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How Indigenous social media influencers inspired podcast host on journey of self-discovery – CBC.ca

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Inuk throat singer Shina Novalinga has eight million views and counting of a TikTok video showing her casually snacking on raw caribou.

Cree hoop dancer James Jones has racked up over four million for a clip of himself performing to traditional tunes in his living room. 

And who can forget the TikTok video of Nathan Apodaca skateboarding to Fleetwood Mac tunes that was now been watched almost 80 million times?

Indigenous influencers are here. They have made a space for themselves on social media and are using it to showcase their talents and cultures, bridge societal divides, and spotlight Indigenous art, humour and ways of life.

Jeremy Ratt, host of the CBC podcast Pieces, says his journey toward understanding his Indigenous identity, which is charted in the podcast, was made easier by the contributions Indigenous influencers are making online.

“It was a really essential step because it established that I wasn’t alone in my problems, I wasn’t alone in not feeling Indigenous enough due to those external voices,” said 20-year-old Ratt, speaking on CBC’s The Early Edition about his podcast.

‘Amplify our voices’

Sherry McKay, an Oji-Cree TikTok influencer in Winnipeg, told Ratt that while she uses her platform to educate and make people laugh, it also helps her assert herself as an Indigenous person.

“It’s kind of like walking in two worlds,” she said. “Trying to maintain your identity as an Indigenous person and then also acknowledging that you are white passing or light skin.”

McKay says Indigenous people don’t want their stories to be told by non-Indigenous people anymore.

Instead, “we want them to amplify our voices,” she told Ratt.

Sherry McKay, who is from Sagkeeng First Nation and lives in Winnipeg, has amassed almost 400,000 followers on TikTok. (Submitted by Sherry McKay)

Those voices have long been muted and misrepresented by mainstream media, says Candis Callison, an associate journalism professor at the University of British Columbia.

She says social media has given Indigenous people their narrative back. 

“The ways in which they use these platforms to hold mainstream media accountable is really a game-changer,” said Callison, who is Tahltan.

Definition of ‘influencer’

Shayla Oulette Stonechild, who is Plains Cree and an Aboriginal Peoples Television Network host, has an Instagram account with over 40,000 followers. She said she never thought of herself as an influencer until someone threw the term her way.

“Because really, what an influencer is is showing people another way of life and influencing people to maybe make changes or to bring awareness to issues that people may not know about,” she said.

Stonechild says her content ideas often come to her through ceremony, meditation and yoga practice.

“Then I know it’s coming through spirit and not intellect,” she said.

Ratt told The Early Edition that Stonechild’s content resonated with him because there is a spiritual element to Pieces as well.

“The biggest part of Pieces was really connecting with my family … and being connected more to my culture and my Indigenous side,” he said. “It was such a powerful thing for me to really take in because it’s led to some of the most transformative moments in my journey.”

The impact Indigenous influencers have had on Ratt’s journey to better understand his Woods-Cree roots have inspired him to start his own TikTok account.

“Making art and creating content online has always interested me since I was a kid,” he said. “I’m not sure what I’ll do on TikTok yet, but my conversations with Sherry and company have made me want to take those first steps.”

Pieces is a five-part CBC podcast that explores what it means to be Indigenous. Join 19-year-old Jeremy Ratt on a journey of self discovery as he seeks to understand his roots and all of the distinct “pieces” that form who he is today.

You can subscribe now wherever you get your podcasts. 

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Britney Spears calls recent documentaries about her ‘hypocritical’

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LOS ANGELES (Reuters) – Pop singer Britney Spears spoke out on Tuesday about recent documentaries about her life and career, calling them “hypocritical” because they rehash her personal problems while criticizing the media for reporting them the first time.

Walt Disney Co’s FX network and The New York Times released “Framing Britney Spears” in February. The documentary examined the singer’s meteoric rise to fame as a teenager, the ensuing media scrutiny and her widely publicized breakdown.And this month, the BBC released “The Battle for Britney: Fans, Cash and a Conservatorship” in Britain. It will debut in the United States and Canada starting May 11 via the BBC Select streaming service.

In an Instagram post, Spears did not name either documentary but said “so many documentaries about me this year with other people’s takes on my life.”

“These documentaries are so hypocritical … they criticize the media and then do the same thing,” she added.

In March, Spears said she cried for two weeks after watching part of “Framing Britney Spears”.

The BBC said in a statement on Tuesday that its documentary “explores the complexities surrounding conservatorship with care and sensitivity.”

“It does not take sides and features a wide range of contributors,” the statement added.

A New York Times spokesperson declined to comment.

Spears, who shot to fame in 1998 with the hit “Baby One More Time,” is in a court battle seeking to replace her father as her conservator. He was appointed to the role in 2008 after she was hospitalized for psychiatric treatment.

Her fans have shown their support on social media under the hashtags #We’reSorryBritney and #FreeBritney. Spears is scheduled to speak to a Los Angeles court in June.

In her Instagram post, which included a video of herself dancing, Spears said that “although I’ve had some pretty tough times in my life … I’ve had waaaayyyy more amazing times in my life and unfortunately my friends … I think the world is more interested in the negative.”

(Reporting by Lisa Richwine; Editing by David Gregorio)

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Grammy organizers change rules after allegations of corruption

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LOS ANGELES (Reuters) – The organizers of music’s Grammy Awards on Friday announced an end to the so-called “secret” committees that have led to allegations that the highest honors in the industry are open to rigging.

The Recording Academy said that nominations for the next Grammy Awards in January 2022 will be selected by all of its more than 11,000 voting members, instead of by committees of 15-30 industry experts whose names were not revealed.

The Academy was slammed last year when Canadian artist The Weeknd got zero Grammy nominations, even though his critically acclaimed album “After Hours” was one of the biggest sellers of 2020.

The Weeknd, in a Twitter post last November, said “The Grammys remain corrupt. You owe me, my fans and the industry transparency.”

The Recording Academy said in a statement on Friday that the changes were significant and were made “to ensure that the Grammy Awards rules and guidelines are transparent and equitable.”

Allegations that the Grammy nominations process is tainted were made in a legal complaint filed in early 2019 by the former chief executive of the Recording Academy, Deborah Dugan.

At the time, the Academy dismissed as “categorically false, misleading and wrong” Dugan’s claims that its members pushed artists they have relationships with. Dugan was later fired.

American pop star Halsey, also shut out of the 2021 Grammys, last year called the nominations process “elusive” and said she was “hoping for more transparency or reform.”

Former One Direction singer Zayn Malik called in March for an end to “secret committees.”

“I’m keeping the pressure on & fighting for transparency & inclusion. We need to make sure we are honoring and celebrating ‘creative excellence’ of ALL,” Malik tweeted hours ahead of the 2021 Grammy Awards ceremony.

The Recording Academy on Friday also said it was adding two new Grammy categories – for best global music performance, and best Latin urban music album – bringing to 86 the total number of Grammy Awards each year.

 

(Reporting by Jill Serjeant; Editing by David Gregorio)

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Movie theaters face uncertain future

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By Lisa Richwine

LOS ANGELES (Reuters) – Maryo Mogannam snuck into the Empire theater in San Francisco with his older cousins to watch “Animal House” when he was 14. He watched most of the James Bond movies at the historic art house and took his wife there on some of their first dates.

The cinema, which had been showing movies since the silent film era, served notice in February that it was permanently closing because of the impact of COVID-19. The marquee is now blank, and cardboard and paper cover the box office window.

“It’s kind of like losing a friend,” said Mogannam, now 57, who owns a retail shipping outlet near the theater, which had been renamed the CineArts at the Empire.

As vaccinated Americans emerge from their homes, they also may find their neighborhood theater is not there to greet them.

An eight-cinema chain in New England said it will not reopen. The same fate hit a Houston art house beloved by director Richard Linklater and, in a shock to Hollywood, more than 300 screens run by Los Angeles-based Pacific Theatres. That includes the Cinerama Dome, a landmark that hosted several red-carpet movie premieres.

Following a year of closures, theaters face deferred rent bills plus media companies’ focus on drawing customers to streaming services. Up to one-fourth of the roughly 40,000 screens in the United States could disappear in the next few years, Wedbush Securities analyst Michael Pachter said.

The National Association of Theatre Owners rejects that estimate, spokesman Patrick Corcoran said, noting that similar dire warnings accompanying the advent of television and the switch to digital screens never came to pass.

Hollywood filmmakers want cinemas to thrive.

“It’s the only place where the art dominates,” said “Avatar” director James Cameron. “When you watch something on streaming, the other people in the room with you are welcome to interject, to pause to go to the bathroom, to text.”

At theaters, “we literally make a pact with ourselves to go and spend two to three hours in a focused enjoyment of the art.”

“For 300 people to laugh and cry at the same time, strangers, not just your family in your house, that’s a very powerful thing,” said Chloe Zhao, Oscar-nominated director of best picture nominee “Nomadland.”

At the Academy Awards on Sunday, the movie industry will “make a case for why cinema matters,” producer Stacey Sher said. While acknowledging the hardship of the pandemic, “we also have to fight for cinema and our love of it and the way it has gotten us through things,” she said.

About 58% of theaters have reopened in the United States and Canada, most restricted to 50% capacity or less. The biggest operators – AMC, Cinemark and Cineworld – make up roughly half the overall market.

Industry leaders project optimism, forecasting a big rebound after restrictions ease and studios unleash new blockbusters.

Coming attractions include a new Bond adventure, the ninth “Fast & Furious” film, a “Top Gun” sequel and several Marvel superhero movies.

“Avatar 2,” Cameron’s follow-up to the highest-grossing film of all time, is set to debut in December 2022. Some box office analysts predict 2022 ticket sales will hit a record.

Supporters point to late March release “Godzilla vs. Kong,” which brought in roughly $48.5 million at U.S. and Canadian box offices over its first five days, even though audiences could stream it on HBO Max.

“That was a big win for the entire industry,” said Rich Daughtridge, president and chief executive of Warehouse Cinemas in Frederick, Maryland.

But near- and long-term challenges loom, particularly for smaller cinemas.

Theaters are negotiating with landlords over back rent. A federal aid program was delayed due to technical problems.

Plus, media companies are bringing movies to homes sooner. Executives say streaming is their priority, pouring billions into programming made to watch in living rooms as they compete with Netflix Inc.

Most at risk are theaters with one or two screens, Wedbush Securities’ Pachter said. He said his best guess is between 5,000 and 10,000 screens could go permanently dark in coming years.

“I think we’ll see a gradual decline in the number of screens,” Pachter said, “just like we’ve seen a gradual decline in the number of mom-and-pop grocery stores and bookstores.”

 

(Reporting by Lisa Richwine; Additional reporting by Rollo Ross in Los Angeles, Alicia Powell in New York and Nathan Frandino in San Francisco; Editing by Jonathan Oatis)

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