Primetime Emmy for his portrayal of Bill Clinton in the HBO movie, The Special Relationship. Additional TV highlights include starring in and executive producing Crackle’s auctioneering drama The Art of More and starring in the BAFTA-nominated Amazon series Fortitude.

Along with his acting accomplishments, Quaid is a singer-songwriter and touring musician who performs both original songs and country standards.  After years of playing clubs with his band, Quaid released his debut album, Out of the Box, in November 2018.

He continues to be managed by George Freeman and represented by attorney Stewart Brookman at Hansen Jacobsen and Scott Adkins of Adkins Publicity for PR/Publicity representation.

 Leading global talent and entertainment company UTA represents many of the most acclaimed figures across film, television, news, music, sports, speakers, theater, fine art, literature, video games, podcasts and other social and digital content. A passionate advocate for artists, creators and innovators, the company also is recognized in the areas of film finance and packaging, branding, licensing and endorsements. UTA is known for its dedicated digital media group helping clients—from A-list talent to Fortune 500 companies—capitalize on a rapidly changing entertainment, media and business landscape. The agency’s worldwide presence includes its Los Angeles headquarters and offices in New York, London, Nashville, Miami and Malmö, Sweden.

Dennis Quaid is a renaissance man, one of the busiest people in show business. Besides being an actor, musician, songwriter, writer and podcast pioneer; he is also a jet pilot, amateur astronomer, fly-fisherman, philosopher, low handicap golfer, medical safety advocate and armchair historian. He has powered a NASCAR around an oval track, given speeches and appeared before congress on patient safety, played golf with 2 presidents, piloted a dogsled in the arctic, meditated on the shore of the Ganges River in India, has run and cycled marathons, team-roped on a quarter horse, trained dogs and people, pitched on the mound in Texas stadium, been a middle-weight boxer, and can change a diaper in 20 seconds.

From the biggest, blockbuster movies, to being a hilarious and insightful talk-show guest and host, Dennis does it all. All of Dennis’s famous friends have interests outside of the thing they’re known for. In each episode of The Dennissance, Dennis talks to his guests about those things and what makes them unique in the world. This ongoing series features compelling and shareable content that focuses on honest conversations. The Dennissance combines all of Dennis Quaid’s famous friends and Denizens into a weekly podcast full of can’t miss content. The Dennissance is executive produced by veteran network TV executive David Hurwitz. Season one is out now, and season two has just started!

Audio Up is a podcast content production studio, housing a world of infinite, audio based properties. Lead by founder and CEO Jared Gutstadt (formerly of the Jingle Punks), Audio Up is building an ecosystem of premium entertainment content within the music and audio space. From fictional scripted podcasts, which include a Marvel-like universe of musicals, where the records themselves become the story foundation, to Dennis Quaid’s unfiltered interview series, The Dennissance, Audio Up’s goal is to create a new and innovative form of IP. They are bringing audio blockbusters to life and taking this media from black and white, into technicolor. Their upcoming slate of projects include Uncle Drank: The Totally Hammered Podcast, Make It Up As We Go with Scarlett Burke and other huge country entertainment names, Halloween In Hell, Finding Pierre, Ego System, S’ad Land and Hero The Band.

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Don't Bank on the Bomb illustration done by Mina Tocalini of 360 MAGAZINE.

Don’t Bank on the Bomb and Civil Society

By Susi Snyder

A vibrant civil society is an indicator of a healthy society. It encompasses many things, from the business sector to NGOs to coalitions and campaigns. Civil society can calibrate the moral compass we need to guide decision making. Often driven by a humanitarian imperative, civil society works consistently to strengthen international law, to protect civilians, and to advance our human development beyond old clumsy tools of indiscriminate harm. Civil society helps us hold our elected officials accountable to their commitments to disarmament and building just peace. I am honored to stand on the shoulders of those who came before me, who kept the fire burning for nuclear abolition.

In 2017 the International Campaign to Abolish Nuclear Weapons (ICAN) won the Nobel Peace Prize for the Treaty to Prohibit Nuclear Weapons. One of the projects we are proud to implement as part of ICAN is Don’t Bank on the Bomb. Through our unique research and publication, we publicly identify the companies behind the production of nuclear weapons.

Because nuclear weapons are not only produced by government agencies, in most of the nuclear-armed countries, private companies produce the key components necessary to use nuclear weapons.

Don’t Bank on the Bomb identifies the companies involved, and also names the banks, pension funds and insurance companies that invest in them. These financial institutions are trying to make a profit by helping to build inhumane and indiscriminate weapons. We name them and actively engage with them to encourage them to end their investments. We also encourage the governments that are currently ratifying the treaty on the prohibition of nuclear weapons to include an understanding that the prohibition on production also prohibits any investment in the companies that produce them.

Don’t Bank on the Bomb is also a way for civil society to play another of its necessary roles–to keep offering hope and confidence that change is possible. We make it a point to also profile those institutions that have rejected any association with nuclear weapons producers–those that have excellent policies prevent investment. It is important to always have role models.

We know from other efforts that divestment, by even a few institutions, for the same reason can have a tremendous impact on the way a company operates. In 2017, two American companies decided to end the production of cluster bombs, despite the failure of the US to sign onto the Cluster Munitions Convention. The companies said they wanted to enable European investors to invest in them again.

Divestment activities are powerful, and they generate change. They are also something anyone who has a bank account or pension plan can do. The recipe for success is simple: a bit of information, a bit of courage, and a healthy dose of perseverance. Simply asking your bank if they have a policy on nuclear weapons and telling them if they don’t, they should, is a great way to start. Sending a message like that actively reinforces the idea that nuclear weapons are inhumane and unacceptable. They are not a sustainable industry, and the time to end investments is now. 

Hope is fuelled by the opportunity to take action. These opportunities are provided by civil society globally and they build on one another. A small success can build and grow and eventually become a world changing event.

Twenty years ago, when the treaty to ban anti-personnel landmines was signed, we witnessed the power of civil society and the potential of humanitarian disarmament. It continued with the prohibition of cluster munitions and now includes the prohibition on nuclear weapons. Civil society, working with States and international organizations, can and does harness the power to prevent unacceptable suffering and redirect energies towards building sustainable and just societies.

Civil society plays many roles. It elevates and amplifies the voices of those affected. It reframes and reshapes discussions. Civil society can move politicians to show leadership and advance policies to move mountainous agendas, at least a little bit. Civil society provides the evidence, the research, and the justification for acting to prevent harm, to disarm now–before it is too late. And civil society is creative. We come up with slogans and cheers, demonstrating in the streets, or dancing atop decommissioned missile silos. Civil society is a necessary partner in moving the abolition agenda, and through all our efforts, civil society continues to hope–hope that the goodness in every human heart will shine through the darkest of times and lead us to the light of a nuclear-weapons-free world.

Today we need that hope. The hope found in campaigns like the International Campaign to Abolish Nuclear Weapons (ICAN). The hope portrayed by our partners around the world. And with that I hope we will continue to work together to achieve nuclear disarmament and integral human development.

Susi Snyder is the primary author and coordinator of the joint PAX and ICAN project, Don’t Bank on the Bomb. Her testimony for the Holy See is published in A World Free from Nuclear Weapons: The Vatican Conference on Disarmament (Georgetown University Press, 2020). It is published at the solemn 75th anniversary of the Hiroshima and Nagasaki bombings. 

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Octavia Spencer illustration done by Mina Tocalini of 360 MAGAZINE.

Octavia Spencer × Ruderman Family Foundation

Academy Award-winning actress Octavia Spencer today joined the Ruderman Family Foundation in calling on the entertainment industry to increase the casting of people with disabilities, including in on-screen roles that portray characters with disabilities.

“Casting able-bodied actors in roles for characters with disabilities is offensive, unjust, and deprives an entire community of people from opportunities,” Octavia Spencer says in a new public service announcement with the Ruderman Family Foundation

Appearing in a newly released public service announcement, Spencer recounts Hollywood’s long history of inauthentic representation and exclusion of marginalized populations — from men playing women until 1660; to white actors playing Black, Asian, and Native American characters; to LGBTQ stories getting left out of film and television until the last two decades.

“All of these communities of people had to endure not only their stories being told inauthentically, but also seeing themselves portrayed inauthentically,” says Spencer in a message filmed for the Ruderman Family Foundation. “But nothing can replace lived experience and authentic representation. That’s why it’s imperative that we cast the appropriate actor for the appropriate role, and that means people with disabilities as well. Casting able-bodied actors in roles for characters with disabilities is offensive, unjust, and deprives an entire community of people from opportunities.”

She continues, “I am joining with the Ruderman Family Foundation to call on the entertainment industry to increase casting of people with disabilities. There is no reason that we should continue to repeat the same mistakes of the past. Together, we should and can do better.”

Spencer’s call amplifies the Foundation’s series of initiatives to foster greater inclusion in the entertainment industry.

Last December, the organization circulated an open letter calling on studio, production, and network executives to pledge to create more opportunities for people with disabilities, and to make more inclusive casting decisions. Among those who signed the pledge were Oscar winners George Clooney and Joaquin Phoenix, Oscar nominees Ed Norton, Bryan Cranston and Mark Ruffalo, Golden Globe winner Glenn Close, Oscar-winning director Peter Farrelly, accomplished actress Eva Longoria, and acclaimed filmmaker Bobby Farrelly.

A separate Foundation-initiated pledge to commit to auditioning more actors with disabilities was signed by CBS, while the BBC pledged to implement more authentic and distinctive representation of people with disabilities on screen. The Foundation also released a white paper showing that half of U.S. households want accurate portrayals of characters with disabilities, and despite that only 22% of characters with disabilities are authentically portrayed on television.

“As an Oscar-winning actor, Octavia Spencer embodies Hollywood’s vast potential to serve as a powerful catalyst for positive social change if studio, production, and network executives commit to more inclusive and authentic representation,” said Jay Ruderman, President of the Ruderman Family Foundation. “We are gratified that Ms. Spencer has joined our call and we look forward to have other actors and actresses, filmmakers, producers and studios continue to create unprecedented momentum that brings about greater casting of people with disabilities.”

To view Octavia Spencer’s video message in full, please see here.

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