50th Anniversary of Mean Streets
Tribeca Festival 2024
DeNiro Con 2024
CONTENT
The latest on Greece’s Six Day Work Week Mandate
Morgan Stanley’s New Artificial Intelligence Risk
Thailand’s New Universal Basic Income
Ciao Bella
Inside Dior’s Spa Residency
Celine’s Bath & Body Lineup Expansion
Beauty x Olympics 2024
Haute Couture Week Highlights
Jacquemus x Nike Collaboration Preview
Balmain’s Lion King Collection
Favorite Red Carpet Moments
AT&T Untold Stories Competition Winners Film reviews and highlights
Tribeca Competition Winners
Exclusive Look Into FRAMERATE: Rhythms Around Us Celebrating Tribeca x Mercer Labs Collaboration Tribeca x Chanel Artist Awards Highlights
Mean Streets 50th Anniversary Celebration
Inside DeNiro Is An Icon Exhibit
Exclusive Look At Mr. DeNiro’s New Documentary
Savor
LVMH x Chez L’Ami Louis
Clase Azul Launches Brooklyn Collection
x “JUJUTSU
Contributors - Michael Loccisano, Najee A. Smith, Roy Rochlin, Theo Wargo, Manny Carabel, Jason Mendez, Dia Dipasupil, Cindy Ord, Arturo Holmes, Michael Loccisano, Jamie McCarthy, Rob Kim, Slaven Vlasic, Rob Kim, Jamie McCarthy, Dominik Bindl, Slaven Vlasic.
Xposure Magazine is a digital magazine published on a bimonthly basis. ISSN - 21580421. Copyright 2009-2024. All rights reserved. Reproduction in whole or in part without written permission from the publisher is strictly prohibited. Views expressed by writers and contributors are not necessarily the views of Xposure Magazine. We welcome and accept unsolicited materials. Materials submitted to Xposure Magazine is the person’s guarantee that submitted items are not in violation of or infringing upon the rights of others and that said materials may be reviewed and subject to critique without any third party consent.
Welcome To The Summer Issue!
Welcome to the Summer 2024 Issue! This Summer has definitely been one for the books! Incredibly thankful to all who’ve made this Summer 2024 issue a phenomenal one. Tribeca is one of my most anticipated events of my coverage year and this year provided so many incredible moments, opportunities and life long memories. I’m working on a few projects to share more about the full circle milestone moments I had and can’t wait to share in the next few weeks. I would like to thank every filmmaker, publicist, and team who helped make this issue as great as it is. Special thanks to Jane Rosenthal, Nasir Jones, Mr. De Niro, Mr. Scorsese and their teams for everything.
Special thanks to filmmakers Carlos Vargas, Mara Tomkovich, Matt Shaw and their teams. It was my pleasure speaking with each of you for my YouTube exclusives at the festival.
Additionally, I spotlight my favorite films and finally my 3 day #DeNiroCon experiences. The 3 day experience ended with Mr. De Niro himself signing my press badge (thanks again Jane for the assist). The cover story with Mr. De Niro, Mr. Scorsese and Nas was one of the highlights of the entire festival celebrating 50 Years of Mean Streets. Learning more about the over five decades of friendship between Mr. Scorsese and Mr. De Niro was an unforgettable experience.
I hope you enjoy the issue as much as I have curating and creating a phenomenal Summer 2024 issue! Next issue is my 15 year anniversary issue and I couldn’t be more proud and excited to celebrate the milestone in a few different ways. Thank you for your support over the years, the best is truly yet to come.
Until next time…
Best, Goldyn
CurrenCy Matters
As of July 1, Greece became the first country in Europe to mandate a six day work week in a bid to boost productivity and employment. Food services and tourism employees are exempt from the mandate as of now which would change the typical 40 hour workweek to up to to 48 hours. Two sectors are required to implement the new labor rules with continuous 24/7 operations that use rotating shifts, and those firms that operate 24 hours a day, five or six days a week, also using rotating shifts. With the latter, the additional working day option is permissible only in the case of an increased workload. In an attempt to address the legislative backlash, the Ministry of Labor stated “It is important to note that this measure does not affect in any way the established five-day working week mandated by law. Instead, it serves to address urgent operational demands that cannot be met through the available supply of specialised workers.” The legislation has caused quite the divide between workers and companies. Time will tell if the law will foster more productivity or reduce the workforce’s anger at the law. As updates are made, we will report.
Morgan Stanley plans to release the program to the firm’s roughly 15,000 advisors. Debrief, keeps detailed logs of advisors’ meetings and automatically creates draft emails and summaries of the discussions. built using OpenAI’s GPT4, essentially sits in on client Zoom meetings, replacing the note-taking that advisors or junior employees have been doing by hand. The firm requires client consent for advisor use of Debrief, every single time it is used. There are plans to expand the use of Debrief on advisor corporate devices as well as within in person meetings. For advisors who hold multiple calls per day, the tool allows more presence in meetings while saving time on taking notes. The firm believes that it will take at least a year to determine the impact of the launch of Debrief. There are more plans in the works to assist advisors perform more tasks as Debrief continues to evolve. Morgan Stanley is the first firm to introduce artificial intelligence as a tool in the wealth management industry and how many more firms will implement artificial intelligence.
Prime Minister Srettha Thavisin introduced a plan to boost the economy by giving low income residents Thais 10,000 baht, to spend with local businesses. Registration begins August 1, there will be certain income qualifications to be approved for the disbursement on October 1. Funds must be used within six months of receipt and funds can only be spent within the district where the applicant lives. Citizens are concerned with how the stimulus is funded and this one time offer being a band aid for a much larger economic issue. The Prime Minister’s Office confirms the money will come out of the 2024 and 2025 fiscal budgets and the state’s Bank for Agriculture and Agricultural Cooperatives. Total cost of the program is reportedly $13.8 billion,
Ciao Bella
In celebration of The Little Nell’s 35th anniversary and the Fall 2024 Dioriviera capsule collection by Maria Grazia Chiuri, Dior has created an unprecedented experience at the base of the famed Aspen Mountain. A top-flight Dior Spa treatment program created exclusively for The Little Nell is designed to engage the senses and includes nine signature treatments for the face and body, each designed to help the skin and senses blossom at the height of summer. Dior Riviera at The Little Nell includes a Dior Spa residency, the hotel’s pool, hot tub cabana, and a bespoke floral installation created for the season, encompassing The Little Nell’s living wall and gardens. Additionally, the resident gardener will offer weekly garden tours on Fridays at 4 p.m. Guests and locals alike can also visit the Dioriviera gondola at the mountain’s base. Dioriviera at The Little Nell is one in a series of Dioriviera global activations, including seven Dior boutiques, 12 resort concept stores, and seven pop-up boutiques worldwide. Bookings are available from June 13 - September 2.
The House of Celine recently announce the expansion of their bath and body line with 4 new products - liquid soap, hair mist, body mill & hand cream. Each formula was custom made by Slimane “They have undergone advanced work on the carefully chosen raw materials so that the products perfectly combine sensoriality, performance and a high level of naturalness,” the label stated. the new products, the liquid soap, body milk and hand cream are available in the “Parade,” “La Peau Neu,” “Reptile” and “Cologne Céleste” scents. The hair mist, meanwhile, is made with “Parade,” “Reptile” and “Black Tie” fragrances. The products are set to debut later this year, and we can’t wait!
Rihanna is making history again with Fenty Beauty with the announcement of her partnership with the 2024 Olympic Games and Paralympic Games! Six hundred volunteers, whose ages range from 18 to 21, will be presented with the brand’s essentials to create a wealth of looks. The kits include Eaze Drop’Lit All-Over Glow Enhancer, the Eaze Drop Blurring Skin Tint, Gloss Bomb Universal Lip Luminizer, and the Invisimatte Instant Setting and Blotting Powder. The partnership will feature athlete appearances, beauty tutorials as well as interactive experiences to bring fans and athletes closer together. Congratulations to our friends at Fenty Beauty. We can’t wait to see the looks, celebrate and cheer for all the athletes!
Haute Couture Week Favorite Looks
Haute Couture Week has always been one of our favorite fashion weeks of the entire year, this year’s collections offered everything we expected and more. Here’s some of our favorite looks from this season’s gorgeous collections!
Iris Van Herpen
Elie Saab Ashi Studio
Elie Saab
Schiaperelli
Iris Van Herpen
Elie Saab Schiaperelli
Elie Saab
Jacquemus x Nike
The long-awaited Jacquemus and Nike collaboration is set to release soon. Already available as a preview on the Jacquemus website, the upcoming collection reveals the buzzy Swoosh Bag in various colors including in black, red and white. The bag accessory garnered much attention when it was originally revealed by Sha’Carri Richardson in February.Adding on to its athletic-focused collection, the capsule also reveals another Nike Air Max 1 ‘86 colorway. In June, the shoe was unveiled in a red hue, but now, the website appears to showcase a silver and white iteration. Besides bags and shoe accessories the collection’s apparel features matching jogging suits, multi-logo t-shirts as well as sports bras, t-shirt dress and a skirt. The clothes take on a similar red, navy and white selection of colors, staying on theme to the French and USA colors as we near the Olympics. Fit for the summer, one-piece bathing suits featuring the Jacquemus “J” as a zipper are also available as well as versatile trousers, track jackets and more. Take a look at the pieces arriving soon online at Jacquemus from the collaborative Nike collection. “This collection is born from the inspiration I find every day in Paris and in Nike’s athletes and the sports references I have always loved,” said Jacquemus. “I see the collection as a mix of sport, fashion and culture in the most beautiful city in the world, where Nike athletes will take center stage this summer.” The new Nike x Jacquemus summer collection is available now in-store and online at Jacquemus. The Le Swoosh bag and Air Max 1 alongside the entire apparel collection are set to be released through SNKRS and online at Nike on July 23.
BALMAIN X LION KING
Disney And Balmain Celebrate The 30th Anniversary Of “The Lion King” With A Limited-Edition Collection Designed By Balmain Creative Director Olivier Rousteing. Disney x Balmain: The Lion King collection, an offering of ready-to-wear designs and accessories for men and women, finds inspiration in Africa’s artisanal traditions, while celebrating a new generation of African talents.The collection is featured in a short film shot in South Africa by Femi Oladigbolu, which weaves together the collection’s designs, incredible scenery and the story of a Rousteing-led Balmain Army, composed of models from all across Africa, making its way toward a joyous homecoming celebration. Balmain Creative Director Olivier Rousteing and his team have created a collection of ready-to-wear pieces and accessories for men and women. The striking designs build directly upon Disney’s acclaimed storytelling, as well as the powerful themes and unforgettable cast of characters that distinguish Disney’s “The Lion King.” This collection marks the first collaboration between Disney and the historic French fashion house. Collection is available now.
triBeCa 2024
This year’s Tribeca Festival was definitely a historic, groundbreaking festival experience which celebrated the best in film, music, gaming, art and more. The eleven day festival kicked off with an incredible opening night film: Diane vonFurstenberg: Woman in Charge documentary, a wildly entertaining portrait that goes behind the scenes, withDiane von Furstenberg herself, as she prepares for a museum exhibition
showcasing her life’s work. Highlights of this year’s festival included multiple world premieres, performances, special events and talks all leading to the final three days which was #DeNiroCon! Here’s a look at our favorite moments, films and highlights from Tribeca 2024.
AT&T, together with Tribeca Festival, is once again connecting emerging, historically underrepresented filmmakers to greater possibilities with the sixth installment of AT&T Presents: Untold Stories – an annual pitch competition and year-round mentorship program. Writer/director David Fortune and producer Kiah Clingman were this year’s winners for their film Color Book. Color Book paints an inspiring portrait of Atlanta, and the concepts of disability and community in the city. The film follows a devoted father learning to raise his son who has Down Syndrome after the family’s matriarch passes away. While adjusting to their new reality, the duo embarks on a journey through Metro Atlanta to attend their first baseball game. Fortune and Clingman were selected from four other finalists to win $1 million and receive year-round mentorship for the feature film’s production. Much like Fortune’s prior films, Color Book normalizes themes of compassion and intimacy in inner-city communities. This year’s winner received $1M to take their pitch from idea to full-length feature film that will debut at the 2024 Tribeca Festival. Finalists pitched their story ideas at Spring Studios in New York City at the AT&T Untold Stories Lounge on to an accomplished, expert panel of jurors including actor Derek Luke (“Antwone Fisher,” “Glory Road” and “Captain America: The First Avenger”), Kellyn Smith Kenny (Chief Marketing and Growth Officer, AT&T), and actor/producer Mo McRae (“A Lot of Nothing”), “The First Purge” and “Wild”). The panel was moderated by journalist and host Brooke Baldwin. AT&T joined forces with Tribeca to unite communities through innovative storytelling across film, TV, games and more. Since the beginning of the program in 2017, AT&T has rewarded over $6M to connect historically underrepresented filmmakers with the resources needed to reach greater possibilities.
Tribeca 2024 Competition Winners
We are celebrating the 2024 Competition Winners of the 23rd annual Tribeca Festival, presented by OKX! This year’s competition spans categories including Feature Film, Short Film, Audio Storytelling, Immersive, Games, Human / Nature, AT&T Untold Stories, and Tribeca X.
Top honors include Griffin in Summer(Founders Award for Best U.S. Narrative Feature), Bikechess (Best International Narrative Feature), and Hacking Hate (Best Documentary Feature). Additionally, Don’t You Let Me Go has been awarded the 12th Annual Nora Ephron Award, and Come Closer and Witches came out top at the Inaugural Viewpoints Competition. Congratulations to all the winners!
U.S. NARRATIVE COMPETITION
Founders Award for Best U.S. Narrative Feature: Griffin in Summer, director Nicholas Colia (United States) - World Premiere. Jury Statement: “For its precocious and unexpected storytelling, and well-crafted performance.” This award is presented by OKX.
Best Performance in a U.S. Narrative Feature: Jasmine Bearkiller Shangreaux for Jazzy (United States) - World Premiere. Jury statement: “For its truth, unflinching honesty, realness and heart.”
Best Screenplay in a U.S. Narrative Feature: Nicholas Colia for Griffin in Summer (United States) - World Premiere. Jury statement: “For its delightful humor, distinct point of view and specificity of tone.”
Best Cinematography in a U.S. Narrative Feature: Alejandro Mejia for The Knife(United States) - World Premiere. Jury statement: “For its engrossing visual aesthetic choices, its cinematic aliveness and stylistic point of view.”
U.S. Narrative Feature Special Jury Mention: Monica Sorelle for Mountains, (United States) - World Premiere. Jury comment: “For its authentic, specific portrayal of a culture we had not seen on screen. A deeply emotional and empathetic portrait of a family in a changing world with brilliant leading performances.”
BEST NEW NARRATIVE DIRECTOR AWARD
This award is presented by Canva
Nnamdi Asomugha for The Knife (United States) - World Premiere. Jury Statement: “This film lingered with us long after the screening, nagging our imaginations about the characters’ futures, calling into question our own biases and beliefs, filtering the world through a lens that is painfully familiar to some of us and foreign to others. To be able to shed light on universal themes and craft exquisitely detailed characters is one thing but to do it in the form of a contained dramatic thriller that is an entertaining nail-biter is no small feat. This filmmaker showed immense confidence in his ability to harness the audience’s reactions to tension, to turn an empathic eye to characters often relegated to the sidelines, to showcase ambiguous moral situations, to tackle race and class--all in the form of a taut and marketable thriller was exciting.”
To be able to shed light on universal themes and craft exquisitely detailed characters is one thing but to do it in the form of a contained dramatic thriller that is an entertaining nail-biter is no small feat. This filmmaker showed immense confidence in his ability to harness the audience’s reactions to tension, to turn an empathic eye to characters often relegated to the sidelines, to showcase ambiguous moral situations, to tackle race and class--all in the form of a taut and marketable thriller was exciting.”
INTERNATIONAL NARRATIVE COMPETITION
Best International Narrative Feature: Bikechess, director Assel Aushakimova(Kazakhstan) - World Premiere. Jury Statement: “This film caught the jury unaware. With a lightness of style and use of cinematic language that led us into a society of oppressed youth and passive leadership. With stylish performances, and generous cinematography, we met a country and the state of the world.”
Special Jury Mention for Cinematography in a U.S. Feature: Ki Jin Kim for Bitterroot(United States) - World Premiere. Jury statement: “For its marriage of the spiritual and the literal, and its contrast between natural beauty and the mundane.”
Best Performance in an International Narrative Feature: Yu Aier for Some Rain Must Fall (China) - North American Premiere. Jury Statement: “For her beautifully sustained performance of unabated suffering.”
Best Screenplay in an International Narrative Feature: Celina Murga, Juan Villegas, Lucía Osorio for The Freshly Cut Grass (Argentina, Uruguay, Mexico, United States) - World Premiere. Jury Statement: “For the dexterous formality and humorous treatment of domestic chaos.”
Best Cinematography in an International Narrative Feature: Constanze Schmitt for Some Rain Must Fall (China) - North American Premiere. Jury Statement: “For the daring use of color and creation of searing visual tension as a cinematic reinforcement of suffering.”
DOCUMENTARY COMPETITION
Best Documentary Feature: Hacking Hate, director Simon Klose (Sweden, Denmark, Norway) - World Premiere. Jury statement: “The documentary jury awards a film that bravely and fearlessly investigates the misuse of the internet to encourage hate and bias by allowing media giants to profit and foster the continuation of the outrage. On trial are first amendment freedoms that have been violated for profit.”
Special Jury Mention for a Documentary Feature: Made in Ethiopia, directors Xinyan Yu, Max Duncan (United States, Canada, Ethiopia, Denmark, Korea, United Kingdom) - World Premiere. Jury statement: “For its multi-faceted exploration of the personal and collective cost of today’s face of globalization, we award the Special Jury Mention to MADE IN ETHIOPIA. Congratulations to the makers for opening a window to the lived experiences of those most directly impacted by the global labor industrial complex.”
Best Cinematography in a Documentary Feature: Ezra Wolfinger for Shelf Life (United States) - World Premiere. “For a film that was self described as “a passionate odyssey through the aging process”—the jury appreciates and was delighted by our visual journey from string-cheese in Georgia to Mozzarella in Japan.”
ALBERT MAYSLES AWARD FOR BEST NEW DOCUMENTARY DIRECTOR
Debra Aroko and Nicole Gormley for Searching for Amani (Kenya) - World Premiere. Jury statement: “Exquisitely crafted with a taut narrative, this documentary paints a nuanced portrait of issues that often are ignored or worse unknown by those outside of a community. It is extremely difficult to take a topic that affects the world, and to tell a story about that topic in an intimate and personal fashion that is both subversive and charming. So much of the success of a documentary is based on its main character, and the passion, curiosity, and relentlessness of 13 year old Simon Ali was awe inspiring.”
NORA EPHRON AWARD
Ana Guevara and Leticia Jorge for Don’t You Let Me Go (Uruguay) - World Premiere. Jury Statement: “We (the jury) loved this poignant, life-affirming film that celebrates love and female friendships. We were moved and delighted by how the film beautifully honors the experiences of grief and life’s most special moments.”
Best Narrative Short: Ripe!, director Tusk(United States, Spain) - World Premiere. Jury statement: “For beautifully capturing the raw and realistic essence of a teen summer romance and containing extraordinary performances that bring to life the bittersweet charm of youthful love; and for immersing the audience in the evocative feeling of summer in every scene.”
Best Animated Short: In the Shadow of the Cypress, directors Shirin Sohani and Hossein Molayemi (Iran) - New York Premiere. Jury statement: “For using a distinctive visual style, unique imagery and exceptional sound design to bring to life a poignant family relationship, characterized by love and protection amidst an effective portrayal of the profound impact of PTSD on both the individual and those around them”
Student Visionary Award: Nay Tabbara for Ebb & Flow (Lebanon, Qatar) - World Premiere. Jury Comment: “Because of how it captured the extraordinary and the ordinary in the life of a teenage girl pursuing her first kiss against a background of chaos and war.”
TRIBECA GAMES AWARD
Goodnight Universe (United States) - World Premiere.
Luther: Never Too Much
One of our favorite screenings was the Luther Vandross documentary Luther: Never Too Much. Luther: Never Too Much, (United States) - New York Premiere. Dawn Porter offers an in-depth look into the life and career of Luther Vandross as he overcomes personal and professional challenges to become one of the greatest vocalists of all time. The film does a phenomenal job at giving viewers a comprehensive insight into Vandross’ work life, friendships, personal and family life. No film on Vandross would be complete without classic music performances, behind the scenes footage some of which is deeply personal and at times extremely emotional. Luther: Never Too Much gives the life and legacy of Vandross it’s well overdue praise, directed by Dawn Porter.
Under The Grey Sky
We were honored to receive an advance screening of this film and as an added bonus - an exclusive interview with Director & Writer Mara Tomkovich. Under the Grey Sky is based on true events, a Belarusian journalist is arrested after covertly livestreaming brutal government crackdowns on peaceful demonstrators following rigged elections. Her husband, refusing to leave her, also faces recriminations from a regime determined to break them both. Directed and written by Mara Tamkovich. Produced by Katarzyna Ocioszynska. With Aliaksandra Vaitsekhovich, Valentin Novopolskij. To watch our in depth interview, check it out exclusively on our YouTube.
Era Occulta
Filmmaker Carlos Vargas is back at Tribeca with a phenomenal film - Era Occulta (Hidden Era). We were honored to receive an advanced screening and also enjoyed an exclusive interview with Vargas on this beautiful film. In the vibrant city of Maputo, Mozambique, Rastafari artist Phambi works to support his young son’s education while resiliently navigating the complexities of living an artistic life in a dynamic city. Directed and produced by Carlos Vargas. Written by Carlos Vargas, Franziska Ruess. With Paula Matlombe, Ednora Matlombe, Isac Tivane “Phambi”, Ixon Tivane. For more on this film, check out our exclusive chat with Carlos on this dynamic flm.
Memes & Nightmares
Our friends over at Springhill are back with another buzz worthy, fun film featuring quite a few viral moments. If one of the most popular memes goes missing from Twitter, would anyone notice? Executive Produced by LeBron James and Maverick Carter, NBA Twitter King Josiah Johnson seeks an answer, where his journey explores our relationship with ephemeral media, and each other in the digital age. Directed by Charles Todd, Matt Mitchener. Written by Matt Mitchener. Produced by Sheira Rees-Davies, Brock Williams, Benjamin Wiessner. With Josiah Johnson, Jamel Johnson, Mero, Darius Miles.
Made In Ethiopia
We were honored to receive an advanced screening of Made in Ethiopia, (United States, Ethiopia, Denmark, UK, Canada, South Korea) - World Premiere. Made in Ethiopia examines China’s increasing impact on Africa through the story of charismatic businesswomen Motto, who is tasked with launching the biggest Chinese industrial zone in Ethiopia. Film centers around a group of Chinese investors who saw an opportunity in Ethiopia to build an industrial park to manufacture clothing, shoes etc. Employees speak in the film about concerns of housing rates increasing, concerns on personal care items increasing but wages staying the same. The film does a great job of highlighting the economic disparity issues juxtaposed with the Chinese families who are deciding how much more wealth they want to accumulate by expanding. Employees make $50 USD per month, as the film progresses we learn more about Motto’s plans to pitch expansion to the local government officials. Things become tense as the expansion threatens to unhouse multiple families with no real promise on new places to live and raise their families. We watch as tensions rise and the divide between the Ethiopians and the Chinese leading to quite the unexpected outcome. Made in Ethiopia is directed by Xinyan Yu, Max Duncan. Produced by Tamara Dawit, Max Duncan, Xinyan Yu.
Bad Shabbos
What was supposed to be an easy night of family dinner definitely takes a turn with Bad Shabbos. An engaged interfaith couple are about to have their parents meet for the first time over a Shabbat dinner when an accidental death gets in the way. This film had so much buzz before, during & after the festival. One of our favorites for sure! Produced by Adam Mitchell. Starring Kyra Sedgwick, Cliff “Method Man” Smith, Jon Bass, Milana Vayntrub, David Paymer, Meghan Leathers.
Following Harry
One of the most anticipated films this Tribeca cycle was definitely Following Harry. Featuring Harry Belafonte, Aja Monet, Aloe Blacc, and Jesse Williams, Following Harry Explores the life and legacy of cultural and civil rights icon Harry Belafonte through the stories of those artists and activists carrying on his life’s work dedicated to social justice. Directed by Susanne Rostock. Produced by Frankie Nasso, Edward Zeng, Susanne Rostock. Immediately after the film, The presentation of the Harry Belafonte Voices for Social Justice Award. Author Angela Davis presented Tribeca Festival’s fourth annual Harry Belafonte Voices for Social Justice Award to Rosario Dawson, Jesse Williams, Aloe Blacc, aja monet, Matt Post, Carmen Perez-Jordan, RodStarz and Sean Pica.
If Quincy Jones is involved: count us in! They All Came to Montreux is everything you dream a film about one of the most prominent music festivals would be. The production features performances at the festival from some of the 20th century’s most important musical icons including Aretha Franklin, Ella Fitzgerald, Ray Charles, Muddy Waters, Santana, Nina Simone, Etta James, Carol King (Eta and Carol’s first European performance), Van Morrison, Miles Davis, Sting, David Bowie, Prince, James Brown and Wyclef Jean. Alongside these performances are interviews with Elvis Costello, Jack White, George Clinton, Carlos Santana, Buddy Guy, Keith Richards, Herbie Hancock and executive producer Quincy Jones. “They All Came Out To Montreux is a wonderful testament to the story behind one of the world’s greatest events, and the work that my funky friend Claude Nobs put into creating it. I’m so pleased it’s continuing to spread this story to more music lovers around the world.” - Quincy Jones. This film should be an amazing watch for anyone who is a fan of music, nostalgia, and dreams of one day attending the festival.
Music fans all over the world have sung the two words of Sister Nancy for years! For decades the iconic track “Bam Bam” has been a sampled darling within the music industry, creating many new stars along the way. But what do we know of its legendary creator? From Kingston to the world, witness the transcendent stylings and legacy of Sister Nancy. Directed by Alison Duke. Produced by Alison Duke, Ngardy Conteh George. The film gave great insight into the impact of Kingston’s music across ages, genres, and more! After the premiere, the Audi was treated to a special performance by Sister Nancy with DJ Gravy.
Bam Bam: The Sister Nancy Story
They All Came To Montreux
DeniroCon
This year’s Tribeca Festival was definitely a historic, groundbreaking festival experience which celebrated the best in film, music, gaming, art and more. The eleven day festival kicked off with an incredible opening night film: Diane vonFurstenberg: Woman in Charge documentary, a wildly entertaining portrait that goes behind the scenes, withDiane von Furstenberg herself, as she prepares for a museum exhibition showcasing her life’s
work. Highlights of this year’s festival included multiple world premieres, performances, special events and talks all leading to the final three days which was #DeNiroCon! Here’s a look at our favorite moments, films and highlights from Tribeca 2024.
Our Tribeca2024 special coverage this year included the 3 day #DeNiroCon celebration of Mr. De Niro’s filmography, life, and career over the course of 6 decades. Fans from around the world gathered to participate in a myriad of De Niro events, activities, film screenings and conversations with Mr. De Niro.One of the highlights of #DeNiroCon Over 300 items have been sourced, including many materials from Robert De Niro’s personal archive housed at the Harry Ransom Center in Austin, Texas. De Niro, New York is a first-of-its-kind short, immersive film produced by Little Cinema and showcased within the Hexadome, a cutting-edge structure and format crafted by Berlin’s Institute for Sound and Music. This premier installation is supported by ZKM Hertzlabor in Karlsruhe, Germany and powered by Panasonic Solid Shine ™ Laser Projection technology boasting six screens and 52 channels of sound, seamlessly merging pop culture with high art. The film weaves together De Niro’s iconic characters from various films, forging new connections and dialogues. Surrounding the Hexadome is De Niro Is An Icon, an exhibition celebrating the career of Robert De Niro, highlighting themes and collaborative relationships that span decades. The collection on display includes rare images, annotated scripts, costumes, storyboards, research materials, and more. For a more in depth look at the exhibit, check or YouTube exclusive tour.
50 years of Mean streets
DeNiro Con Day 2 was definitely one of our favorite days of the 3 day celebration. We were excited to attend the special event screening and 50th anniversary celebration of Mean Streets. Hip Hop star Nas moderated a discussion about the film with Mr. DeNiro and Mr. Scorcese. We enjoyed the conversation between the three icons as they discussed the nostalgia of the film and the impact and importance to present day cinema. We were honored to experience this conversation live, special thanks to our friends at Tribeca. -GPS
Nas: New York City’s changed a lot since the 70s, but the film still holds up because it taps into something fundamental about the city’s essence, the struggle, the hustle, the dreams, the loyalty, and what it is. What is it about the film that speaks to the timeless spirit of New York?
Martin Scorsese: Is that for me?
Nas: Yes, for you.
Martin Scorsese: I never thought of it as one place. For me, the city is in a sense—and I have traveled extensively in many, many places around the world, but for me, this Manhattan is the universe. And so, everything I see and everything I react to is filtered through my experience in the city. The city has changed a lot, there’s no doubt about it, just look at the neighborhood that we shot the movie in, it’s now a very chic neighborhood, it’s very, very…If you told me back in 1961 that it was going to be incredible couture places and all kinds - no one would have believed such a thing. We had imagined that the place would have been leveled by the five points ultimately of this level. Seriously, old buildings, they take everything down, this is New York.
The point is that all I could do was in front of me and what I was experiencing growing up down there, with different cultures, not really knowing who we are, whether American or Sicilian or Neapolitan.
The opportunity was there, but we were mired in a world I think that was very primal and had to do with love and trust and loyalty. I think no matter what the immigrant group is, the immigrant experience, I think it’s generally the same pattern in a way. Who are we in this country? What are we? It’s a great experiment. Will it continue? Can we make it continue? But I think it’s really trying to find ourselves, and somehow this picture came out of it, primarily because I was trying to figure out what the hell is going on? In terms of, you know, pretty rough street stuff. Organized crime. Some very good people, some very nice people who didn’t have the opportunity for education and all living under the suppression of organized crime. And at the same time, there’s a church in every corner. For me, because I had asthma, they would take me to the movie theaters, and I would escape into movies in the theater, but at the same time into the church. There was this one priest who made a big difference in our lives. He was very young and tried to explain to us education, and gave us books to read, music to listen to.
And bottom line is that basically, you don’t have to live the way they’re living, in a way. To utilize the opportunities, if you can. there’s always the mean speeches about this too, which is about the idea of Christian ideals within a world which is totally corrupt. So, that was the impetus of it. Whether it has to do specifically with New York, that’s for me, but I know it’s a universal story.
Nas: This is to both of you. You speak about the Mafia. Yeah. What do you remember most about the atmosphere and energy making Mean Streets? Did you need to get permission from the guys in the neighborhood of the shoot before you to did it?
Martin Scorsese: No.
Robert De Niro: We had gotten some of the neighborhood guys in it, actually.
Martin Scorsese: Yeah, yeah. It’s nice guys, it’s nice guys. Obviously, people who are on an upper echelon, so to speak, could have their picture taken. You’ve got to watch where you put the cameras. I did have a couple of guys that wanted to shoot, So, we did up in Mulberry Street, the building is still there. We had to pay, my father had to go talk to the guy who owned the building. We didn’t get much sympathy from them. Basically, my father saying, “It’s a kid from the neighborhood, come on, you’re going to charge him that much?” He goes, “What? He makes money on this, he’ll make a movie, he’ll go away, we’re still here. This is the cost; this is what it’s going to cost.”That was it. It was not romantic sticking together, it was like, “You pay.” The San Gennaro Society, we had to pay, Francis Coppola gave us $5,000 for that. Because we couldn’t shoot in the festival because we had to contribute to the San Gennaro society. A team! And as soon as we sold the picture, I gave him the money back, for instance, 5,000.
Nas: Was it hard to get like Hollywood to understand the story, to back you, to get involved? You’re telling this realistic story and it’s not like this love story, fantasy, Disneyland type of thing, this is the real thing.
Robert De Niro: They don’t care. It’s, actually, I think Marty, tell me if I’m wrong, maybe you should even answer this. But Jonathan Tappan, put the money on…
Martin Scorsese: Jonathan Tappan got a gentleman named E. Lee Perry to give us the money. It was $650,000 at the time. And it was independent producing. I always tell this, but people don’t believe it. I didn’t even think it was going to get distributed, I just thought that we would have it on a shelf somewhere, and one day, because I knew that the cinema was changing, and I knew one day it could be shown somehow. And then people would get a sense of what it really was like back there in the 60s and early 70s in the Lower East Side.
But it turns out that the Warner Brothers really liked it, there was John Calley and Ted Asher. They really liked it very much and they bought it right away. Smart guys. Smart people.
Nas: I got to say, you are the best at putting music in movies. Its your first film, the film’s soundtrack is almost a character itself, evoking the time and place with its mix of The Stones, The Rosettes, Doo Wop, Italian Opera, and early Rock. How did you go about choosing the songs? What role did you see music playing in establishing the film’s atmosphere and authenticity? Did you feel like you were also documenting a slice of the city’s musical history?
Martin Scorsese: I think Bob, you know that when we were downtown, because we knew each other and I think we were 16. Where did you hang out? There’re so many…
Robert De Niro: Two blocks south of where you were…Right where we shot actually, Mullbery Street, that area. The music was there, that was all the music we heard in the jukeboxes and the neighborhood. But Marty, you know so much about music and everything and more than I do.
Martin Scorsese: In the summer, there was never any air conditioning, so sometimes we slept at the fire escape, you know? And the guys across the street would be playing big band music, and then opera would be coming out of somebody else’s window. It became a soundtrack to our lives that we couldn’t imagine quite a moment. Between that and popular music and rhythm and blues, but then, the girl groups coming in, and then Motown. The film actually took place in effect, it really is 1963. It was about a month before Kennedy was killed, when the story, that’s based upon action kind of happened. And so, the music that’s in my mind is always there. Okay, it’s, I’ve got the Rolling Stones, we’ve got the British, I slip and slide a little bit with that. But primarily, music
conducted our lives, including liturgical music in the church.
Nas: Speaking of the Stones, you got the Rolling Stones music in your first movie. I mean, you weren’t really Martin Scorsese just yet and they were the Rolling Stones.
Martin Scorsese: I don’t know how he did it. It was Jonathan Chaplin. I think we were able to pay the sync license for only…I wanted three songs; we got two.
Nas: That’s great, yeah, that’s insane.
Martin Scorsese: I mean, the Doo-Wop stuff, I think we got in pretty good, pretty on The Nutmegs, Johnny Yace and stuff like that. We got a fairly good deal on it. Don’t forget the whole film cost $650,000. So, whatever it was that Jonathan did, it was amazing.
Nas: That wasn’t a lot of money back then. 650,000 was not a lot of money back then.
Martin Scorsese: No, 650,000 was, no, not a lot. I guess, I don’t know today, an independent film may be made for 5 million, maybe. That would be the equivalent, I may be wrong on that. But it was quite low budget, and I had to learn how to make the film by working with Roger Coleman, and they came out. And we did an exploitation film with him the year before, which is called Boxcar Bertha, Barbara Hershey and David Carradine and Bernie Casey, and Barry Primus.
And we learned how to make a movie, and show up in the morning, even when you don’t want to. And you’re there and you’ve got to shoot, you have 25 setups in one day, and people are running around, you have no money for that. And you do it, you know? Prior to that, we would make, I would make a film, with my friends at NYU or whatever. In other words, I had to learn how to be like a semi-professional through Corman, and then I applied the same making and the structure and the same people to make Mean Streets.
Nas: This is to you, Mr. De Niro. This is the first of many legendary collaborations. I need to know about your character Johnny Boy. Johnny Boy, there’s a Johnny Boy in every neighborhood. I know a few Johnny Boys coming up for sure. Did you base all the characters on a real person? How did you prepare for that role?
Robert De Niro: That’s a question I’m going to let Marty answer. I have to let Marty, because how he conceived it is a whole journey.
Martin Scorsese: Well, all the characters are based on two or three very, very close friends and part of myself too. And it is, the shooting at the end did occur, I was in the car, I missed it by five minutes, I left the car. But luckily my friend was with me, he said, “Oh, let’s go home.” We went home, that’s when the car was shot up. And in those days, guns were not as prevalent as they are now. So, it was unheard of to have a gun in that neighborhood, because of the organize crime, they don’t want any attention to them, untoward attention, like “You crazy kids, you bringing in the police in this neighborhood? Don’t ever do that again.” So, guns were an afterthought.
And something happened, whatever, and we were lucky. And I went backwards from that, because we could have been killed that night. And it’s based on a character who is still alive. And he was the younger brother of one of my close friends. And he was loved for his anechoic spirit, like an anarchy, he didn’t care about anything, didn’t care about anybody, he saw through the bullshit, on all levels, whether it was the organized crime or the church or anything, he just saw through it, and wouldn’t be part of it. It’s also based on my father’s youngest brother, who was some street guy, and his nickname was Joe the Bug.
And he was always going in and out of jail. I asked my mother, “Where’s Uncle Joe?” She goes, He’s back at college.” I mean, this college has bars on the window. My father had to go visit him and work it out, but he was always, always, and he’s a very lovable person, but he was…And so the same with the Johnny boy character, it was based on, he was really loveable.
And he got away with so much because of his charm. And that’s one of the things I thought I did in the film, was one of the great things was that, the one scene I didn’t have written was one of the great scenes, really, which is you and Harvey in the back room. Him explaining why he can’t pay. all of that was improvised by Bob and Harvey on the dance floor. And that’s how they do it.
It’s three days, we shot an hour and a half, very American, wide shot, over the shoulder, over the shoulder, that’s it, you know? And it went on for like 10 minutes, the scene. And what he pointed out to me was that, what I didn’t have in the script was showing Johnny’s charm to Harvey. You improvised that in a rehearsal, you wrote down some notes, and I had to fight to get that extra two hours to shoot it, and I forgot the notes, remember? And he had to remember all by himself, it was just…It was rare.
Robert De Niro: I remember what we did is we rehearsed it in New York, and I had it, I had stuff in and I had the layout, the points to make, and I roll over and over, just went over before we shot the scene. So, I had an idea, Marty and I, we just made—somehow documented it as best as we could, and that was fine.
Martin Scorsese: Yeah. But we had that scene edited, and it went on and on, and people, only a few people saw a rough cut of the picture. And a couple of friends of mine said, “The scene’s too long, cut it.” They said pull out half the scene. And I don’t know, it didn’t work. And then the last time I screened the picture, I only screened it for a few people, nobody paid attention to us at that time. The last person I screened it for was John Cassavetes. All before the teams, Dave Cox and myself, and he said, “You know, let’s put the whole scene back, let’s see what John says.” And John Look and said; don’t cut a goddamn frame. That’s how we upped it.
Nas: That’s rare. That’s rare. The shots in your films, this is the first of many legends. This was the film that established, I think, your signature style. You made this film, with the shape and artistic vision and influence that influenced so many filmmakers. And think rap videos, we were trying to copy what you guys have done. You did Casino, I did Street Dreams, was the name of the song. And we did the video just like Casino. And we had the late Vincent, who was nice enough.
Martin Scorsese: Right?
Nas: Yes sir. He played a part in the video, and he was just the nicest guy ever, we became friends. And so yeah, but filmmakers all over the world have been doing what you do, like how did you do that?
Martin Scorsese: I was, as I’ve said, I was lucky in a sense that I was having that breathing thing, the asthma thing, I couldn’t play sports or anything, so, they didn’t know what to do with me, they put me in movie theater, and I was enveloped by all these films from Hollywood, and then I saw Italian films on TV, neorealist films, and that’s a whole other experience. What is this thing, cinema? And then, right around the late 50s, Bob, there’s all these farm films coming in, particularly from France and Italy. And they were breaking up the language of how to tell a story with pictures. And it just infused in my head, you can do anything. You can do anything, you can turn the camera upside down, you don’t have to move the camera at all. And we were burning with an energy that it was almost like a crash, a diving crash, like a kamikaze kind of effect, like let’s go all for it completely. And if it works, it works, if it doesn’t, at least we tried.
Nas: Wow. This scene is like, you have a guy, I don’t know what he’s called, but there’s someone, and they’re not walking, but they’re walking, they’re floating, and they’re walking.
Martin Scorsese: It’s on a dolly.
Nas: The dolly.
Martin Scorsese: I put him on a dolly train when I’m here.
Nas: No, man. But the magic that, the way you shot it, it’s like-- And the shoot, those scenes are incredible, and the lighting you use, it’s very real, like the rooms are lit, like I think it draws us all in, like you escape when you’re watching the films together. And in Mean Street, you see it, like you’ve been doing movies for years. So, congrats here.
Martin Scorsese: Thank you.
Nas: Such an incredible, you two. When you were 16 and you knew each other, did you have discussions about getting into films? Did you know, like…?
Robert De Niro: Well, actually, we had a mutual friend who would go be, who was a very good dear friend of mines, and…
Martin Scorsese: His brother was, yes, his Johnny Boy Mason.
Robert De Niro: His brother was Johnny boy character. And he would go between the groups, and he’d tell me what’s going on with Marty, and I don’t know what they’re talking about us, but back and forth. And then he said, Marty goes to NYU, I go yes. years later, Marty and I—I saw Who’s That Knocking? I’d seen it earlier when we had a Christmas dinner at Brian De Palma’s house and Jake Cox and, or what was it? No, James.
Martin Scorsese: James put us Laverna, and Brian put us together.
Robert De Niro: Yes and we talked about the flooring book and so on, and then I said, Who’s That Knocking is a terrific movie, it was great. It started up our relationship again. Actually, what happened was that he was sitting there after dinner, and then he looked at me, and they had gone inside or something and a small place. And he said, “You used to hang out with so and so, and so and so.” I said, “Yeah, how do you know?” He said, “I’m Bobby.” I said, “Bobby? Yeah, from Ken Bear and Grand Street, the Alto Nice.” I said, “Bobby, oh my God, I didn’t realize.” Because De Palma had put us together after you did Hi, Mom! after you did that. And he said, “You’ve got to meet this guy.” And then he had seen Who’s That Knocking, it was very accurate as to the nature of that subculture in the neighborhood. He identified with that, and so, Mean Streets was finally put together, and he came on.
Nas: You guys have given us movie magic. And I can go through all the list of the movie’s you guys have done here, and everyone out there who created these movies. And that’s the lasting effect, things on us all. Marty, I’ll ask you, is there a film out there that you wish you did? Is there a role out there that you wish you did?
Robert De Niro: I feel I’ve been lucky and I’ve done okay.
Martin Scorsese: It’s complicated because I admire the films that I grew up with and that affected me so much that the one thing I had to learn was that I am not part of that. I can never attain what they did, because I don’t have the same culture. But they inspired me, and so no matter where they got it from, it doesn’t matter where I’m picking up from it.
I see something the way I see it. In other words, you take something out of context and the work of art stands on its own, it doesn’t necessarily need the context if it has something to say for people 100 years from now, you see, it’s universal.
Nas: So, how hard was it to come up with the next film after? Did you have it already in your head, like, what you wanted to do next after Red Shoes?
Robert De Niro: Well, Brian gave me Paul Schrader’s script of Taxi Driver. John Calley over at Warner Brothers, when they bought Mean Streets, looked at me and said, “There’s a script here called Alice Doesn’t Live Here Anymore...” And all of those, it just was in the exorcist. And he said, “Well, people are saying they really like Mean Streets, they think you’re great, and all that, but you can’t direct women.” So, he said, “read this script,” and I did and I liked it, and I decided, I should do it. And it was my first studio movie in a way.
Robert De Niro: Yeah, I was doing another film.
Martin Scorsese: By the time you were finished, we were able to do Taxi Driver.
Robert De Niro: I jumped right into it after doing the other film. Once we worked on the script, I was preparing there, and since I got back two weeks later, two and a half weeks later, we were shooting in New York.
Nas: That’s loyalty, that’s friendship. I wanted to ask you about friendship and loyalty. You guys have done so many movies together, you’re a duo that we’ve never seen before, and we’ll never see again. How easy is it working together through the years?
Robert De Niro: Well, it’s been great, I’ve been very fortunate to wind up in a situation with Marty like this all these years. It’s been great, it’s been really a great experience to say the least. I’m lucky.
Martin Scorsese: You use the word trust, it’s different levels of trust. And on our artistic level, it’s trust. He would say something, and I’d say, “Okay, try it.” Then at a certain point, when I was telling the story, at a certain point, he said, “I have this idea, it’s completely crazy, and I think…” I said, “Don’t tell me, just do it.” And invariably, I liked it, I said, “Oh, that’s great,” and then you do this, and this, and boom.
And so, for me, it was trust in the art itself. And then we just had our own way of talking to each other, I guess, and we’d be often in a conversation. We felt comfortable that way, but I also learned from him a great deal. I learned about acting, because I never took any acting courses, I don’t know what that is, I have no idea what theater is.
But I learned about, like in Taxi Driver, I had to play the part of this creepy guy in the backseat. He’s Travis, right? And I’m in the back, and already I’m playing this awful character. But it’s a long story about what had happened, the guy who was supposed to play, got hurt in an accident, eventually die from it, whatever. And it was a last week of shooting, and I didn’t want to trust anybody else, he said, “You do it, you do it.” So, I did it.
But what was interesting, and I always tell this story, is, at the beginning of the scene, I tell him to put his flag down, it was the old taxi, put your flag down, and I start the dialogue. And we just did like a rehearsal, then he hooked into me and said, “Make me put the flag down.” And I understood, yeah, he’s not going to put that flag down unless he believes me telling him to put the flag down. It’s not a guy, it’s not Marty playing the part, it’s the real guy, you see?
And so, I improvised, put it down, I’m in charge of this cab right now. I improvised it. And what was happening was that he didn’t move his head. It made me go further and further as an actor, within the character. there was
really a great lesson as to how to behave, how to behave as like a human being in front of a camera, it’s very hard in front of a camera. That’s the key acting experience I learned from that. we had that relationship over the years, and we’re also attracted to the same material, I think, and the same characters, we weren’t afraid. He was not concerned about playing, let’s just say, a non-synthetic character like Jake LaMotta, that we created. So, he was just not afraid of him, he did it. And in a funny way, he did it and didn’t care about the consequences of whether I could make another movie or not. I guess I wanted to, but I didn’t quite care anymore. Just, we’ve got to get this one done and I’ll do something else, until I get to something that I really want to do.
Nas: Real artistry. And I had to ask that because I know in music there’s artists who work with producers and have a lot of success, and then they go off and do something else and it’s not the same. I think to have the chemistry that you guys have is very inspiring.
Robert De Niro: I just want to say one thing, with Marty, in our experience, he’s always been not afraid to try the things. He said, just do it. And we talk about it, we’d have a little conversation, but also, we’d talk about parallels in whatever we were—in our experiences that we could then put into the film. This scene is like this, I remember something happening to me, blah, blah, blah, he’d say to me, “So that’s what we sort of arrived at. Well, let’s go try this, because it’s not the actual thing, but this is like that experience you had at the end.”
Martin Scorsese: That’s why it becomes, people say, how do you work together? I can’t tell you, because a lot of it is very personal. We tell each other certain things, we may forget it later on, but at the moment, it’s so real, and it’s so visceral, and it’s so intimate, that nobody actually hears it, mind your own business. It’ll come out on the screen somehow, if we’re lucky.
Nas: Two minds in one, man, it’s like one brain. Two genius minds working together. And the films were telling us about life. The films are telling you that you guys are very aware of this world. And it was something in your hearts to give us a mirror of the world, the society that we were living in, or are still living in. Teaching us stories like with Killer Moon, and like, just things that I didn’t know about. I just appreciate you both and I appreciate being here and being able to talk to two gentlemen who I grew up watching and learning from. And there’s nothing that compare to your journey and the art that you’ve given us all, and we want you to not stop, ever.
Thank you for Mean Streets, thank you for everything you’ve done in cinema. And we’re looking forward to the new films, thank you for The Irishman. We love them all, and we love you guys, thank you. Mr. Martin Scorsese and Mr. Robert De Niro!
Our Day 3 #DeNiroCon favorite event was attending the Sunday afternoon event Robert De Niro in Conversation with JR. Father’s Day Sunday was the perfect day to attend this event and enjoy the conversation between the two men and learn about their new documentary. Attendees were able to watch exclusive clips from the upcoming documentary of Mr. De Niro featuring his work, conversations with his children and conversations about his parents. The footage we were able to see were amazing shots from JR of Mr. De Niro’s mother face in a lake, Mr. De Niro laying on a blanket we watch him carry of his father and conversations with his longtime collaborator and friend Mr. Scorsese. The film gave us insight into Mr. DeNiro as not only a father but as a son as well. After the preview, we were treated to still shots of the film as Mr. De Niro and JR spoke about fatherhood and how their childhood informs their decisions daily. JR and Mr. De Niro took questions from the audience and things became extremely emotional. Spike Lee and others shared Father’s Day reflections as they asked Mr. De Niro questions on a wide range on topics. There were so many questions, not enough time - the expirence was unlike any other event we’ve had. We enjoyed this experience tremendously, special thanks to JR, Mr. De Niro and Jane Rosenthal.
savor
Founded in 1924, ‘Chez L’Ami Louis’ is an authentic Parisian gem that contributes to the timeless charm of the French capital. Located in the heart of Paris and founded in 1924, ‘Chez L’Ami Louis’ is an authentic Parisian gem that contributes to the timeless charm of the French capital. The restaurant remains true to its identity and to its clientele of loyal customers, curious visitors and gastronomists eager to enjoy traditional French dishes in a warm and friendly atmosphere.Over the years, “Chez L’Ami Louis” has acquired an unprecedented atmosphere and popularity among Parisians, becoming a go-to destination for those seeking an authentic culinary experience in the capital. This Parisian charm has also won over many French and foreign celebrities, who never miss an opportunity to lunch or dine there.
Clase Azul Tequila IntroducesThe Loft Brooklyn Collection I - “New York City holds a unique place in our hearts. As one of our most important markets, it has allowed us to share the magic of Mexican culture with many people,” said Creative Vice President Héctor Gaytan. “This piece intertwines the city’s iconic imagery with Mexico’s cultural heritage as a heartfelt gesture of our appreciation.” Crafted by Master Distiller Viridiana Tinoco, this unique añejo tequila is aged over 20 months in American whiskey casks and finished in Calvados casks from Normandy, France. The design, inspired by the Chrysler Building, features hand-painted verdigris brushstrokes with a verdigris body and hammered copper cap, reflecting New York City’s architectural evolution. Clase Azul Tequila The Loft Brooklyn Collection I. Limited to 1,000 1-liter bottles, this exclusive edition is available by invitation only in New York City and is offered in a 1-liter decanter, 40% Alc. Vol., priced at 1,250 USD.
McDonald’s partners with “JUJUTSU KAISEN” to launch the new Special Grade Garlic Sauce, exclusively on the McDonald’s App beginning July 9. Inspired by the iconic Black Garlic Sauce from McDonald’s Japan, the Special Grade Garlic Sauce introduces a new arc in our sauce line-up, containing notes of garlic and soy sauce, balanced with a slight tangy sweetness. Packaging will feature eight designs starring fan favorite characters: Yuji Itadori, Megumi Fushiguro, Nobara Kugisaki, Satoru Gojo, Kento Nanam, Suguru Geto, Mahito, and Sukuna. Grab the Special Grade Garlic Sauce for free with any order of Chicken McNuggets®, or pair it with your go-to order on the McDonald’s App to make a meal fit for any sorcerer. And each purchase of the sauce also unlocks a 30-day free trial of Crunchyroll, where you can watch full episodes of “JUJUTSU KAISEN” and more of your favorite anime content. Crunchyroll trial offer terms apply.
WanDerlust
In recent earnings calls with investors, Delta’s president Glen Hauenstein was asked if there is some plan in the future for the carrier to offer a Business lite type of fare and seating. While Hauenstein didn’t confirm or deny, he did tease a possible announcement during Investor Day later this year. He confirmed the topic has been tossed around. “We’ve talked conceptually about that,” Hauenstein said. “I think we’ll be giving you more details. … But we’re not ready to talk about the details of those plans moving forward. Investor Day this year should be very exciting.” Delta already offers Delta One, First Class and Premium Select which leads us to curiously wonder what Delta Business Lite would look like and what perks will be offered. There’s only a short time before Investors Day, we are looking forward to the announcement.
Imagine waltzing with your partner to an orchestral cover of a Taylor Swift song on a replica of the Bridgerton set –– and then walking around the corner to compete in the Glass Bridge challenge from Squid Game. After pretending to fight for your life, you’ve worked up an appetite and want to get a bite. You see a nearby restaurant with food inspired by Netflix shows from around the world; the meal is memorable, but you still want to buy some Stranger Things merch. Luckily, there’s a shop that sells that Hellfire Club T-shirt you’ve always wanted.
That fan fever dream will soon become a reality with the opening of Netflix House, an experiential entertainment venue that will bring some of our most beloved titles to life. Building on previous Netflix live experiences for Bridgerton, Money Heist, Stranger Things, Squid Game, and Netflix Bites, Netflix House will go one step further and create an unforgettable venue to explore your favorite Netflix stories and characters beyond the screen year-round. The first two locations will open at King of Prussia in Pennsylvania and Galleria Dallas in 2025.
heavy Metal
Maserati Tridente
Maserati partnered with Vita Power to create TRIDENTE, a luxury all-electric powerboat, extending Maserati’s electrification strategy onto the water.
Vita Power and Maserati share the same vision for the mobility of the future with no compromise on performance and elegance. Vita Power is a marine technology company founded to reduce the impact on the marine environment by developing an electric and integrated ecosystem of high-performance electric propulsion systems and fully electric boats for recreational and commercial applications, supported by a dedicated marine fast charging infrastructure.
The TRIDENTE is a 10.5m zero emission powerboat built for lake and coastal day cruising, with peak power of 600HP and battery capacity of 252 kWh, delivering a cruising speed of 25 knots, a top speed of 40 knots, and recharging in under one hour. The TRIDENTE can accommodate up to 10 persons (including driver) in a cockpit, which can be configured for dining or acceleration. Passengers can relax on a sundeck alongside a bathing area with a shower and ladder for swimming. An enclosed cabin forward includes a day berth and WC.The dayboat is made of carbon fibre, finished to the highest creative standards by the craftsmen at Hodgdon Yachts, a US boatbuilder from Maine with a history of over 200 years of passion and excellence, and a specialist in superyacht tenders.
Mercedes-Maybach S-Class
Marking the 150th anniversary of renowned silver and yacht manufacturer Robbe & Berking. exclusive S-Class model to commemorate the 150th anniversary of Robbe & Berking, a renowned silver and yacht manufacturer. This unique vehicle draws design inspiration from the legendary SPHINX 12mR yacht, a celebrated symbol of elegance and craftsmanship. The SPHINX yacht, built in 1939 and restored by Robbe & Berking Classics in 2008, boasts a rich history. This restoration project resulted in the revival of a historic vessel and also laid the foundation for Robbe & Berking’s yacht shipyard. Reflecting this heritage, the anniversary Mercedes-Maybach S 680 features a two-tone paint finish: nautical blue metallic on the upper section and MANUFAKTUR patagonia red on the lower section, accented by a pinstripe in MANUFAKTUR opalite white metallic, mirroring the yacht’s lines. “This wonderful anniversary vehicle is another sign of the friendship that has long connected Maybach and Robbe & Berking. We are also united by shared passions: Craftsmanship, the finest materials and timelessly beautiful lines – on the road as well as on the water,” shared Oliver Berking, the Managing Director of Robbe & Berking.
Aston
Martin DBX707 AMR24
ston Martin’s Global Chief Brand and Commercial Officer, stated, “The DBX707 AMR24 Edition is a stand-out ultra-luxury SUV with incredible road presence. Competing at the pinnacle of world motorsport is a key pillar in our brand and product strategy and it’s a real pleasure to offer this special edition in celebration of the Aston Martin Aramco Formula 1 Team.”exterior options including Podium Green, Onyx Black, or Neutron White paint, paired with Aston Martin Racing Green or AMR Lime brake calipers. Powered by a 707 hp 4L twin-turbocharged V8 engine and a 9-speed wet clutch automatic gearbox, the DBX707 AMR24 can accelerate from 0-60 mph in just 3.1 seconds and reach a top speed of 193 mph.
New Mexico, Scandinavia, China, New Zealand and the United Kingdom comprise five specifications designed to evoke the atmosphere of these regions’ most stirring, beautiful and wild locations. Whether the journey took you to the mountains, lakes, desert or snow, the designers have used materials, colours, finishes, and unique details to produce this travel-inspired collection to infuse the sense of adventure into your everyday drive. New Mexico - This Bentayga is presented in warm browns and tans; Amber over Burnt Oak duo-tone paintwork and body-coloured wheels, with a tailored palette of Saddle, Camel, and Coral inside and Copper Stone veneer. Scandinavia - This car combines Portofino blue exterior paint and Dark Sapphire wheels with Mulliner White main hide, Imperial Blue secondary hide, light blue Stratos accents, and contrast stitching. China -this Bentayga comes in Arabica exterior paint with Pale Brodgar silver wheels and an interior rendered in Linen-coloured hide with Burnt Oak, Odyssean tweed accents, Gold Green stone veneer and Piano Burnt Oak veneer to the centre console. New Zealand - Reminiscent of the majestic Milford Sound and historic gold mines, the New Zealand edition is painted in White Sand with Pale Brodgar silver wheels, with a brown and grey interior dominated by Portland main hide and secondary Burnt Oak, along with Highland Hare accents, dark green and bronze contrast stitching, and Jeera Green Stone veneer. United Kingdom- the UK-inspired car receives Alpine Green satin paint and Grey satin wheels, and a selection of greens on the inside, dominated by British Racing Green – evocative of Bentley’s winning heritage in endurance racing and the rakish Bentley Boys who brought about those hard-fought victories – and also Cumbrian Green, which brings to mind the Lake District.
It was an honor to see and meet the team behind one of Tribeca’s highly acclaimed exhibit FrameRate: Rhythms Around UsAward-winning creative studio ScanLAB Projects is exhibited the World Premiere of the art installation, FRAMERATE: Rhythms Around Us, as part of the ground-breaking Tribeca Immersive exhibition at the Tribeca Film Festival 2024, created especially for the cutting-edge, brand new media systems at Mercer Labs. Rhythms Around Us played all day at Mercer Labs as part of the Far From Nature program. Created from thousands of daily, high resolution 3D time-lapse scans of landscapes and cityscapes, FRAMERATE: Rhythms Around Us observes change on a scale impossible to see with the lens of traditional cameras or with the naked eye. The result is a breathtaking, ballroom-scale artwork that bears witness to the flux of life on earth, environmental change, our relationship to that change, and to each other. Surrounded by shifting pointcloud landscapes, submerged in sound, we scale our perspective. Collectively, we see the beautiful, creative, and destructive forces of nature and humanity. We are a part of this rhythm, we contribute to the cacophony, we are in sync, and we catastrophically collide with the beating pulse of our planet. Rhythms Around Us is the second work in the FRAMERATE series, created and edited especially for the epic sound and visual system in the Main Hall at Mercer Labs in New York. Aligned with the FRAMERATE series, Rhythms Around Us is an artwork, a shared experience and meaningful scientific data presented in a groundbreaking form of 3D documentary film. “This is an epic, human powered undertaking. Our teams have been hiking into these landscapes every single day for several years, come rain, shine, snow, or storm, setting up our scanning equipment, precisely measuring billions of points and collecting terabytes of data.” Anetta Jones, Senior Producer, ScanLAB Projects
fraMERATE: Rhythms Around Us
It’s important to remember this is not just an artwork. What you see inside FRAMERATE is real. The data collected and presented is ground-breaking scientific research, currently under peer review by NATURE, containing empirical, measurable facts and also occasionally whimsical truths. When you experience FRAMERATE you see 268 cows milked. 519 pints drunk. 1528 mm of rainfall. 174,000 people commute. 2,657 flowers bloom. 1 breached aquifer. The bin in the pub gets emptied, twice.” Matt Shaw, Co-Founder & CoDirector, ScanLAB Projects . Our exclusive with Matt Shaw is available on our YouTube Channel.
tribeca x mercer labs
Tribeca Festival’s 2024 Immersive program offers a collection of visual and sonic artworks, curated for the unique architecture of Mercer Labs Museum of Art & Technology – an experimental institution transforming the museum experience. Through experimental exhibition spaces, unique listening encounters, volumetric installations, floor-to-ceiling LED exhibition spaces, and infinity exhibits, the relationship between art and technology is redefined. Led by artist and founder Roy Nachum, Mercer Labs drives a movement where technology is the canvas for collaboration, and diversity and community is celebrated. Featuring boundary-pushing digital artists: Memo Akten & Katie Hofstadter, Wen-Yee Hsieh, ScanLAB Projects, Robertina Šebjanič, Sutu, and Liam Young, Tribeca’s selection is a response to the reality that prompts us to reflect on our relationship with the natural, technological, and societal surroundings, inspiring introspection and a shared desire for respite and hope.
Since 2005, Tribeca and CHANEL have brought together esteemed artists who generously gift an original work to winning filmmakers of the Festival. This year, the exceptional group of artists invited by Tribeca and CHANEL embodies a wide spectrum of perspectives, backgrounds, and identities, affirming the essential role of diverse voices in storytelling. This year’s participants include Deborah Kass, Erick & Elliot Jiménez, Glenn Ligon, Jenny Holzer, Joiri Minaya, José Parlá, Juliana Huxtable, Maia Cruz Palileo, Paul Anthony Smith, and Tourmaline. Curator Racquel Chevremont led the selection of artists and their work.
“Tribeca and CHANEL recognize the undeniable impact diverse artists can have when their work and stories are in the spotlight,” said Tribeca Co-Founder and CEO Jane Rosenthal. “We are dedicated to celebrating creativity and culture, championing diverse voices, and encouraging the development of a new generation of visionaries. Our nineteen-year partnership with CHANEL underscores our joint commitment to honoring powerful storytelling, artistic excellence, and the spirit of artists supporting other artists. We invite audiences to join us in this celebration and discover the transformative power of diverse artistry.”
TRIBECA FESTIVAL AND CHANEL UNVEIL 2024 ARTIST AWARDS PROGRAM PARTICIPANTS
iConoClasts
After creating one of arguably the most viral Summer anthems, Kendrick Lamar has had quite the run of the year so far. Fans thought Kendrick couldn’t shine any brighter - then came the announcement of The Pop Out: Ken & Friends streaming exclusively on Amazon Prime on Juneteenth in Los Angeles. The night was filled with the West Coast’s best and brightest. DJ Hed started the night with a set full of local artists and movements. DJ Mustard’s set was a showcase of West Coast legends and classic songs. Kendrick hit the stage after a great introduction from West Coast legend E-40 before Kendrick opened the show with Euphoria. No one knew what to expect from Kendrick’s set especially not a Black Hippy reunion, a Dr. Dre intro to Not Like Us which was performed 6 times. The night ended with Kendrick getting a group photo only to rival his To Pimp A Butterfly album cover. The night was full of collaboration, celebration, music and unity. The live broadcast posted the most minutes watched of any Amazon Music production ever on Twitch and Prime Video. We hear Amazon is trying to make the stream available to watch anytime, for now the only thing to stream via Prime is the Not Like Us performance. The show broke Amazon Music’s streaming record when it comes to live events. the live broadcast posted the most minutes watched of any Amazon Music production ever on Twitch and Prime Video.
