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Juno Medical Raises $5.4M to Revolutionize Healthcare for Underserved Communities
By Femtech Insider	Access, Digital Health, Investment, News August 2, 2021
Juno Medical, the modern doctor's office that's designed for the 99%, today announces $5.4 million in seed funding led by Vast Ventures. Existing investors Atento Capital, Company Ventures, humbition, RareBreed Ventures, and Lafayette Square will also participate in the round. This milestone coincides with the launch of Juno's first flagship location in Harlem, NY after several months of rapid growth providing care for thousands of New Yorkers during the COVID-19 pandemic.
"We are thrilled to partner with the ambitious team at Juno to revolutionize healthcare in underserved communities by providing families easy access to high-quality care," said Aniq Rahman, Managing Partner of Vast Ventures. "Juno's tech-enabled omnichannel approach is the future of primary care and pediatrics. This next phase will be focused on rapid expansion beyond Harlem into other overlooked neighborhoods nationally."
Juno Medical created a one-stop solution for great everyday care for the whole family that disrupts every facet of the patient experience by providing exceptional hospitality, modern technology, and transparent prices. It's designed as a new healthcare home that brings the best of pediatrics, adult primary care, women's health, and same-day care, and diagnostic services in one place.
Unlike recent trends in concierge medicine and venture-backed primary care models that require upfront fees to access care, anyone with insurance can get exceptional care at Juno. Juno is taking a different approach to meet the needs of busy households by offering additional plans that start at $20 per month and complement it's core services with added conveniences, savings, and unique events and experiences.
"As a parent, physician, and healthcare industry veteran, I've witnessed firsthand how broken our system is for people and families from all walks of life," said Akili Hinson, Founder & CEO of Juno. "We have a fundamental belief that everyone deserves great care that's both accessible and affordable — regardless of zip code they're born in, the color of their skin, the size of their bank account, or who they love."
As part of its mission to create a healthier world, Juno will use this funding to launch its Brooklyn location, expand its virtual care services and price transparency capabilities, and to hire new team members across the company. Juno Medical's Harlem and Brooklyn locations are just the beginning, the company has plans for national expansion in 2022 and will offer new virtual and wellness services in the coming months.
Breast Health, News, Oncology November 30, 2021
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Breastfeeding Support Platform pumpspotting Raises a $1.15M Seed Round to Expand its B2B Presence


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Making Noise: Anatomy of a music lover
Aimsel Ponti traces the pathways of her passion for music.
By Aimsel PontiStaff Writer
Aimsel: The anatomy of a music fan
I can't tell you how many times people have said to me "Wow, you must really love music" and have asked if it's been a lifelong love. So I thought it was time to tell you my story of how it all began and evolved for a kid growing up in 1970s Massachusetts.
Memorial Hall Library in Andover, Mass., my hometown, certainly gets some of the credit. I distinctly recall checking out a Monkees record and being a tiny tot cranking "Daydream Believer" and "Pleasant Valley Sunday" with unfettered glee.
The back of the Ponti family wood-paneled station wagon is where I heard many FM radio hits way back when, including "Run Joey Run" by David Geddes, "If You Leave Me Now" by Chicago, "Beth" by Kiss and "Garden Party" by Ricky Nelson. "Garden Party" still ranks among my all-time favorite songs.
I remember listening to Ike & Tina Turner's "Proud Mary" in our living room and thinking it was the greatest thing in the universe. A few years later, my parents were all about the Donna Summer double-album "Live and More," and I will always adore "MacArthur Park," despite not understanding why anyone would leave something as wonderful as a cake out in the rain.
When junior high rolled around, I happily jumped on the Journey and Asia bandwagons and by that point had the requisite boom box and ever-growing collection of cassettes.
But then one Sunday afternoon I went to a flea market in nearby North Reading, Mass., and made one of the most important purchases of my life: I paid $1 for a copy of The Rolling Stones album "Let It Bleed." It remains, by far, my favorite Stones album and every song on it is spectacular. Ironically, my favorite is sung by Keith Richards. It just doesn't get much better than "You Got the Silver."
The Rolling Stones quickly led me to the person I consider my all-time favorite musician: David Bowie. "Let's Dance" was my admission ticket and I worked my way backwards. At that same flea market I bought "Space Oddity" and over the next couple of years pretty much everything else by him I could get my hands on. My bedroom became a Bowie shrine and my collection of imports, picture discs and such is impressive.
During my early Bowie years is when I started down a path of musical discovery that would forever seal my fate as someone who needs music as much as air and food. Looking back, I don't think I realized how good I had it living so close to Boston. First off, the access to record stores: I found many gems at Second Coming, Mystery Train, Nuggets Records and Rockit in Saugus.
Secondly, the concerts. It all began in the summer of 1984. My first show was The Go-Go's on the Boston Common. I was there to see the opening act, INXS. Turns out INXS's plane was delayed and they were a no-show, but I'd be lying if I said Belinda and company didn't put on a fun show.
However, it was the second concert that really got things going for me. The Psychedelic Furs played at The Orpheum in downtown Boston. Talk Talk opened the show. Both bands were phenomenal. I still have the ticket stub.
Over the next several years I ventured back to Boston many times for The Smiths, The Cure, Echo & the Bunnymen, New Order, Depeche Mode, INXS (finally) and many others. A friend even managed to get us front-row seats to see R.E.M. at The Wang Center. They were on the road supporting "Life's Rich Pageant." Suffice to say, I died at least nine times that night, such was the intensity and perfection of that show.
I also grew quite obsessed with U2, and one of the most unforgettable nights of my life was seeing them at The Worcester Centrum during "The Unforgettable Fire" tour.
During that time I also got hip to some of the Boston bands that were making noise in the '80s, including O Positive and Face to Face. I was downright obsessed with Face to Face and saw them many times, often with my high-school friend Lauren Pickard. Lauren passed away several years ago, but I'll always remember us as two teenagers having the times of our lives at those shows led by vocalist Laurie Sargent.
There are far too many moments to mention in this one column, but I'll share another one because it was defining in terms of discovering an artist I would become a lifelong fan of.
My friend Daphne sent me a cassette of stuff she had heard on a New York City radio station during her freshman year of college. I remember being in my driveway listening to this tape on the car stereo. I heard the familiar guitar of U2's The Edge, but then a voice from another world. Her name was new to me; in fact I didn't even know how to pronounce it at the time. It was Sinead O'Connor and the song was "Heroine."
Months later I was at a record store in Montreal with my parents and came across the 12-inch single to the song, which I still have. The following year O'Connor released her debut record, "The Lion and the Cobra," and I've adored her ever since.
During my years at Keene State College, I was a DJ at radio station WKNH and experienced another moment of music bliss. We were sent a record called "Touch," and upon listening to it in our production studio I was struck – profoundly – by how exquisite the singer's voice was. It became a staple of my Sunday night show, and a couple of months later I interviewed Sarah McLachlan to discuss the album. We were two kids. Somewhere I still have the recording.
Indigo Girls also became hugely important to me, as did Kate Bush, Eurythmics, Tori Amos, 10,000 Maniacs and Jane Siberry.
Although the process of falling in love with music has changed with technology, it still happens. And when it does, there is nothing more pure and perfect to me.
When I moved to Portland in the mid-'90s, I soon discovered the music of local acts Kate Schrock and Darien Brahms. These were followed by Spouse, Sara Cox, Carol Noonan and many others. All of these are artists I can't imagine not knowing about and loving.
More recently I've come to know and love the likes of Sara Hallie Richardson, dilly dilly, The Fogcutters, Samuel James, Anna Lombard, Emilia Dahlin, The Other Bones, Zach Jones, Lyle Divinsky, Lady Lamb the Beekeeper and so many more.
I'll leave you with some questions: What was your first concert? What was the first record you bought? What songs could you not live without? What does music mean to you?
Ponder these questions. I'll be sitting over yonder, headphones on.
Aimsel Ponti can be contacted at 791-6455or at:

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2019 Ticketed Sessions
Selection Guidelines
Alumni Continued
ACCELERATOR LAB 2018 PARTICIPANTS:
For photos of Accelerator 2018 click here
Accelerator Classic - participants with films at MIFF 2018
Jamie Helmer (THE KNIFE SALESMAN): Melbourne-based Helmer works under the banner of Golden Moss Films with collaborator Michael Leonard. Together they made the shorts LATE OCTOBER and THE KNIFE SALESMAN, with the latter screening in competition at 2017's Venice Film Festival. THE KNIFE SALESMAN is a proof of concept for feature film project GRAFTON POINT.
Michael Leonard (THE KNIFE SALESMAN): Leonard started making films in 2007 with other artists and musicians under the banner Beg, Scream and Shout; with a commitment to screening DIY film with live music. In 2015 Leonard teamed with Jamie Helmer to make LATE OCTOBER and then 2017's THE KNIFE SALESMAN, which premiered at the Venice Film Festival. THE KNIFE SALESMAN is a proof of concept for feature film project GRAFTON POINT, while THE DIVER is another short film that will be a proof of concept for a feature film of the same name.
Nakkiah Lui (BROWN LIPS): Nakkiah Lui is a writer, actor and director working across screen and stage, including BLACK COMEDY (ABC-TV), KIKI & KITTY (ABC-TV) and BLACK IS THE NEW WHITE (Sydney Theatre Company).
Vanessa Gazy (SHILOH): Gazy completed her Australian Film TV & Radio School (AFTRS) Masters in Directing in 2014, winning the school's Kenneth B. Myer Award for Exceptional Talent. Her first short was 2015's FOAL, while her second short, HIGHWAY, was selected for several festivals, including London and Palm Springs, and is being developed into a feature. She is a recipient of the Australian Directors Guild (ADG) 2018 Commercial & Content Mentorship Program and is represented by Grandview LA & WME.
Amberley Jo Aumua (WAITING): Writer/director Amberley Jo Aumua is of Samoan and Maori descent from Manurewa, Aotearoa/New Zealand and holds a Bachelor of Performing and Screen Arts. Her 2017 short WAITING won Best Short Film at the New Zealand International Film Festival and was in competition at the Toronto International Film Festival. Aumua was one of nine writer/directors on 2019 portmanteau feature film VAI, which was selected for Berlin, SXSW, and the Māoriland Film Festival.
Renée Petropoulos (TANGLES AND KNOTS): Having completed her MFA in Directing at Columbia University, Petropoulos' short TANGLES AND KNOTS was selected for both SXSW & Berlin in 2018 and was also nominated for the 2018 AACTA Award for Best Short Fiction Film.
John Harvey (WATER): Melbourne-based Harvey is the Creative Director of production company Brown Cabs and WATER is his narrative debut as a writer and director. Working alongside Arena Media, he produced a chapter from the MIFF Premiere-Fund supported omnibus THE TURNING in 2013, and also produced feature film SPEAR, which premiered at TIFF 2015, and ABC-TV series THE WARRIORS. In 2017, Harvey's stage writing debut, HEART IS A WASTELAND, had a sold-out season at Melbourne's Malthouse Theatre.
Lara Köse (KAYA): A graduate of Swinburne University and the Victorian College of the Arts (VCA) film schools, Melbourne-based Köse's VCA graduate short film CRUSH screened at festivals internationally. In 2018 Köse was selected as director's attachment to Tony Tilse on feature film MISS FISHER & THE CRYPT OF TEARS, supported by Every Cloud Productions and Screen Australia.
Robyn Paterson (RUN RABBIT): RUN RABBIT is Paterson's debut narrative short film, after her documentary feature FINDING MERCY premiered at IDFA in 2012 and was awarded Best Cinematography and Best Emerging Filmmaker at 2013's DocEdge Film Festival in 2013. Her second documentary feature is IN THE ZONE.
Michelle Savill (BATS): Saville's ELLEN IS LEAVING won Best Narrative Short Film Award at 2013's SXSW Film Festival. She has directed content for Vice, Catalogue Magazine & Nike and also works as a commercials director for Goodoil Films.
Curtis Taylor (YULUBIDYI – UNTIL THE END): Growing up in remote Martu desert communities and in the city, Taylor has both traditional Martu knowledge and a non-Aboriginal education. In 2008 he worked on YIWARRA KUJU: THE CANNING STOCK ROUTE and was the recipient of the 2011 Western Australian Youth Art Award and Wesfarmers Youth Scholarship. His screen work, including the short MAMU, has been shown in international film festivals from Brazil to Nepal and he was Director's Attachment on the Emmy Award-winning VR documentary COLLISIONS.
Nathan Mewett (YULUBIDYI – UNTIL THE END): Mewett, who grew up in remote gold mine Telfer in the Great Western Desert, is currently completing his Masters of Screen at the Australian Film TV & Radio School (AFTRS). He co-directed YULUBIDYI – UNTIL THE END with Curtis Taylor, while his previous short, SOL BUNKER, won several awards and is a proof of concept for a feature film of the same name.
Takumi Kawakami (PAPER CRANE): Kawakami graduated from Swinburne University of Technology in 2017 with a Bachelor of Film & TV. His graduate short film, PAPER CRANE, was awarded Best Script, Performance Direction, and Creative Excellence in Film by the university.
Gabriel Hutchings (PERISHER): Hutchings' work includes documentary short THE DAYS PASS QUIETLY and his Victorian College of the Arts graduate film THE PERISHER which won the Panavision Australia Overall Best Production Script Award and the BFA Best Production Script Award: Orloff Family Charitable Trust Scholarship. His films have been exhibited at festivals including Palm Springs International Film Festival, Chicago International Film Festival and Atlanta Film Festival.
Kerinne Jenkins (CATTLE): Jenkins is a graduate of the Australian Film TV & Radio School (AFTRS), where she made the 20-minute proof of concept CATTLE and binaural thriller podcast series PRECIPICE which was presented at Radio Days Vienna in 2018. She is developing multi-platform science fiction series THE DIVIDE as well as her first feature CLONE with producer Taylor Litton Strain, which was conceived during her time at Accelerator Lab.
Leticia Cáceres (THE TRUE HISTORY OF BILLIE THE KID): Filmmaker and stage director Cáceres' first short, WILD, won the London Film Awards' Golden Lion Best First Time Director Award and the Student Film Award at Melbourne's Women in Film Festival. Her stage work has received Helpmann, Green Room and Sydney Theatre Awards and she was supported by Screen Australia's Gender Matters/Brilliant Careers to shoot her first TV pilot.
Lucy Knox (AN ACT OF LOVE): Knox's Victorian College of the Arts (VCA) Masters graduate film AN ACT OF LOVE won Best Direction in a Student Film at 2018's Australian Directors' Guild Awards. Her films have screened at festivals including Sheffield DocFest, Palm Springs International ShortFest and Cork Film Festival.
Astrid Dominguez Ortega (WE VANISH): Originally from Mexico, Ortega started her career directing TV commercials and in 2018 graduated with a Masters in Film and TV from the Victorian College of the Arts. Her graduate short film WE VANISH was selected for a number of international film festivals including MIFF, where she won the 2018 Australian Emerging Filmmaker award.
2018 Accelerator Express Directors:
Directors selected by CreateNSW's Generator Emerging Filmmakers Fund (Queer Edition)
Fadia Abboud is a graduate of the University of Technology Sydney (UTS) Bachelor of Communications in Media Arts and Production whose interests centre around the stories and experiences of Arab Australians. Abboud worked at the Information & Cultural Exchange for many years facilitating digital storytelling workshops for diverse communities in Western Sydney and has created video works for Sydney Festival productions Disco Dome and East London West Sydney.
Stef Smith was a recipient of the Create NSW Generator: Emerging Filmmaker's Fund for her short film JOY BOY and also directed and produced ABC iView sketch comedy series THE LOST TAPES funded by the Fresh Blood initiative of ABC and Screen Australia. In 2018 Smith was funded by Create NSW #SheDirects initiative for her television project FISH which was also shortlisted for Sundance New Voices Lab 2019.
Directors selected by New Zealand Film Commission's Vai Pasifika Female Filmmaker and Women's Horror Film Fund initiatives
Marina Alofagia McCartney is part-Samoan and holds a Masters of Arts in Screen Production and is a teaching fellow in Pacific Studies at Auckland University. Her films have been selected for Palm Springs ShortFest, the NZ International Film Festival, imagineNATIVE & Hawai'i International Film Festival and she was one of nine writer/directors on 2019 portmanteau feature film VAI, which was selected for Berlin, SXSW, Māoriland Film Festival.
Hweiling Ow is the co-creator of 2016's online horror anthology web-series Ao-terror-oa (co-funded by Youtube and NZ On Air) and also directed short film The Tattooist which, had more than 16 million views for online horror channel CryptTV, and the short film Vaspy.
Hash Perambalam won a Moa at the New Zealand Film Awards for Best Self-Funded Short Film with her first student short film Not Like Her which screened at 2015's New Zealand International Film Festival in 2015.
Director selected by ScreenWest's West Coast Visions:
Jub Clerc is a Nyul Nyul/Yawuru woman who has worked, in various crew capacities, on The Circuit, Bran Nue Dae, Mad Bastards, Satellite Boy, Jandamarra's War and Jasper Jones. She has written/directed short films including a chapter of the MIFF Premiere Fund-supported The Turning. For NITV, Cleric reported/produced her own segments for Around the Traps and hosted Mugu Kids. Her first play The Fever and the Fret won the Kate Challis (RAKA) Award in 2017 – the same year that she spent five months as a director's attachment on ABC-TV series Mystery Road. Clerc's feature film script Sweet As has secured production funding from ScreenWest's West Coast Visions and the MIFF Premiere Fund and will be produced with Melbourne's Arena Media.
Directors selected by South Australian Film Corporation's Pirrku Kuu Writers Room & Aboriginal Production Initiative:
Dylan Coleman is a Kokatha/Greek woman with a PhD in Creative Writing who, with her brother Staurme Glastonbury, is adapting her award-winning novels into screenplays. Their short drama Spin Out won prizes at 2017's South Australian Screen Awards and 2018's Fleurieu Film Festival and, in 2017, she was a director's attachment on SBS/NITV series Grace Beside Me.
Natasha Wanganeen is a Kaurna Narranga Ngarrindjeri Nyoongar woman with a long track record as an actor of the stage and screen (Rabbit Proof Fence, Cargo).
W.A.M (Bill) Bleakley (A BIRTHDAY PARTY): Bleakley began making films while studying Economics at the Australian National University and A Birthday Party is his MFA graduate film from Victorian College of the Arts (VCA). Bleakey's earlier writer-director shorts credits include Joyride and The Swagman, and a producing credit on documentary short I Will Treasure Your Friendship.
Nina Buxton (MWAH): Buxton's award-winning debut short film Woof! played at international festivals and was distributed by Flickerfest in 2016, and her follow-up Mwah played at a number of festivals including Palm Springs International Film Festival. Buxton works at production company Gristmill, and her TV directing debut is the ABC-Netflix show The InBESTigators.
Kate Lefoe (SOMERSAULT PIKE): A Victorian College of the Arts (VCA) Masters of Film & TV graduate, Lefoe's award-winning queer short Plunge (2014) screened at 45 international festivals. In 2016, she spent three weeks at Italy's International Filmmaking Academy learning from award-winning directors Danis Tanovic and Claudia Llosa. Her earlier credits include Under Pressure (2010), Ladies without Lipstick (2014) and Age, Height, Education (2014).
Frank Magree (SENGATAN): While Sengatan is Magree's debut as writer, director and producer, he is a 30-year screen-acting veteran with film credits including Romper Stomper, Redball, Ned Kelly and TV credits including Rush, Underbelly, Satisfaction, Miss Fisher's Murder Mysteries, Blue Healers, House Husbands, Secret Life of Us, Janus, Sea Change and Halifax.
Zoe McIntosh (THE WORLD IN YOUR WINDOW): Winning Clermont Ferrand's Prix Etudiant de la Jeunesse award, The World in your Window follows three earlier shorts from McIntosh including 2010's Tribeca-selected Day Trip. Her first film was feature documentary Lost in Wonderland. McIntosh won Young Director of the Year at Cannes 2013 for her work as a TVC director.
Victoria McIntyre (MIRO): Having won more than 60 International awards, including BAFTA and AACTA, McIntrye's credits include Eldest of None (2014), Life's A Drag (2015) and If You Love Your Children (2016). Her film The Telegram Man has played as part of the dawn service at ANZAC Cove Gallipoli for the last five years and is part of the permanent collection of the OSCARS Academy Awards Film Archive.
Greta Nash (LOCKER ROOM): A Victorian College of the Arts (VCA) Bachelor of Film & TV graduate, Nash's film Karma Police premiered won 2016 Willoughby Shorts Festival's Best Narrative Short Film. In 2016, she co-directed an online campaign for Disney Australia and in 2014 she received a scholarship to film her first short documentary Happy Dance in Suzhou, China.
Tin Pang (MOTHER, CHILD): A Griffith University & QCA graduate, Pang's earlier filmmaking credits include Finding Daniel's Drive (2006), Siesta (2006), For Melponene (2008) and The Pale Moonlight, which premiered at 2014's Fantasia International Montreal alongside The Spierig Brothers' Predestination. In 2008, Pang completed a USC Universal Producing and Directing Workshop in Los Angeles, culminating with development internships at Color Force/Dreamworks and Vendome Pictures. In 2018, Pang secured a director's attachment on A Place To Call Home, and he works on Home And Away.
Simon Portus (PASSENGERS): Portus' previous shorts credits include 2009's Tomorrow, which premiered at the Berlinale and won Best Film, Best Director and Best Actor at St Kilda and Best Director and Best Writer at Flickerfest, and 2005's Adrift, which premiered at Sydney.
Nikki Richardson (LOSING IT): A graduate of Melbourne's Monash University, Richardson's first short We're Here Now (2015) received awards for screenwriting and audience choice. She was shortlisted for the Smart for A Girl: ROAR screenwriting initiative with Imogen Banks and Alice Bell.
Rachel Ross (HAVE YOU TRIED, MAYBE, NOT WORRYING): A 2011 graduate of the South Seas Film School, Ross received a New Zealand Film Commission Talent Development Grant to spend eight weeks writing the feature length screenplay for Have you tried, maybe, not worrying at New York's Film Academy.
John Sheedy (MRS McCUTCHEON): A graduate of the National Institute of Dramatic Art (NIDA), Melbourne-based Sheedy is an award-winning stage director of drama, musicals and opera. His first short Mrs McCutcheon won Best Australian Short Film at MIFF 2017, went on play at over 130 festivals world and was also nominated by AFI/AACTA and won Best Director at the Australian Directors Guild as well as Screen Producers Australia for Best Short Film. His Premiere Fund-supported feature debut H IS FOR HAPPINESS world premieres at MIFF 2019.
Nick Waterman (AFTER THE SMOKE): A graduate of Sydney's University of Technology, Waterman's debut short From Here (2012) premiered at Palm Springs ShortFest followed by 2014's short Vote Yes launching Flickerfest and which continues to screen at special presentations for both Reconciliation Week and NAIDOC Week. After the Smoke world premiered at 2017's Berlinale. He has also worked with various brands including Harper's Bazaar, Volvo, Westfield and Virgin.
Dave Whitehead (POSSUM): While Possum is his directorial debut, Whitehead is an award-winning 20-year veteran sound designer and composer whose credits include Lord of the Rings: The Two Towers; Sound Designer on District 9, The Adventures of Tintin and Arrival.
Accelerator Express Directors:
Edoardo Crismani is a writer/director descended from the Wiradjuri people and is a graduate of the University of South Australia (majoring in Film & TV production with a sub-major in Creative Writing). He has written, directed, filmed and produced documentaries, including The Panther Within, and a short drama (Just Be Yourself) that were broadcast on NITV. His short documentary Lest We Forget- Aboriginal Women screened nationwide on Remembrance Day 2018 and his other short drama is titled 440.
Michael Crismani made his film directing debut with I Kept the Beat, which he also wrote and produced, an autobiographical Rockumentary style piece based on his aspiration to become a musician. He studied for a Bachelor of Film & TV at the University of South Australia and has worked in various roles, including as an actor, in screen productions in Australia and USA. He co-produced and featured in web series Mario's Gritty World (YouTube).
Isaac Coen Lindsay comes from the Riverland, Berri South Australia and is part of the Ngarrinjderri Tribe. In 2013, he made his first short, Post Card From the Edge, and in 2015 he was part of the SAFC "micro docs" initiative. In 2016 he had an attachment in the electrics department on Warwick Thornton's feature film Sweet Country. He was also an attachment for Cinematographer Allan Collins on short documentary Coming Home and then assisted Collins on short film Acknowledgement of Country. His first fully-funded short drama is the SAFC-financed Mother's Nest.
Kiara Milera directed her first short film WILD, having previously been a part of ABC-TV's Black Comedy workshop which led to her being a sketch writer for the second season. Milera also had a director's attachment on Warwick Thornton's feature film Sweet Country.
Thibul Nettle (aka Stinga T), an Aboriginal rapper/songwriter and actor, is a Noongar man who belongs to the Bibbulam and Yamatji people in WA. He founded Firestick Films in 2012 and wrote and starred in 2014's feature film Friendship Love and Loyalty. As part of the SAFC Aboriginal Short Film Initiative, he shot his short film The Protectors.
Directors selected by Australian Directors Guild – Gender Matters initiative
Sophie Hexter is a Monash graduate and an Oxford post-graduate who held senior editorial positions at Harpers Bazaar and The Age newspaper and then scripted four-part SBS/Madman series The Closet Tales of Australian Fashion. In 2014, she co-founded multi-disciplinary media company H.W. Collective and made half-a-dozen short-form films that played at various festivals. Hexter, who is represented by Hart & Co, was selected in 2017 to be a part of Screen NSW's Seed initiative for her short Drummer Girl.
Lisa Matthews has worked in the Australian and UK screen industry for 25 years. After majoring in Film at Sydney University, Matthews made corporate videos while completing post-graduate studies in current affairs journalism at the Australian Film, TV & Radio School (AFTRS). Her debut short as writer/director was Rosie's Secret and she has since written and directed several award-winning shorts, dramas and documentaries series including The Real Mary Poppins, Darwin's Brave New World, Ten Pound Poms, Australia On Trial, Australia in Colour and Doctor Doctor.
Kelly Schilling is an Australian Film TV & Radio School (AFTRS) Masters graduate who had two of her screenplays produced in the Nine Network TV series Two Twisted – one episode of which she directed. Schilling was attached to director Phillip Noyce on his South African feature Catch a Fire and was also short-listed for the Chesterfield Writer's Film Project.
Directors selected by New Zealand Film Commission - Ramai Hayward Maori Director's Scholarship
Kath Akuhata-Brown (Ngati Porou) has worked as a TV and radio journalist and been a researcher and script consultant on numerous New Zealand TV dramas and has been a story-liner for long running NZ drama Shortland Street. She has been a recipient of the Qantas Media Award Best Maori Documentary, Imagine NATIVE awards for Best Television Drama and the Media Peace Awards for Women Leaders.
Briar Grace-Smith descends from Ngā Puhi and writes plays, screenplays and short stories. Her TV writing credits include Fishskin Suit, Being Eve, Kaitangata Twitch and Australian children's series Grace Beside Me. Briar's first screenplay, The Strength of Water, was selected for Sundance's screenwriters and director's labs and premiered at Rotterdam and Berlin Film Festivals in 2009. In 2016, she wrote and directed the short film Charm as part of the portmanteau film Waru. Briar is a recipient of the NZFC 2017 Ramai Hayward Directors' Scholarship for wahine Māori, having been awarded the Te Pou Marohi Ngā Aho Whakaari Melissa Wikaire Memorial Award in 2016 and the Arts Foundation Laureate award in 2000.
Rachel House (Ngāi Tahu and Ngāti Mutunga) has acted in films such as Whale Rider, Boy, Hunt for the Wilderpeople and Thor: Ragnarok and worked as an acting and performance coach with teenagers and children on the likes of Boy, Fantail, Everything We Loved, Hunt for the Wilderpeople and The Dark Horse. She also directed 2010 short film The Winter Boy. Her awards include 2016's WIFT (Women in Film and TV) Mana Wahine award which acknowledges "trailblazing Māori women" in front and behind the camera. She is the recipient of the NZFC 2017 Ramai Hayward Directors' Scholarship for wahine Māori.
Jessica Sanderson (Te Ātiawa, Ngāti Kahungunu and Te Ati Haunui-a-papārangi) is a director from Aotearoa/New Zealand of Māori and Pākehā heritage. Sanderson has created music videos for some of New Zealand's most prolific artists and won best music video by a Māori Artist for Ria Hall's 'Best of Me'. In 2019 she finished her first short, Ways to See, and is directing Moko, a documentary series called on traditional Māori tattoo.
Directors selected by ScreenWest – West Coast Visions
Maziar Lahooti is a Perth-based Iranian/Norwegian/Australian filmmaker with Masters in Directing from the Australian Film, TV & Radio School (AFTRS). He has made several festival-screening short films and was an attachment in 2015 to Kriv Stenders on Red Dog True Blue. He has worked professionally in grips, camera, lighting, as well as story producing TV documentary like Outback Pilots and Outback Truckers. Lahooti's West Coast Visions-funded and Premiere Fund-supported feature debut BELOW will world premiere at MIFF 2019.
ACCELERATOR 2016 PARTICIPANTS:
Accelerator Classic – participants with films at MIFF 2016
Alice Englert (The Boyfriend Game) has worked as an actress on a variety of screen productions including GINGER & ROSA and TOP OF THE LAKE 2. Englert's short film directing debut THE BOYFRIEND GAME screened at Toronto International Film Festival 2015 and Berlinale 2016. Englert's second short film FAMILY HAPPINESS, starring Ben Whishaw, was selected for a number of festivals including MIFF and the BFI London Film Festival.
Eddie Diamandi (Emily) grew-up traveling and performing with the Great Moscow Circus. After moving with his family to Australia, Diamandi trained as an actor and later was accepted into the Victorian College of the Arts (VCA) School of Film & TV. A recipient of the AMP Tomorrow Maker Award and Raw Artists Melbourne Filmmaker of the Year, he has written and directed several short films and music videos that have screened in festivals locally and overseas. In 2018, as part of Screen Australia's Hot Shots Plus program, he wrote and directed THE WAKE, a short film proof-of-concept for his first feature SVETLANA. He also had a director's attachment on US TV Series PREACHER.
Elizabeth Fermanis (Hospitality) is a Melbourne-based writer and filmmaker who is a graduate of the Masters of Film & TV at the Victorian College of the Arts (VCA) where she was awarded a Victorian Scholarship for visual art. She works at Silver Spoon Productions as an editor and production coordinator and has recently directed an episode of web series Fresh.
Goran Stolevski (You Deserve Everything) has a Masters in Film & TV from Melbourne's Victorian College of the Arts (VCA). He has made several short films, which have played at the Raindance, Sydney, Adelaide and Frameline San Francisco Film Festivals, among others. In 2014, he was selected for Screen Australia's Talent Escalator initiative and he worked as a writers' room assistant and director's attachment on the Emmy-award-winning NOWHERE BOYS and Matchbox TV series BARRACUDA. In 2017 he attended the Berlinale Talent Campus and in 2018 won Best International Short with Would You Look at Her at the Sundance Film Festival. He is represented by UTA.
Ivan Barge's second short, MADAM BLACK has screened at more than 150 festivals globally, winning many accolades including the Prix Du Public at Clermont Ferrand, the world's biggest Audience Award for short film. His first short, SNOOZE TIME, was featured in the New Directors section of 'Shots'.
Jordan Bond (Big City) is a writer/director of short films and music videos, and, from 2013-2016, was fulltime writer/director at DPI Productions. In 2015 he wrote and directed two music videos for Tiny Little Houses, winning an Audience Award in the SoundKILDA music video competition and screening in competition at the Los Angeles Music Video Festival. His film SHE SELLS screened at Flickerfest 2015 and was picked-up by Flickerfest distribution.
Lachlan Ryan (Big City) associate produced family film ODDBALL while working at The Film Company. Previously, he wrote, directed and produced his debut feature film, REVERSE RUNNER, executive produced by THE MIGHTY DUCKS director Stephen Herek. In 2010 he wrote and directed ANDREW & BEC'S SKYDIVING VIDEO, which won the Colorado Film Festival's Director's Heart Award.
Eli Kent (Moving) is a winner of the Bruce Mason Award for emerging playwrights and the New Zealand Arts Foundation New Generation Award and in 2010 completed his Masters in Scriptwriting at Victoria University's International Institute of Modern Letters. His show ALL YOUR WANTS AND NEEDS FULFILLED FOREVER played at London's Vaults Festival following runs in Auckland and New York.
Leon Wadham (Moving) is a graduate of Toi Whakaari: New Zealand Drama School, where he received the Museum Hotel Scholarship Award. He worked as an actor, director and writer for many of New Zealand's industry leaders, including South Pacific Pictures, Silo Theatre and Auckland Theatre Company and his TV credits include Alice Snedden's Bad News, Cystic Sisters &The Male Gayz. Wadham directed 8 Reasonable Demands for Auckland Theatre Company.
Luci Schroder (Slapper) is a Melbourne based writer director nominated for the Cannes Young Director Award with a varied background in fine arts, textiles design and philosophy and has a working history in fashion, film, music video, TV commercials, video art, short documentary and short stories and participation in various video exhibitions in Paris, Sydney, Melbourne and Mexico. In 2016, Schroder won Emerging Australian Filmmaker Award at MIFF and SLAPPER played at Sundance 2017.
Natalie Erika James (Creswick) is a Japanese-Australian writer-director and Victorian College of the Arts (VCA) graduate whose shorts, including Burrow (2014) and Tritch (2012), have screened internationally, including at MIFF, Palm Springs ShortFest and Flickerfest. She was director's attachment on Leigh Whannell's sci-fi thriller STEM and her debut feature, RELIC, was produced by Carver Films (SNOWTOWN, PARTISAN) & Nine Stories (Riva Marker, Jake Gyllenhaal), and supported by the Russo Brothers' AGBO, Screen Australia and Film Victoria. Natalie is signed to WME and directs commercials and music videos through Melbourne production company Fiction.
Patrick McBain (Slug) cut his teeth as a writer, director and editor across dozens of productions as part of the Bachelor of Narrative Directing (Film & TV) at Melbourne's Victorian College of the Arts (VCA). As well as writing, directing and editing his graduate film Slug in his final year, he assisted in post-production on three other VCA productions as an editor and credits supervisor. He works as an editor and post-production producer for GlossVFX in New York.
Shannon Murphy (Eaglehawk) is a National Institute of Dramatic Art (NIDA) graduate who worked as a theatre director and devisor for 10 years before attending the Australian Film TV & Radio School (AFTRS). Murphy directed episodes of Offspring, Love Child, Rake & Sisters and SBS-TV's four-part miniseries On the Ropes, before making her feature directing debut with Babyteeth starring Essie Davis and Ben Mendelsohn.
Tim Egan (Curve) is a Melbourne-based Victorian College of the Arts (VCA) graduate who has worked many roles on film sets over the last decade, including as DoP for films like DEATH BY MUFF, THE SCORE, BLOOD ON THE GAME DICE, PROSOPAGNOSIA, A LIFE UNEXPECTED, LIZ DRIVES and TROLL BRIDGE. Egan has also worked as an online editor in advertising and TV and as a director, DOP and Editor for ABC-TV's THE BAZURA PROJECT.
Yamin Tun (Wait) is a writer-director and a graduate of Oxford University in Philosophy, Politics & Economics. Originally from Myanmar, Yamin spent her childhood as an asylum-seeker in numerous countries. In 2013, Yamin was selected by Film Finances Inc to attend Telluride Film Festival and meet film industry in Los Angeles. As part of the NZ Script-to-Screen FilmUp Program, her mentor was Rolf de Heer and she was named 2016's New Filmmaker of the Year in New Zealand.
Emily Dynes (St. Elmo) is a Swinburne University Bachelor of Film & TV graduate and the co-founder of Impel Pictures, where she creates short films and documentaries.
Brendon McDonall (The Dam) is a director, screenwriter and actor and is a graduate of University of Western Sydney (UWS) Theatre Nepean (Acting) and a triple graduate of the Australian Film TV & Radio School (AFTRS). His first short film, THE LAW, won a Flickerfest 2012 Jury Prize. ALL GOD'S CREATURES won Best Film and Best Director at 2014's Sydney Mardi Gras Film Festival and the International Iris Prize. McDonall won the AFTRS/Foxtel Award for Exceptional Talent and was Associate Director on ABC-TV series JANET KING. In 2014 he completed a Master of Screen Arts in Directing at AFTRS where he wrote and directed THE DAM. His romantic comedy Spoilers premiered at Frameline and screened on the UK's BBC2. He currently lectures in directing and screenwriting at AFTRS & JMC.
Jennifer Perrott (The Ravens) is a writer/director/producer working between Europe and Australia who won a Best Young Director Award at the Broadcastnow / BBC B+Young Talent Awards. Perrott has directed prime-time UK and Australian TV drama and she wrote-financed-produced and directed 22-minute short film THE RAVENS which won 2016's Heartland Film Festival Grand Jury Prize. In 2018 she directed episodes of BBC's Doctor Who and British-American historical drama series created by Sally Wainwright, Gentleman Jack for HBO/BBC1.
Accelerator Express Directors
Directors selected by Screen Tasmania's Pitch, Plot, Produce
Briony Kidd is a Tasmanian-based filmmaker and theatre-maker and graduate of Melbourne's Victoria College of the Arts (VCA). Her short gothic melodrama THE ROOM AT THE TOP OF THE STAIRS debuted on the Shudder.com platform internationally and her short WATCH ME, a thriller written by Claire d'Este, premiered at Monster Fest before heading out on the international circuit. Her Radio Gothic theatre collective presented horror radio plays at Dark MOFO 2016 and 2017.
Rebecca Thomson is a Tasmanian based writer/director who has directed eight short films, including cult hit CUPCAKE: A ZOMBIE LESBIAN MUSICAL and THE JELLY WRESTLER, and whose films have won awards and screened at more than 70 film festivals worldwide including Frameline, St. Kilda Film Festival, New York International Film Festival. Thomson's I AM UNDONE was selected to be part of the horror feature anthology A NIGHT OF HORROR VOL.1 produced by Deadhouse Films and A Night of Horror International Film Festival. In 2010 Thomson was chosen as a participant in the Screen Australia-funded Raw Nerve Program, resulting in the short film Slashed.
Directors selected by South Australian Film Commission iView Initiative
Brendon Skinner began working with Simon Williams while studying film at University and together they have directed three short films with international festival recognition, SEE-SAW SWEETHEARTS (2009), MONKEYBAR MAFIA (2010) and TOOT TOOT (2010), before creating corporate web-series AGE MATTERS (2011) and IS IT DEMENTIA (2013). They also directed and co-produced 2016's ABC-iview series GOOBER.
Simon Williams began working with Brendon Skinner while studying film at University and together they have directed three short films with international festival recognition, SEE-SAW SWEETHEARTS (2009), MONKEYBAR MAFIA (2010) and TOOT TOOT (2010), before creating corporate web-series AGE MATTERS (2011) and IS IT DEMENTIA (2013). They also directed and co-produced 2016's ABC-iview series GOOBER.
Directors selected by Australian Directors Guild's Gender Careers initiative
(supported by Screen Australia's Gender Matters Program)
Beth Armstrong graduated from the Australian Film TV & Radio School (AFTRS) with a Masters in film directing and directed six shorts, winning awards including Best of Festival at Palm Springs. Her short comedy/drama YOU CUT I CHOOSE, premiered at MIFF 2014 and was nominated for an ADG award. She was awarded the Screen Australia/ADG Director's Attachment to Mel Gibson on the Oscar-winning feature, HACKSAW RIDGE. Armstrong directed ten episodes of Seven Network's children's series DROP DEAD WEIRD and directs commercials for Two Little Indians and Clockwork films. She also co-produces and hosts podcast series CURVEBALL.
Brooke Goldfinch attended NYU's graduate film program at Tisch School of the Arts as a scholarship student with support from the Thyne Reid Foundation. Goldfinch returned to Sydney after receiving a Screen Australia Talent Escalator Grant for her short film RED ROVER, which received Best Director Awards at 2016 Flickerfest and St Kilda Film Festival. In 2012, Goldfinch's short film PEN PAL premiered at Edinburgh Film Festival and she was selected by actor/director James Franco to write and direct a segment of the compendium feature film THE COLOR OF TIME. She was a Director's Attachment on ALIEN: COVENANT, shadowing director Ridley Scott.
Julietta Boscolo is a 2011 graduate of the Victorian College of the Arts (VCA), where her Masters film, SAFE, won numerous awards. She won MIFF's Emerging Filmmaker Award for her short LET'S SEE HOW FAST THIS BABY WILL GO, which was also preselected for Cannes Critics Week, and her short SAM'S GOLD won ADG's Award for Best Direction in a Short Film and screened on ABC-TV. She was selected for Screen Australia's Directors Attachment Scheme on LOVE CHILD.
Directors selected by the New Zealand Film Commission's Talent Express Initiative
Nathalie Boltt has acted in the likes of Golden Globe winner DISTRICT 9, BBC series INSPECTOR GEORGE GENTLY and 24 HOURS TO LIVE with Ethan Hawke. Boltt has written for TV series' and wrote and directed two shorts: THE SILK, selected as an installation by the Westport Arts Centre in New York (distributed by GaiaTV); and VAJAZZLE (selected by Canada's Film Shortage). She is the co-creator of cult webseries Dropped Pie, which she also writes, directs and performs in.
Kirsty Hamilton graduated from New Zealand's Toi Whakaari Drama School in 1992. She starred in 1998 feature SAVING GRACE and was 2007 Globe Artistic fellow at Shakespeare's Globe theatre in London. In 2012, Hamilton earned her MA in creative writing at Wellington's Victoria University and in 2016 gained her Auckland University Screen Production honours degree. Her third short film is COLD, which she wrote, produced, directed & acted in and she is also developing two short documentary films and feature screenplay Without Sin.
Renae Maihi is a writer and director in theatre and film. Her debut play, Nga Manurere, was touted as the "surprise jewel of the year" by the NZ Herald (2009), and her play Patua won the Adam NZ Playwrights award for Best Play by a Maori Playwright. She co-wrote short film REDEMPTION, which featured at Berlin and Sundance, and won Best Short Film at Toronto's 2010 imagineNATIVE Film Festival. She then wrote and directed her NZFC-funded short BUTTERFLY, which travelled to numerous international festivals. Maihi developed her short MANNAHATTA in New York while studying filmmaking at NYFA. Her feature Waru which premiered at the 2017 Toronto International Film Festival & opened ImagineNATIVE. It won best screenplay at the 2017 NZ SWANZ awards, the Grand Jury Award for an Outstanding International Narrative Feature at the 34th Asia Pacific Film Festival in LA & the 2018 Audience Award at Seattle International Film Festival. In 2018, alongside the other Waru filmmakers she was awarded the 2018 NZFC Maori Screen Excellence Award of $50,000.
Director selected by ScreenWest's West Coast Visions
Stephen McCallum is a 2011 graduate of the Australian Film TV & Radio School (AFTRS), where he won the Foxtel Exceptional Talent award and the AFTRS EU scholarship. Since graduating, he has directed several commercials including It's Time, his marriage equality advert for GetUp which was voted AdNews Viral of the Year and had more than 16 million YouTube hits. In 2013, McCallum had a director's attachment on Tony Ayres' MIFF Premiere Fund-supported feature CUT SNAKE and in 2014, he was Glendyn Ivin's Director's Assistant on Network Nine's GALLIPOLI where he directed 2nd Unit. McCallum has directed several short films that have screened around the world and in 2016 directed his debut feature film,1%, which was selected for the Toronto and London Film Festivals.
DYLAN RIVER (Nulla Nulla): A filmmaker from Alice Springs, River's debut documentary BUCKSKIN won Sydney Film Festival Documentary Prize, was selected for Adelaide Film Festival and aired on ABC-TV. His short film NULLA NULLA world premiered at 2015's Berlinale, while his next shorts were BLACK CHOOK and FINDING MAWIRANGA. In 2018 River directed the feature documentary FINKE: THERE AND BACK.
NORA NIASARI (The Phoenix): Born in Iran, Melbourne-based Niasari holds a Bachelor in Architecture from Sydney's University of Technology and a Film & TV Masters from Melbourne's Victorian College of the Arts (VCA). Her graduate film THE PHOENIX (Simorgh) won the New Voices and Cinema Nova awards, while her film HIGH TIDE was selected in the top 10 of 50 short films during a 2015 Abbas Kiarostami workshop in Barcelona. In 2016, she completed an ADG/Screen Australia-funded Director's Attachment with Emma Freeman on Matchbox TV Series SECRET CITY. In 2017, she completed short film WATERFALL (Screen Australia Hot Shots Program) and her first long form documentary, CASA ANTÚNEZ, competed in the Official Selection of the 24th Sheffield International Doc/Fest.
RUBY RAILEY (The Best Way to Kill Your Mother): After completing a Bachelor in Performing Arts in 2011, Railey worked as a freelance director, before completing a Film & TV Masters at Melbourne's Victorian College of the Arts (VCA).
DAVID WHITE (Killer?): White's previous documentary and drama films include SHIHAD: BEAUTIFUL MACHINE, I KILL, THE CLEANEST PIG and KILLER? His work has screened at more than 50 film festivals including Sundance, SXSW, SilverDocs, Tribeca, MIFF and Clermont Ferrand. David was the first New Zealander to be shortlisted for a Cinema Eye Honour for his film I KILL. In 2014, he graduated from the inaugural EPCRI course run by the NFTS, championed by Sir Richard Branson and sponsored by Ingenious Media.
SANJAY DE SILVA (Maalu): De Silva's first short film MAALU played at several film festivals including Palm Springs International ShortFest and Miami International Film Festival, MIFF and Busan. Working out of Exit Films Melbourne, De Silva directs commercials and his own web series HOOD FOOD GUIDE (supported by Tourism Victoria) and is making his next short films SMALL TALK and PAWA.
LARISSA BEHRENDT (Under Skin, In Blood): Behrendt has a legal background, is an experienced researcher and is involved with several arts organisations and educational programs. She wrote and directed Walkley-nominated documentary INNOCENCE BETRAYED, which aired on NITV in 2014, and is Professor of Indigenous Research at Sydney's University of Technology.
DAVID HANSEN (Slingshot): In 2005, Hansen was awarded Best Documentary from Film Victoria for HIGH FIDELITY and Most Outstanding Graduate Diploma Student (VCA). His 2009 film BLOWBACK premiered at Sydney's Underground Film Festival and won Best Political Film. In 2007, David worked as Director's Attachment on Baz Lurhmann's AUSTRALIA and in 2011 he won Best Indigenous Resource at the ATOM awards for ANIJA, a 48-minute film devised in a remote community. His short SLINGSHOT won 27 awards (including Best Australian Short Film at Flickerfest) and screened at Melbourne and London Film Festivals.
TESS HUTSON (Euxine): Hutson graduated in 2012 with a Bachelor of Visual Arts from Sydney College of the Arts and then completed a Victorian College of the Arts (VCA) Master of Film & TV in 2014. Her graduating screenplay EUXINE won the Postgraduate Film and TV Script Award. As a part of the award, she received a mentorship from the Australian Directors Guild with director Matthew Saville. She was also the 2014 recipient of the Erwin Rado Memorial Award for Excellence.
TED WILSON (Family Holiday): A Tasmanian writer/director, Wilson has a Victorian College of the Arts (VCA) Screenwriting Masters. His previous short film BUILDING BRIDGES (Dir: Jessica Barclay Lawton) screened in the 2014 MIFF Accelerator program and he was selected for MIFF's 37°South PostScript & Direct program for emerging screenwriters. In 2015 he was awarded three filmmaking artist residencies – in France, Italy and Russia. FAMILY HOLIDAY won the Best Short Film and Audience Choice Awards at 2016's ReelGood Film Festival. In 2018, his debut feature UNDER THE COVER OF CLOUD world premiered at MIFF.
ISAAC WALL (Looking to Buy): Melbourne-based Wall is a solicitor who transitioned to filmmaking. In 2014 he collaborated with James Vaughan on the documentaries NEAR AND FAR and HEADING NORTH. In the same year, he also founded the directors' collective Fountain Vista with James Vaughan, Alena Lodkina and Sam Dixon. He served as co-writer and co-producer on Alena Lodkina's 2017 debut feature STRANGE COLOURS.
TRACEY RIGNEY (Man Real): Rigney is a Wotjobaluk and Ngarrindjeri woman who has dabbled in the arts and was the youngest produced playwright in the history of the then Playbox Theatre Company (now Malthouse). Her past credits include the shorts DODGER'S HEART, ABALONE and documentary short ENDANGERED as well as the Steven Oliver web series A CHANCE AFFAIR. Rigney also wrote for the ABC TV series, THE WARRIORS and completed a director's attachment on THE SAPPHIRES in 2012.
JEM RANKIN (Cherokee): Melbourne local Jem Rankin graduated from the Victorian College of The Arts (VCA) Film and TV school in 2014. His graduate short CHEROKEE was awarded Best Undergraduate Film and Best Undergraduate Director at VCA's 2014. After MIFF, CHEROKEE screened at Flickerfest and 2016's Tribeca Film Festival.
MELEESHA BARDOLIA (Match): Melbourne-based Bardolia graduated from the Victorian College of the Arts (VCA) in 2014 where she studied directing and was the recipient of the Margaret Lawrence Social Justice Award and the MadMax Entertainment Award for Special Achievement. In 2012, she was awarded a Hot Desk Writing Fellowship from the Wheeler Centre to write a novella entitled 'Waiting Upon Arrival'. Her previous short films have been selected to screen at the New York City International Film Festival, the Festival of Hope for Refugees and the NYC PictureStart Film Festival.
FLORENCE NOBLE (Things are Going Really Well): Noble has worked as a stills photographer, actor, writer and director. Noble created online sketch comedy Blind Pilot, and has since collaborated on numerous projects, including Emmy award-winning ABC-TV comedy 7DAYSLATER, web comedy MEANWHILE ON EARTH and online comedy series Waiheke Republique. She also directs commercials and content for Sydney and Auckland based company Eight.
MICHAEL PORTWAY (Wawi): Previously Melbourne-based Portway now lives in Estonia and is a Film & TV graduate of the Victorian College of the Arts (VCA). His VCA graduate film WAWI world premiered at 2015's Berlinale. Originally from Canberra, Portway worked for several years at local community photography lab/gallery PhotoAccess and later worked as a photographer and archival preservationist at the Australian War Memorial.
TIM MARSHALL (Followers): Marshall's short films have played at numerous festivals. After his 2012 short GORILLA won the UK's Iris Prize, awarding him £25K, his next short FOLLOWERS screened in competition at Sundance and SXSW in 2015.
KEIRAN WATSON-BONNICE (Caravan): Watson-Bonnice began making films in New York in the late 1990s. Working with non-actors and improvisation, Keiran's films often blur the lines between documentary and fiction. His short CARAVAN (premiered at Clermont-Ferrand International Short Film Festival) was a return to narrative filmmaking after many years directing and editing commercials and feature documentary.
CHRISTIAN RIVERS (Feeder) Rivers started working in New Zealand's film industry as a storyboard artist and he has also worked as a Visual FX Art Director, CG Animator, Pre-visualization Supervisor and 2nd Unit Director. His debut feature MORTAL ENGINES, produced by Peter Jackson and starring Hugo Weaving, was released in 2018.
Accelerator Express - Directors selected by Screen Australia's Hot Shots Program
LUCY GAFFY: A graduate of the Australian Film, TV & Radio School (AFTRS), Gaffy has worked across short films, documentaries, long-form projects and TV commercials. She was a 2009 recipient of a European Union Travel Scholarship to go to Helsinki's DocPoint Festival with her Documentary CENTURY WITNESS. Her short films include 2010's THE LOVE SONG OF ISKRA PRUFROCK, 201's THE FENCE, which premiered at Busan, and 2015's DREAM BABY. She had a 2016 attachment to TV mini-series BOND.
CORRIE JONES Melbourne-based Corrie Jones' film WATER won Best Short Film at 2010's Milan International Film Festival. Jones directs TVCs with Melbourne's Guilty and received funding from Screen Australia's Hot Shots program to direct his next short film.
MATT RICHARDS' work spans short films and documentaries, TV commercials, branded content and music videos. He holds a Master of Directing Narrative (Victorian College of the Arts, 2011). His MIFF-selected short films FIRST CONTACT (2012), RABBIT (2014) and THE DISAPPEARANCE OF WILLIE BINGHAM (2015) have screened in competition globally at more than 100 festivals and collected many awards. He completed a director's attachment on ABC-TV series TOMORROW WHEN THE WAR BEGAN.
SARAH-JANE WOULAHAN is a Melbourne-based writer and director of fiction, documentary, music video, commercial, dance, transmedia and VR. Her shorts have screened at festivals internationally including South by Southwest and her HotShots funded sci-fi short A TERRIBLE BEAUTY premiered at MIFF 2016. She is represented for commercial work by Monster & Bear.
Accelerator Express - Director selected by ScreenWest's West Coast Visions Program
CHRIS RICHARDS-SCULLY An Australian Film, TV & Radio School (AFTRS) directing graduate from Perth, Richards-Scully's short films have screened at numerous international festivals and sold to TV worldwide. He served his directing apprenticeship on Jim Henson's, Sci-Fi Channel series FARSCAPE and ABC-TV series PARALLAX.
Accelerator Classic – participants with short films at MIFF 2014
JESSICA BARCLAY LAWTON (Building Bridges): Lawton's graduate film MORNING STAR premiered at the 63rd Locarno Film Festival and then screened at more than 40 festivals worldwide. In 2013 she co-founded filmmaker collective Jerry Projects with Rhys Mitchell and their short WE KEEP ON DANCING won Best Live Action at Palm Springs Shortfest. Lawton's web series MOVEMENT premiered at 2016's Tribeca NOW Film Festival. In 2017, she completed a Film Victoria-funded Director's Attachment on TV series Romper Stomper and was Director's Assistant to Larysa Kondracki on Foxtel miniseries Picnic at Hanging Rock. She is signed as a TVC Director to TRUCE Films.
LEWIS ATTEY (Rhododendron): Melbourne-based Attey's credits as writer/director include 2012 short film BASIL and a TVC for Tim Winton novel EYRIE. In 2013, Lewis completed the Bachelor of Film and TV at Swinburne University, where his graduate film RHODODENDRON won a Creative Excellence award. In 2016, Attey was director's assistant to Simon Baker on BREATH and his 2019 short THREE STORIES INSIDE A RENTAL VAN premiered at the Clermont-Ferrand International Short Film Festival.
ANNA MCGRATH (She Was She): Victorian College of the Arts (VCA) Film Narrative Masters 2008 graduate and artist-in-residence at the Cité Internationale des Arts in Paris, McGrath's films have screened at more than 70 festivals worldwide and won several prizes, including at Tribeca and Palm Springs. She also holds a 2017 Masters in Fine Arts (Directing) from the National Institute of Dramatic Art (NIDA) and her company REVEILLE collaborates with artists, performers and venues around the world to create multi-disciplinary projects.
Alumni Update Continued


text:
Anthony Fell may refer to:
Anthony Fell (politician) (1914–1998), British politician, Member of Parliament for Great Yarmouth
Tony Fell (1932–2011), British businessman, musician and music administrator
Anthony S. Fell (active since 1980), Canadian businessman

redpajama_set_name: RedPajamaWikipedia


Robert Storr is an artist, critic, and curator. In 2006 he was appointed Professor of Painting and Dean of the School of Art at Yale University. Mr. Storr received a B.A. from Swarthmore College in 1972 and an M.F.A. from the School of the Art Institute of Chicago in 1978. He was curator in the Department of Painting and Sculpture at the Museum of Modern Art, New York, from 1990 to 2002. In 2002 Mr. Storr was named the first Rosalie Solow Professor of Modern Art at the Institute of Fine Arts, New York University.
Mr. Storr has taught at CUNY, the Bard Center for Curatorial Studies, Rhode Island School of Design, Tyler School of Art, New York Studio School, and Harvard University. He lectures frequently in this country and abroad.
He has been a contributing editor at Art in America since 1981 and writes frequently for Artforum, Parkett, Art Press (Paris), and Frieze (London). He has also written numerous catalogs, articles, and books. Among his many honors he has received a Penny McCall Foundation Grant for painting, a Norton Family Foundation Curator Grant, and honorary doctorates from the School of the Art Institute of Chicago, the Maine College of Art and Lyme Academy. His awards include the American Chapter of the International Association of Art Critics, a special AICA award for Distinguished Contribution to the Field of Art Criticism, an ICI Agnes Gund Curatorial Award, and the Lawrence A. Fleischman Award for Scholarly Excellence in the Field of American Art History from the Smithsonian Institution's Archives of American Art. In 2000 the French Ministry of Culture presented him with the medal of Chevalier des Arts et des Lettres and in 2010 promoted him to Officier of the same order.
He is currently Consulting Curator of Modern and Contemporary Art at the Philadelphia Museum of Art, and in 2007 was chosen commissioner of the 2007 Venice Biennale, the first American invited to assume that position.
Download transcribed interview–> by clicking here.


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Home Miscellaneous Rezzed: Hands on with QuickDraw a hilariously brilliant party game from GreenFly...
Rezzed: Hands on with QuickDraw a hilariously brilliant party game from GreenFly Studios.
We've all seen at least one western movie, right? We all know that at least once in the film there's a tense stand-off between two gunslingers itching to pull their six-shooter before the other to become the wildest cowboy in the west. As a kid I tried to re-enact this a million times but there was never anything to judge who pulled their gun first!
Located right at the back of Rezzed with a handful of PlayStation Move controllers was Stephen Morris, he seemed excited to show everyone something and was handing out the Move controllers to passers by so they could come and play a round of QuickDraw. Little did we know how actually fun this game would be.
We didn't have much to go by when looking at Morris's make-shift stand, it wasn't like everyone else's, he had a little table with a widescreen TV which displayed the image I have above – nothing else to go by. After he managed to grab enough people (trust me it wasn't too difficult) a small crowd began to gather. He explained the concept of the game, we all have to stand in a circle with our Move controllers by our sides, some tense western-style music will start to play and as soon as we hear the gunshot sound we pull our Move controllers up, point at the person we don't like the most, and pull the trigger – the winner is the person who pulled their trigger the fastest and at the end was left with their move controller anything but the colour red – red meant dead. The direction we aimed didn't really make a difference, but it added to the effect.
Let me tell you one thing, QuickDraw was a lot of fun, a serious amount of fun. I'm even close to saying that it's probably the game I came away from Rezzed thinking about the most.
After a couple of attempts at the game mode I described above, I lost every round and somehow I also managed to shoot myself in the foot – yeah.. Next Morris went through the next game mode, the Code Duello. We all faced back to back with our Move controllers by our heads, at every bell chime we all took a step forward until we heard the gun shot, spun around, and shoot. Again, I lost every round but that didn't ruin the fun at all.
Next he introduced another game type completely different from QuickDraw – Glow Tag. This was probably the funniest game type as it involved everyone having a PSMove controller in their back pocked with the trigger facing outwards. This was a simple as the game of tag that we all played at school but it involved everyone chasing the person who's controller was alight and grabbing or slapping them on the ass – seriously, I'm not kidding.
It was a mental 10 minutes of running around avoiding getting caught with several players ending up on the floor or amongst the onlooking crowd.
GreenFly Studios have created a really fun game, what they have is comedy gold and a hell of a lot of fun. I personally can't see how this could be played in the home because you need a lot of space, but as a festival or party game I could definitely see this game taking off. GreenFly Studio's are currently attending a bunch if different events so you can try QuickDraw and Glow Tag for yourself, I definitely recommend it.
Rezzed
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McWhinney Holding Co., LLLP v. Poag
MCWHINNEY HOLDING COMPANY, LLLP, a Colorado Limited Liability Partnership, MCWHINNEY CENTERRA LIFESTYLE CENTER, LLC, a Colorado Limited Liability Company, and CENTERRA LIFESTYLE CENTER, LLC, a Delaware Limited Liability Company, Plaintiffs,
G. DAN POAG, an individual; JOSHUA D. POAG, an individual; an individual acting as co-trustee of the Josh and Chloee Poag 2004-GST Exempt Trust; an individual acting as co-trustee of the Jeremy and Chloee Poag 2004-GST Exempt Trust; an individual acting as co-trustee of the Mark and Chloee Poag 2004-GST Exempt Trust; an individual acting as co-trustee of the Josh and Dan Poag 2004-GST Exempt Trust; an individual acting as co-trustee of the Jeremy and Dan Poag 2004-GST Exempt Trust; an individual acting as co-trustee of the Mark and Dan Poag 2004-GST Exempt Trust; TERRY W. McEWEN, an individual; POAG & McEWEN LIFESTYLE CENTERS - CENTERRA, LLC, a Delaware Limited Liability Company; POAG & McEWEN LIFESTYLE CENTERS, LLC, a Delaware Limited Liability Company; POAG LIFESTYLE CENTERS, LLC, a Delaware Limited Liability Company; POAG SHOPPING CENTERS, LLC, a Delaware Limited Liability Company; PM LIFESTYLE SHOPPING CENTERS, LLC, a Delaware Limited Liability Company; POAG BROTHERS, LLC, a Tennessee Limited Liability Company; JEREMY M. POAG, an individual acting as co-trustee of the Josh and Chloee Poag 2004-GST Exempt Trust; an individual acting as co-trustee of the Jeremy and Chloee Poag 2004-GST Exempt Trust; an individual acting as co-trustee of the Mark and Chloee Poag 2004-GST Exempt Trust; an individual acting as co-trustee of the Josh and Dan Poag 2004-GST Exempt Trust; an individual acting as co-trustee of the Jeremy and Dan Poag 2004-GST Exempt Trust; an individual acting as co-trustee of the Mark and Dan Poag 2004-GST Exempt Trust; D. MARK POAG, an individual acting as co-trustee of the Josh and Chloee Poag 2004-GST Exempt Trust; an individual acting as co-trustee of the Jeremy and Chloee Poag 2004-GST Exempt Trust; an individual acting as co-trustee of the Mark and Chloee Poag 2004-GST Exempt Trust; an individual acting as co-trustee of the Josh and Dan Poag 2004-GST Exempt Trust; an individual acting as co-trustee of the Jeremy and Dan Poag 2004-GST Exempt Trust; an individual acting as co-trustee of the Mark and Dan Poag 2004-GST Exempt Trust; DOE INDIVIDUALS 1-10; DOE TRUSTS 11-30; and ROE CORPORATIONS 31-60; Defendants.
ORDER ON MOTION TO AMEND PLAINTIFFS' FIRST AMENDED COMPLAINT
R. BROOKE JACKSON, UNITED STATES DISTRICT JUDGE
Plaintiffs move for leave to file a Second Amended Complaint ("SAC") in which it seeks to add five claims and two individual defendants. ECF No. 129 (red-lined version of the proposed SAC at ECF No. 129-2). The various existing defendants and one proposed defendant filed opposition briefs. ECF Nos. 133, 137, 138, 149, 169. The motion became ripe for review upon the filing of plaintiffs' five reply briefs. ECF Nos. 140, 172, 173, 174, 175. On review of the motion and briefs, the Court GRANTS plaintiffs' motion in part and DENIES it in part.
Plaintiffs and defendants have been in continuous litigation since 2011. Because of the lengthy and factually intensive background of this case, I will not repeat most of my previous background discussions that I have covered in two previous orders. See ECF Nos. 78, 106. Instead, I will primarily focus on the events that have occurred since my most recent order, ECF No. 106, dated September 28, 2018.
The trial in the first phase of the state court litigation ("Phase I") occurred in June 2017 in the District Court of Larimer County, Colorado. Following a 13-day bench trial, Honorable Thomas R. French determined that Poag & McEwen Lifestyle Centers - Centerra, LLC ("P&M") breached its contractually imposed fiduciary duties owed to McWhinney Centerra Lifestyle Center, LLC ("MCLC") and to Centerra Lifestyle Center, LLC ("CLC") under the express terms of the Operating Agreement. See Phase I Judgment, ECF No. 22-1 at 34-70. Judge French found P&M liable to MCLC for $42, 006, 032.50. Id. at 69. The state court reserved plaintiffs' alter ego claims for the second phase of the state court litigation ("Phase II").
In the Phase II bench trial, held in the last week of November 2018, Judge French heard evidence of whether Poag & McEwen Lifestyle Centers, LLC ("PMLC") and P&M were alter egos. See Phase II Judgment, ECF No. 132. On December 28, 2018 the court issued its opinion in which it found that PMLC and P&M were separate entities and not alter egos under Delaware law. Id. at 28. Phase II is currently on appeal to the Colorado Court of Appeals.
Returning to the case in this Court, I held a status conference on February 26, 2019. At the parties' request, I agreed to bifurcate the case in similar fashion as the state court proceedings. On January 6, 2020 I will hear the fraudulent inducement claims and other related claims. However, I stayed plaintiffs' alter ego and fraudulent transfer claims pending the appeal of Phase II and that decision's potential collateral estoppel effect.
Fed. R. Civ. P. 15(a)(2) instructs that leave to amend should be freely granted when justice so requires. This Court freely permits parties to amend their pleadings absent "a showing of undue delay, undue prejudice to the opposing party, bad faith or dilatory motive, failure to cure deficiencies by amendments previously allowed, or futility of amendment." Frank v. U.S. West, Inc., 3 F.3d 1357, 1365 (10th Cir. 1993). In this case, defendants' chief argument is that the proposed amendments would be futile. The futility question is "functionally equivalent to the question whether a complaint may be dismissed for failure to state a claim." Gohier v. Enright, 186 F.3d 1216, 1218 (10th Cir. 1999).
To properly state a claim, the complaint must contain "enough facts to state a claim to relief that is plausible on its face." Ridge at Red Hawk, L.L.C. v. Schneider, 493 F.3d 1174, 1177 (10th Cir. 2007) (quoting Bell Atlantic Corp. v. Twombly, 550 U.S. 544, 570 (2007)). A plausible claim is a claim that "allows the court to draw the reasonable inference that the defendant is liable for the misconduct alleged." Ashcroft v. Iqbal, 556 U.S. 662, 678 (2009). While the Court must accept the well-pleaded allegations of the complaint as true and construe them in the light most favorable to the plaintiff, Robbins v. Wilkie, 300 F.3d 1208, 1210 (10th Cir. 2002), conclusory allegations are not entitled to be presumed true. Iqbal, 556 U.S. at 681. However, so long as the plaintiff offers sufficient factual allegations such that the right to relief is raised above the speculative level, he has met the threshold pleading standard. See, e.g., Twombly, 550 U.S. at 556; Bryson v. Gonzales, 534 F.3d 1282, 1286 (10th Cir. 2008).
Plaintiffs' motion for leave to amend is somewhat unique in that plaintiffs argue the merits of their proposed claims. See generally ECF No. 129 at 5-14. In turn, defendants treat the motion as a Rule 12(b)(6) motion, attacking the proposed claims as futile for failure to state a claim. Because most of the claims are fully briefed, I too analyze the fully briefed claims under the Rule 12(b)(6) standard. I now turn to the proposed claims.
A. Aiding and Abetting Breach of Contractually Imposed Fiduciary Duties against Josh, Dan, Terry, David, PMLC, PMLSC, Chloee, Poag Brothers, and Trustee defendants.
Plaintiffs' proposed third claim for relief is the tort of aiding and abetting a breach of contractually imposed fiduciary duties. ECF No. 129-2 at 65. Plaintiffs argue that a "party is liable for aiding and abetting if 'the party whom the defendant aids performs a wrongful act that causes an injury, the defendant is generally aware of his role as part of an overall illegal or tortious activity at the time that he provides the assistance, and the defendant knowingly and substantially assists the principal violation.'" ECF No. 129 at 5 (quoting Holmes v. Young, 885 P.2d 305, 308 (Colo.App. 1994) (citing Restatement (Second) of Torts § 876(b) (1977))). As evidenced by plaintiffs' cited authority, plaintiffs treat this claim as a tort. Consequently, defendants argue that the economic loss rule bars this claim. I agree with defendants.
         I have already ruled that any post-contractual tort claims are barred by the economic loss rule. ECF No. 106 at 28-35. The wrongful conduct plaintiffs allege in this proposed claim stems from the operating agreement. Stated another way, plaintiffs have failed to allege a claim that "stem[s] from a tort duty independent of the contract." Van Rees v. Unleaded Software, Inc., 373 P.3d 603, 605 (Colo. 2016).[1] This principle applies to the officers, directors, and owners of the Poag and McEwen entities because, "[w]hen the economic loss rule bars a claim against a corporate entity, it may also bar claims against that entity's officers and directors, even if the officers and directors were not parties to the contract at issue." Former TCHR, LLC v. First Hand Mgmt. ...


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TNT 'Inside The NBA' Host Charles Barkley Finally Gets A Championship, Winning 'The Match'
Bruce Haring
As good a basketball player as Charles Barkley was during his long NBA career, he never won a championship. Thus, today's victory in the televised golf showdown known as The Match was extra sweet.
Barkley and pro golfer Phil Mickelson were easy winners over opponents Stephen Curry of the NBA's Golden State Warriors and retired Super Bowl-winning quarterback Peyton Manning in the third iteration of The Match on Friday in Arizona.
Entering the showdown, Barkley was considered a longshot to come out on top. His basketball talents notwithstanding, he is widely known as a poor golfer, something frequently joked about on the TNT show. But Mickelson and Barkley easily won the modified alternate shot match play exhibition 4&3 at Stone Canyon Golf Club in Oro Valley, Arizona.
All of the participants wore a microphone. After taking a 4-up lead through seven holes, Barkley sent a message, telling the audience to get re-runs of television crime drama Law & Order ready in "about five more holes."
Mickelson-Barkley lost the next hole and then NBA All-Star and Basketball Hall of Famer Barkley shanked his tee shot at the ninth. But the duo were 3-up at the turn, and closed out the match with a birdie at the 15th hole, which they halved as Manning also drained his birdie putt.
The event was closed to the public because of COVID-19, and served as a fundraiser for Historically Black Colleges and Universities.
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SHAREHOLDER ACTION ALERT: The Schall Law Firm Announces the Filing of a Class Action Lawsuit Against CleanSpark, Inc. and Encourages Investors with Losses in Excess of $100,000 to Contact the Firm
SHAREHOLDER ACTION ALERT: The Schall Law Firm Announces the Filing of a Class Action Lawsuit Against CleanSpark, Inc.


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★ Cable and satellite television service price inflation since 1990
Cable and satellite television service priced at $20 in 1990 → $68.37 in 2022
Cable And Satellite Television Service Inflation Calculator
Prices for Cable And Satellite Television Service, 1990-2022 ($20)
According to the U.S. Bureau of Labor Statistics, prices for cable and satellite television service are 241.84% higher in 2022 versus 1990 (a $48.37 difference in value).
Between 1990 and 2022: Cable and satellite television service experienced an average inflation rate of 3.92% per year. This rate of change indicates significant inflation. In other words, cable and satellite television service costing $20 in the year 1990 would cost $68.37 in 2022 for an equivalent purchase. Compared to the overall inflation rate of 2.55% during this same period, inflation for cable and satellite television service was higher.
In the year 1990: Pricing changed by 9.96%, which is significantly above the average yearly change for cable and satellite television service during the 1990-2022 time period. Compared to inflation for all items in 1990 (5.40%), inflation for cable and satellite television service was much higher.
Price Inflation for Cable and satellite television service since 1983
Years with the largest changes in pricing: 1991 (10.97%), 1990 (9.96%), and 1989 (8.36%).
Denver, Colorado · Admission to sporting events · Bread · New trucks · More
Below are calculations of equivalent buying power for Cable and satellite television service, over time, for $20 beginning in 1990. Each of the amounts below is equivalent in terms of what it could buy at the time:
1991 $22.19 10.97%
Raw Consumer Price Index data from U.S. Bureau of Labor Statistics for Cable and satellite television service:
Year 1983 1984 1985 1986 1987 1988 1989 1990 1991 1992 1993 1994 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 2017 2018 2019 2020 2021 2022
CPI 100.000 103.854 110.592 115.462 123.131 132.908 144.023 158.362 175.731 186.162 198.938 197.423 200.669 212.631 228.700 245.200 254.600 266.800 278.385 294.985 309.508 322.392 331.885 344.877 351.475 359.930 367.574 372.379 378.970 395.639 406.531 416.138 422.791 438.283 462.161 470.453 479.409 500.129 520.577 541.343
Adjust cable and satellite television service prices for inflation
Then plug in historical CPI values from above. The CPI for Cable and satellite television service was 158.362 in the year 1990 and 541.343 in 2022:
541.343 / 158.362 * $20 = $68.37
Therefore, according to U.S. Bureau of Labor Statistics, $20 in 1990 has the same "purchasing power" as $68.37 in 2022 (in the CPI category of Cable and satellite television service).
Source: U.S. Bureau of Labor Statistics began tracking the Consumer Price Index for Cable and satellite television service in 1983. In addition to cable and satellite television service, the index produces monthly data on changes in prices paid by urban consumers for a variety of goods and services.


A rapid and efficient condensation reaction of 2-aminothiophenol with various fatty acids in solvent-free conditions with or without microwave irradiation was carried out to afford the corresponding 2-substituted benzothiazole derivatives in good to excellent yields. The structures of the new products were established by elemental analyses, IR, 1H NMR, 13C NMR and mass spectral data. All the title compounds were screened for their antibacterial and antifungal activity. Most of the compounds exhibited good antimicrobial activity.
The authors are grateful to the Chairman, Department of Chemistry, Aligarh Muslim University, for providing the necessary research facilities. We wish to give special thanks to Dr Iqbal Ahmad, Department of Agricultural Microbiology, AMU for antimicrobial activity of our compounds. We are also grateful to the Sophisticated Analytical Instrumentation Facility of the Central Drug Research Institute, Lucknow, India, for recording IR, NMR and mass spectra.


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UCSB S.T.E.M. Departments Focus on Diversity and Inclusion in its Programs and Courses
February 17, 2022 at 1:00 pm by Stella Jia and Alex Rudolph
UC Santa Barbara Black graduate student rates are at an all-time high of 3.5%, and the percentage of Black undergraduates majoring in S.T.E.M. fields has risen to 2.9% from 1.89% in 2012.
In the last seven years, the percentage of Black graduate students has risen 1.9 percentage points, from 1.4% in 2014 to 3.53% in 2022, according to UCSB's Office of Budget & Planning campus profiles.
The percentage of degrees awarded to Black undergraduates in S.T.E.M. departments reached a high of 3.31% in 2016 and has increased by 0.31 percentage points since 2017.
Since 1997, the percentage of Black undergraduate and graduate students has increased by 1.05 percentage points, from 2.66% to 3.70% of the student population. The number of Black students has gone from 503 students in 1997-98 to 967 students in 2021-22. The 2017-18 school year had the highest percentage of Black students, at 4.35% with 1,090 students.
Computer science professor Tim Sherwood and Black studies professor Sharon Tettegah founded the Sustaining Engagement & Enrichment in Data Science Program in partnership with the Center for Black Studies Research in 2021.
In doing so, the computer science department brought on Tettegah as an affiliate faculty member to deepen the computer science department's collaboration with the Black studies department and better serve computer science students through projects, such as professor William Wang's Center for Responsible Machine Learning — which emphasizes the social impacts of AI and machine learning.
The computer science department has had a below-average percentage of degrees by Black students for the past decade, except for 2015, when it reached 3%. For the past three years, Black students have made up 1% of degrees conferred in the computer science department.
Despite having a below-average percentage of Black students, the computer science department has employed various programs to increase diversity within their department.
The computer science department won the following grants focused on increasing diversity, according to professor and Chair Tevfik Bultan: a Center for Inclusive Computing data grant, "Scaling the Early Research Scholars Program" and "An inclusive and In-Depth Computing Curriculum to help Non-majors Learn Small Patterns to Solve Big Problem."
"We partnered with the National Science Foundation to develop a departmental plan for broadening participation in computing," Bultan said. "We won multiple grants that have the specific intention of creating a more diverse and inclusive program for our students including an award from the Center for Inclusive Computing and the creation of our Early Research Scholars Program."
The Early Research Scholars Program is supported by the National Science Foundation grant titled "Scaling the Early Research Scholars Program." The principal investigator for this award is professor Diba Mirza.
Since 2016, the psychological & brain sciences department has had an above-average percentage of degrees by Black students, reaching 6% in 2016 and 2019, and 4% in 2021.
According to psychology professor and Department Chair Shelly Gable, the department created a new committee focused on improving diversity within the department in 2020.
"We formed a diversity, equity and inclusion committee a few years ago in our department, which is made up of faculty, graduate students and staff as well as undergraduate liaison from some of our undergraduate club programs," she said.
The committee is currently working on a Strategic Action Plan to address all aspects of the community, from the undergraduate students to faculty members. As part of that plan, they've asked faculty to review their syllabi and make sure course content includes contributions by women and underrepresented groups that highlights research which includes diverse samples in terms of race, ethnicity and gender.
The psychological & brain sciences department revamped undergraduate programs and created new organizations with lower barriers as well.
"We've revitalized our Psi Chi program, which is a national undergraduate honors program in psychology … We also created an undergraduate program that anyone interested in psychology can join."
A version of this article appeared on p. 3 of the Feb. 17, 2022, print edition of the Daily Nexus.
Stella Jia
Stella Jia (she/her/hers) is the 2022-23 Data Editor. She enjoys being in nature, creating data visualizations, and trying new Ben & Jerry flavors. She can be reached at data@dailynexus.com.
Alex Rudolph
Alex Rudolph (he/him/his) was the Data Editor for the 2021-22 school year. He can be reached at data@dailynexus.com.


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Remember meeting your fiancé? The first time your fingers brushed together? The first time you kissed? It's a season full of excitement, anticipation, and the unknown. Your wedding is a celebration of those moments and that excitement. It's the culmination of your love—proof that it all mattered.
I want your photos to be an expression of your relationship, from beginning to end. I try to recreate the giddiness of your early days, as well as capture the depth of your passion now. If you want that story, lets cut to the chase + chat.
I am not afraid to be vulnerable. I am not afraid to be messy. I am not afraid.
& I need couples who also live fearlessly.


1 "Arise, Jerusalem! Let your light shine for all to see. For the glory of the Lord rises to shine on you.
The glory of the Lord now becomes Jerusalem's light and beacon for all.
2 Darkness as black as night covers all the nations of the earth, but the glory of the Lord rises and appears over you.
An allusion to the pillar of cloud in the wilderness, but in this instance a new experience of God's glory, like the follow spot that moves to rest on one part of a dark theatre set.
3 All nations will come to your light; mighty kings will come to see your radiance.
A key verse and headline to all the readings. God is doing a new thing, and this is the early announcement. The light of God's presence, truth and glory is on 'Jerusalem', the centre of worship, and this will draw other nations; people of the highest rank will be stirred to come and see.
4 "Look and see, for everyone is coming home! Your sons are coming from distant lands; your little daughters will be carried home.
Much the same words were used in the context of the return from exile, Isaiah 49:18,22. Here a broader 'return from exile' is in view.
5 Your eyes will shine, and your heart will thrill with joy, for merchants from around the world will come to you. They will bring you the wealth of many lands.
King Darius contributed to the rebuilding of the temple under Zerubbabel, Ezra 6:8-9. Much later, as Temple gave way to Church, Gentiles swelled the numbers.
6 Vast caravans of camels will converge on you, the camels of Midian and Ephah. The people of Sheba will bring gold and frankincense and will come worshipping the Lord.
Frankincense was the only aromatic permitted for altar incense and, like gold, was a commodity of the highest value.
It's too easy to jump straight to a parallel between verse 6 with its camels and frankincense and gold, and the adoration made to the very young Jesus by astrologer-priests from the east – but these were the gifts of tribute customarily made in that culture. Rather, the point is an impartation of light – the glory of the Lord that comes on His own to draw others. This was always the purpose of God's chosen people: to be His own, who knew Him and knew His ways and showed them to a wider world.
This was the nature of the first covenantal promise God made to Abraham, Genesis 12:2-3 "I will bless you and make you famous, and you will be a blessing to others… All the families on earth will be blessed through you." The rebuilding of the Temple, the centre of worship, fits that purpose. God is about rebuilding and restoring His present day 'temple' – the temple of the Holy Spirit that is you and I, for us to reflect His goodness and glory that others may be drawn to His love.
Too big a commission? We, His church, are in this together and when we, like His people of long ago, get our focus on God's eternal plan instead of everything else, and how He needs to use us to fulfil it by showing what He is like to others, people will be drawn to His light. That's the way it works.
1. Where do we see the Lord's light resting, and what response is the Holy Spirit leading us to make?


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Permanent Resident Card or PR Card may refer to:

Canada permanent resident card
Chinese Foreign Permanent Resident ID Card
Hong Kong permanent resident identity card
Macau SAR permanent resident identity card
United States Permanent Resident Card


Lean Startup methodology will be introduced for the development of experiments that validate the different hypothesis that support the business model. It will be designed a prototype strategy to validate experimentally the hypothesis of the value propositions, its technological viability and the revenue channels that have been identified. Also, the different techniques that let us to do a more agile prototype with the lowest cost will be discussed. It will provide the participants with and understanding of the importance of the behaviors, methodologies and principles of Lean Startup.