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Victoria NASCAR driver suspended for social media post – Times Colonist

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Driver/owner Josh Reaume of Victoria, one of the few Canadians to motor into the rarefied world of NASCAR, has been suspended indefinitely by the auto-racing organization.

NASCAR said it was for a social-media post that violated its conduct policy.

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NASCAR did not specify the contents of Reaume’s social-media transgression, a photo of a late-night snack. But auto-racing news website Kickin’ the Tires, citing a source, reported icing on the snack to be in the shape of a swastika.

“I put some icing on a strudel and took a picture of it under a caption ‘ready to eat,’ ” Reaume told the Times Colonist from North Carolina. “It was a thoughtless, meaningless post. There was no intent or symbolism meant. It was taken out of context. But I own it and I apologize to anyone who found it offensive.”

The backlash, some of it threatening, has taken Reaume aback.

“It is shocking the number of people who jump on the bandwagon about what a bad person I am,” he said. “I have deleted my Twitter account.”

Reaume said his family, friends and fans on the Island know differently.

“I drove at Western Speedway and I worked there as well at All Fun Park in Langford,” said the 30-year-old former Highlands resident.

“Anyone on the Island who knows me, knows this [incident] is not something I represent and it is not the person I am. I come from a multi-ethnic background and the team which I own has some of the most diverse and multi-ethnic drivers and staff in NASCAR.”

NASCAR cited section 12.8.1.e for the suspension.

The section includes “public statements and/or communication that criticizes, ridicules another person based upon that person’s race, colour, creed, national origin, gender, sexual orientation, marital status, religion, age or handicapping condition.”

NASCAR has ordered Reaume to take sensitivity training next week.

“That is something I fully support doing,” said Reaume.

He is expected to be reinstated in January.

Reaume is a driver and co-owner of Reaume Brothers Racing team in the NASCAR Gander RV & Outdoors Truck Series. He placed 39th in the recently-concluded 2020 season with 12 starts. He also had two starts in the NASCAR Xfinity Series during this pandemic-affected season.

Reaume had an average finish of 28.2 in the truck series. He has one top-10 finish in 52 career truck starts. He has also run 35 career races in the Xfinity Series.

Among Canadian drivers, only Stewart Friesen and Trevor Boys have more all-time NASCAR starts than Reaume.

Reaume began at Western Speedway, racing Go-Karts, and turned pro in 2009 as a driver and was hailed an heir to a proud Victoria auto-racing tradition that includes Billy Foster, the first Canadian to race in the Indianapolis 500, and three-time and top-10 Daytona 500 racer Roy Smith.

Reaume, a University of Victoria mechanical engineering graduate, knows the intricacies of engines more that most drivers. He began in NASCAR as an engineer at age 23 for Tri-Star Motorsport of Charlotte, North Carolina. He later drove for Obaika Racing, the first African-owned racing company to contest in NASCAR.

The former Islander was born in Redlands, California. Reaume spent 13 years in Nigeria, where his parents did humanitarian work, before coming to the Island when he was 15.

“It’s a bit of an unusual background for car racing and I’ve had to come a long way in order to do this,” Reaume said in a 2014 interview with the Times Colonist.

“Vancouver Island is known all over for having a huge motor-sport community. Because of the cost of getting off the Island to race, you have to provide the racing here for yourself [at places like Western Speedway]. The mechanical engineering degree from UVic has given me a better understanding of cars than most drivers.”

cdheensaw@timescolonist.com

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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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