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Tag: Ross

  • Lawsuit: NCS denied hardship transfer waiver after antisemitism at SF high school

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    A two-sport student-athlete encountered antisemitism at University High School in San Francisco and, upon transferring to another school in Marin County, was wrongly denied a hardship exemption that cost her critical time in tennis and track and field, a lawsuit filed last month in Marin Superior Court alleges.

    In the case set to be heard Dec. 1, the athlete’s father, Bart Schachter, is seeking a temporary injunction that would reverse North Coast Section commissioner Pat Cruickshank’s decision to deny the waiver and allow his daughter, a 15-year-old sophomore at The Branson School in Ross, to compete without restrictions in the spring track season, which begins in February. She was already required to sit out half of the fall tennis season.

    “What we thought would be a fairly routine transfer turned out not to be so,” said Bart Schachter, who filed the suit anonymously through his attorney and requested that his daughter’s name not be used. “That is the greatest hardship endured in this whole thing.”

    Schachter’s daughter, who competes at the varsity level in both sports, enrolled at the private college preparatory academy in the Presidio Heights neighborhood as a freshman for the 2024-25 school year and, he said, “pretty quickly” began to experience a string of antisemitic incidents.

    Schachter brought the issues to administrators at UHS and later provided the documentation to the NCS in the hardship application. When the section contacted the school to verify the information, however, administrators disputed the characterization of the allegations, and the application was denied.

    In a correspondence to the family provided to this news organization, Cruickshank wrote that the girl was denied the “student safety hardship waiver based upon no documentation from UHS of any student safety incidents while enrolled there.” Cruickshank declined to comment, citing pending litigation.

    UHS Head of School Nasif Iskander denied the allegations of antisemitism at the school to this news organization but added: “We’ve never objected to the CIF granting this student a waiver to play sports at a new school. … We explicitly supported her desire to play sports.”

    Regardless of the court’s decision, Schachter’s daughter will have two years of eligibility remaining in both sports, but the father said, “It’s emotionally challenging to show up at a new school as a transfer. You make friends through sports. It’s hard to sit on the sidelines when you’re a star player.”

    The lawsuit alleges that the Schachters and other Jewish families submitted “dozens” of documented safety incidents to UHS over the course of the 2024-25 school year and prior. Iskander said, “We strongly disagree with the allegations … and we have robust and effective programs and policies to provide students an uplifting learning environment that is free of antisemitism and other discrimination.”

    Schachter disagreed, telling this news organization that “the fact pattern would indicate” systemic issues with antisemitism at UHS, “(and) if you’re asking about the root cause, that certainly plays a role. Normally we would move on and find a better pasture, but we hit this sports issue and it’s not over.”

    In one instance described in the lawsuit, Schachter’s daughter was in the same class as two boys who repeatedly practiced the Nazi salute and “mock(ed) the physical characteristics of Jews.” A few months later, she was “pressured” to attend a meeting on the Israel-Palestine conflict “where Jewish students were mocked for their perspectives … with no meaningful response from UHS administration despite complaints.”

    According to the lawsuit, that led Jewish parents to formally submit a complaint regarding “bullying and harassing environment for Jewish students” at the school. The CEO of the Jewish Community Relations Council also weighed in, informing UHS that it faced “some of the most serious antisemitism issues reported among independent schools in the Bay Area.”

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    Evan Webeck

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  • Bob Ross Paintings To Be Auctioned To Support Public TV Stations After Federal Funding Cuts – KXL

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    LOS ANGELES (AP) — Thirty paintings created by the bushy-haired, soft-spoken Bob Ross will soon be up for auction to defray the costs of programming for public television stations suffering from cuts in federal funding.

    Ross, a public television stalwart in the 1980s and ’90s, “dedicated his life to making art accessible to everyone,” said Joan Kowalski, president of Bob Ross Inc. “This auction ensures his legacy continues to support the very medium that brought his joy and creativity into American homes for decades.”

    Bonhams in Los Angeles will auction three of Ross’ paintings on Nov. 11. Other auctions will follow in London, New York, Boston and online. All profits are pledged to stations that use content from distributor American Public Television.

    The idea is to help stations in need with licensing fees that allow them to show popular programs that include “The Best of Joy of Painting,” based on Ross’ show, “America’s Test Kitchen,” “Julia Child’s French Chef Classics” and “This Old House.” Small and rural stations are particularly challenged.

    As desired by President Donald Trump, Congress has eliminated $1.1 billion allocated to public broadcasting, leaving about 330 PBS and 246 NPR stations to find alternative funding sources. Many launched emergency fund drives. Some have been forced to lay off staff and make programming cuts.

    The beloved Ross died in 1995 of complications from cancer after 11 years in production with “The Joy of Painting.” His how-to program was shown on stations around the U.S. and around the world. The former Air Force drill sergeant known for his calm demeanor and encouraging words enjoyed a resurgence in popularity during the lockdowns of the COVID-19 pandemic.

    Ross spoke often as he worked on air about painting happy little clouds and trees, and making no mistakes, only “happy accidents.”

    The thirty paintings to be auctioned span Ross’ career and include landscapes depicting serene mountain vistas and lake scenes, his signature aesthetic. He created most of the 30 on-air, each in under 30 minutes, which was the span of a single episode.

    Bonhams sold two early 1990s mountain-and-lake scenes of Ross in August for $114,800 and $95,750. The auctions of the 30 paintings soon to be sold have an estimated total value of $850,000 to $1.4 million, Bonhams said.

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    Jordan Vawter

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  • Andrew Tate Arrested After Streamer Adin Ross Blabs His Escape Plan

    Andrew Tate Arrested After Streamer Adin Ross Blabs His Escape Plan

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    Besties don’t snitch on each other, but I guess controversial Kick streamer Adin Ross didn’t get that memo. According to a recent Rolling Stone report, the 20-something content creator accidentally ratted out his homie Andrew Tate during a livestream sometime last week, which apparently landed the self-professed internet misogynist back behind Romanian prison bars following a U.K. arrest warrant.

    Read More: The Internet Is Kicking Toxic Jerk Andrew Tate Off The Funniest Places

    On March 12, Rolling Stone confirmed that the Tate brothers, Andrew and Tristan, were re-arrested by Romanian authorities based on a tip they received about the duo’s plan to leave Romania. While it’s unclear who delivered the tip, the publication noted that the firm McCue Law, which represents the women accusing the Tates of rape and sexual assault, learned about the brothers’ plans via a Kick livestream by Adin Ross, a friend of the Tates. As Rolling Stone discovered by viewing a clip from the stream, at one point Ross read a direct message from Andrew to his viewers. (The clip wasn’t linked in the original Rolling Stone story but can be viewed here.)

    “Andrew had hit me up,” Ross can be seen saying. “He said, ‘Hey, I’m gonna be leaving Romania soon and probably never coming back. If you want to come over and do a week of long streams and content before I leave, I think it’ll be big. And it’s never’—I’m sorry, he said, ‘It’s basically now or never.’”

    The Tates were previously arrested in December 2022. Employing something Andrew referred to as the “loverboy method,” the duo lured in and subjugated women using intimidation and surveillance and, through manipulation and abuse, coerced them into performing in exploitative videos, authorities have claimed.

    A spokesperson for the Tates told Rolling Stone that neither of them intended to flee Romania to dodge judicial proceedings, explaining that Ross may have “misconstrue[d] Andrew’s message.” Eugen Vidineac, the Tates’ counsel, said there’s “no truth” to what Ross read live, ardently expressing the brothers’ intent to “actively [participate] in the legal process” in order to defend their reputation.

    Kotaku has reached out to Ross and Tate for comment.

    Read More: Internet Misogynist Andrew Tate Back In Custody Following Brief Hospital Visit

    Whether intentional or not, what Adin Ross read from Andrew Tate seems to have had severe consequences. Here I thought that when you’re the Top G, you get to do whatever you want, whenever you want. But, as Tate has said in various books of his, “You are the only person who can mess this up.” Well, guess what, Tate? You messed this up. Hope the trial goes well.

     

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    Levi Winslow

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  • Wealthy L.A. philanthropists loosen grip on donations, shifting money toward social justice

    Wealthy L.A. philanthropists loosen grip on donations, shifting money toward social justice

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    Fernando Torres got his first gang tattoo when he was 15, a rite of passage among some members of his family. “I thought it was an honor to die for your gang,” he says.

    Acknowledging that he was quick to throw a punch, he says that he was soon expelled from high school. But two years later, Torres, then 17, was enrolled at FREE L.A. High, a charter school affiliated with decarceration activists at the Los Angeles-based Youth Justice Coalition.

    It wasn’t a smooth transition. It took an arrest for carrying a loaded handgun and the threat of prison time, he says, before he finally started to listen to FREE L.A. teachers and staff — several of whom had been incarcerated — and extracted himself from gang life.

    “They see themselves in us,” says Torres, who is now 22 and works in construction, “and want us to have a better outcome.”

    For 20 years, young people like Torres have had their lives turned around by the Youth Justice Coalition — an organization that relies on support from California philanthropies. The key to that success has been no-strings-attached grants, says Emilio Zapién, the coalition’s director of communications.

    “It has been a heavy lift,” Zapién says.

    Over the last decade, more and more of L.A.’s institutional foundations have gotten behind that idea: trusting nonprofits with increasing amounts of money, with fewer restrictions. The trend accelerated during the pandemic.

    The Youth Justice Coalition is one of dozens of community organizations to benefit from what the leaders of these foundations say is a collective effort to support those closest to the problems the foundations hope to solve.

    According to the foundations involved in this effort, L.A. County nonprofits received at least $476.2 million in grants in 2021, compared with at least $282.1 million in 2017.

    This more generous approach has allowed the Youth Justice Coalition to “strengthen” staff and support services at FREE L.A., where 66 students are now enrolled, Zapién says.

    A man handing a woman a bag of groceries, one of dozens lined up below a colorful mural behind him in a parking lot

    Louis Neal, a volunteer with the New World Academy Foundation, hands out groceries during a food giveaway at Chuco’s Justice Center, run by the Youth Justice Coalition in South Los Angeles.

    (Mel Melcon / Los Angeles Times)

    The coalition reported $2.5 million in contributions for fiscal year 2021, up from $1.9 million a year earlier, and $1.2 million in fiscal year 2019. Contributions came from the Roy + Patricia Disney Family Foundation and Liberty Hill Foundation, among other organizations.

    Zapién and other nonprofit activists are quick to say that local philanthropists need to give more with even fewer restrictions. But they agree that the era of L.A.’s leading philanthropists dictating what is best for all Angelenos is fading.

    The need to move money quickly to disadvantaged communities during the pandemic accelerated this movement, according to the nonprofit community groups, philanthropic foundations and government agencies interviewed for this story.

    “Our landscape is ever-changing,” Zapién says. “Our funding has to be general operating support. Our funders have to trust us.”

    ::

    For decades, Southern California’s wealthy business leaders burnished their reputations by creating charitable foundations, which built glitzy theaters, high-ceilinged concert halls, and museums showcasing their donors’ art collections. Local hospital wings and university buildings bear their names.

    In 1937 James Irvine stashed a chunk of the wealth from his 110,000-acre real estate empire in the James Irvine Foundation. Hotelier Conrad N. Hilton launched his foundation in 1944. Insurance and banking mogul Howard F. Ahmanson and real estate tycoon Ben Weingart each created one in the 1950s. Engineering pioneer Ralph M. Parsons started his in 1961, and Walter H. Annenberg established his in 1989.

    Those campaigns funding brick-and-mortar civic institutions still dominated local philanthropy in 1999 when Fred Ali, who had recently run Hollywood’s Covenant House, which serves homeless youth, was named president of the Weingart Foundation.

    It was passionless, Ali says.

    It’s easier for a leader of an endowed foundation with money in the bank to shift funding priorities if they have the support of their board of directors. With an “aging, all-white” board, Ali says, he started early in his tenure to replace retiring members with people aligned with his progressive vision.

    A man half-sitting, hands clasped and one foot on the floor, at the head of a large meeting table surrounded by empty chairs

    Dr. Robert Ross said the California Endowment has moved from trying to “alleviate misery with charity” to funding community-led advocacy groups that are increasing access to healthcare and mental health services.

    (Robert Gauthier / Los Angeles Times)

    A year later, Robert Ross, a doctor trained in public health, arrived in L.A. as president and chief executive of the California Endowment, then a young multibillion-dollar statewide health foundation. During his first decade at the foundation, Ross says, he worked hard to “alleviate misery with charity.” One project he championed was the Children’s Health Initiative, a program delivering healthcare to a limited, underserved population.

    Then he changed course.

    “Poor Black and brown folks are at the short end of health disparities,” says Ross, “which tells you what we’re dealing with is structural. It’s systemic. It’s not bad luck.”

    In 2010 he shifted millions of dollars from the health initiative and started funding advocacy efforts by several nonprofits that, by 2021, permanently expanded Medi-Cal eligibility to a broad underserved population across the state.

    Where Ross had initially directed California Endowment funding to individual mental health programs within a cohort of local-level probation departments, he shifted those funds to community-led advocacy groups that secured public funding for similar mental health services.

    The pivot started, Ross says, when he began to collaborate with Liberty Hill Foundation, which introduced him to community activists in L.A. who were working to empower poor people of color.

    “People who are most impacted by problems know best how to fix them,” says Shane Goldsmith, president and CEO of Liberty Hill.

    A woman seen from the waist up, looking into the camera and resting her left hand on a large white object in the foreground

    “People who are most impacted by problems know best how to fix them,” says Shane Goldsmith, head of the Liberty Hill Foundation, which funded community groups in their decade-long battle to stop oil and gas drilling in L.A. County neighborhoods.

    (Robert Gauthier / Los Angeles Times)

    In 2013, Liberty Hill began funding STAND-L.A., a coalition of seven community groups — led by Communities for a Better Environment and Physicians for Social Responsibility — demanding an end to neighborhood oil and gas drilling. It took 10 years and $4.5 million in philanthropic funding, but in 2022, Goldsmith says, city and county governments agreed to ban new drilling and phase out the operation of existing wells across the county.

    The community groups identified the wells, tracked the health effects and worked with regulators on the solutions, Goldsmith says. She calls these grassroots coalitions “our next generation of community leaders.”

    When Antonia Hernández was named president and CEO of the California Community Foundation in 2004, it was a conservative “don’t rock the boat” organization, she says. And it was struggling to survive.

    But she figured the organization wanted to become a more progressive funder; after all, they’d hired her — an activist attorney with the Mexican American Legal Defense and Educational Fund — to run the show.

    A woman sitting at an angle, her hands on her lap, looking into the camera

    “I wanted donors interested in serving the vulnerable, giving voice to the poor,” says Antonia Hernández, pictured in 1998. Under her leadership, the California Community Foundation changed from a struggling conservative philanthropy into a progressive powerhouse.

    (Robert Gauthier / Los Angeles Times)

    Hernández transformed the foundation into a progressive powerhouse by cultivating new donors among the wealthy social activists she’d met through the Mexican American fund. “I wanted donors interested in serving the vulnerable, giving voice to the poor,” she says.

    In less than 20 years, the California Community Foundation went from $540 million to $2.3 billion in assets. It gives money directly to dozens of groups supporting marginalized communities, including the South Asian Network, Filipino Migrant Center and African Communities Public Health Coalition. And through countywide collective philanthropic initiatives supporting education, Black empowerment and the arts, the foundation funds hundreds more groups.

    Ali, Ross, Goldsmith, Hernández and Judy Belk, then president and CEO at the California Wellness Foundation, formed a new progressive core within L.A.’s philanthropic ecosystem. In 2014, Don Howard became president and CEO of the James Irvine Foundation and joined their ranks.

    The Annenberg Foundation is well-known for the institutions that bear its name, and President and CEO Wallis Annenberg has supported progressive initiatives, particularly in food equity, and has expanded her giving to include efforts by these foundation leaders.

    These philanthropists are following national trends. But observers say they stand out for having turned their organizations around quickly, thoroughly and collectively.

    L.A.’s leading philanthropic foundations have “transformed” themselves, says Aaron Dorfman, executive director of the National Committee for Responsive Philanthropy. These formerly tradition-bound charitable institutions have become “national leaders in their commitment to equity and justice,” he says.

    Institutional foundations in New York City and the San Francisco Bay Area are far wealthier, according to Dorfman. They can, and do, dedicate more resources to fighting injustice. But L.A.’s leading foundations dedicate a greater share of their resources to that fight, he says, adding that “it has become a consistent theme in L.A., a steady beat,” in recent years.

    Whether this transformation continues depends on the foundation boards — Ross, Belk and Hernández recently announced their retirements. The foundation boards are picking their successors.

    Ali retired in 2021 and was succeeded as president and CEO by Miguel Santana, a longtime L.A. civic servant who continued Ali’s efforts to use all of the foundation’s assets, including its endowment, to redress the racist redlining practices that were once endemic within L.A.’s real estate industry.

    “We think about all of our assets as vehicles to advance racial and social justice,” says Santana, who estimates Weingart is a third of the way toward moving its entire endowment into mission-aligned investments.

    Weingart recently invested $5 million in Primestor, a Latino-owned real estate developer based in Culver City that invests in historically ignored communities of color; $5 million in the Female Founders Fund, which invests in women‘s entrepreneurial ventures; and $500,000 in iimpact capital, a Latina-owned real estate investment firm based in El Segundo that invests in affordable-housing developers owned by women.

    To help guide this “truth and reconciliation” effort, Santana hired Edgar Villanueva, author of “Decolonizing Wealth,” an indictment of old-school American philanthropy. “Coming to terms with that history,” says Villanueva, “grieving that, apologizing for it,” sets the stage for “reparations to repair the harm caused by that history.”

    Apparently this impressed the California Community Foundation’s board. In October, they poached Santana to replace Hernández.

    ::

    Eli Broad, who died in 2021, was one of L.A.’s leading philanthropists for decades — a holdover from a generation of business leaders who believed they knew what was best for the city. In addition to building the Broad, a museum to house his art collection, he helped bring the Museum of Contemporary Art and Walt Disney Concert Hall into existence.

    He was also a driving force in private efforts to enhance public education, leading a coalition of billionaires — Bill Gates, Reed Hastings and others — whose ultra-wealthy foundations pushed charter schools as a singular solution to bring about some much-needed changes to public schools in Los Angeles.

    A woman standing in a white room, next to a large window with a city view of tall buildings below

    Under President Gerun Riley, the Broad Foundation pivoted from traditional education and charter schools to funding programs that “advance social and economic mobility for students from historically marginalized and underrepresented communities.”

    (Brian van der Brug / Los Angeles Times)

    Broad’s “impatient” style foreclosed any easy avenues to collaboration with the community he believed he was serving, says Gerun Riley, president of the Eli and Edythe Broad Foundation. Parents and teachers loyal to their existing schools often felt voiceless and powerless in the ensuing political maelstrom.

    At the start of Riley’s tenure as president, three years before Broad’s death, she urged him to change his approach. Her suggestion: Ask local families what they want from their public schools. Broad had never, nor would he ever, do such a thing, Riley says. So she did it for him.

    “I set up a listening tour. I met with over 300 people, drove 600 miles,” she says. Parents expressed “frustration, exasperation.” They told her the battle over charter schools was “an ugly, unnecessary debate.” And they were clear about what they wanted for their children, she says: preparation for jobs in a technology-driven economy.

    With Broad’s blessing, Riley says, the foundation pivoted away from directly funding traditional K-12 education. It stopped using high school graduation rates as a measure of the success of its programs, she says.

    The Broad Foundation’s new approach focuses on out-of-school enrichment programs, support for science, technology, engineering and math education, and workforce training to “advance social and economic mobility for students from historically marginalized and underrepresented communities,” Riley says.

    She points to the foundation’s Expanded Learning Alliance, or ExpandLA, which aspires to bring public schools, after-school program providers and government and philanthropic funders together to create a countywide network of opportunities for students. The foundation established ExpandLA, still in its formative phase, as an independent nonprofit with an initial $5-million grant in 2020.

    Separately, the Broad Foundation is supporting groups that provide services under the ExpandLA umbrella, including DIY Girls, a Latina-focused science, technology, engineering, art and math program in northeast San Fernando Valley ($584,650 over five years), and the Hidden Genius Project, an Inglewood-based computer science and entrepreneurship program for Black male high school students ($310,000 over five years).

    Today, “L.A.’s core progressive foundations consider Broad in league with their efforts to strengthen community-based organizations,” says Christine Essel, president and CEO of Southern California Grantmakers, an association of philanthropists whose progressive leadership tripled membership during this transformative decade.

    The Broad Foundation’s endowment is $1.8 billion — but, Riley says, it’s “not set up to exist in perpetuity.” The plan is to give it all away over the coming decades.

    As it plans to clear out its coffers, it is worth noting that the Broad Foundation sets itself apart from L.A.’s core progressive foundations in one important way: It funds advocacy, but it does not fund activists, according to staff.

    It’s a distinction some other L.A. philanthropists also make. Both activists and advocates seek to influence public policies. But Los Angeles foundations define advocacy as something that typically happens behind the scenes. Activists take it to the streets, foundations say, with overt political agendas.

    (The $1.2-billion Ahmanson Foundation is one leading L.A.-centric foundation that does not participate in philanthropic efforts to influence public policy. President and CEO Bill Ahmanson has distanced his foundation from this progressive movement.)

    Like Broad, the Hilton and Parsons foundations support advocacy to change public systems, but they do not fund activism.

    L.A.’s newest philanthropic force — former Microsoft CEO Steve Ballmer and his wife, Connie — are also in this camp, according to Nina Revoyr, Ballmer Group’s L.A. executive director.

    Steve Ballmer speaking into a microphone at a basketball game as a Clippers player and a crowd of fans look on.

    Steve Ballmer, at a preseason Clippers game last year, and wife Connie have become a philanthropic force in Los Angeles.

    (John Froschauer / Associated Press)

    With a personal fortune that Forbes estimates is in excess of $100 billion, the Ballmers, who reside in the Seattle area, started their Los Angeles County philanthropic work in 2016, two years after buying the L.A. Clippers.

    So far this year, Ballmer Group has committed $115 million to nonprofits in L.A. County, compared with $55 million in grants last year. Much of this year’s increase is associated with a $39.2-million commitment to early childhood education workforce support, including scholarships and training.

    Among their many early childhood education grantees is Crystal Stairs, a nonprofit receiving $1.3 million over three years to provide child-care services, research and advocacy tailored to Black educators.

    Ballmer recently announced a $24-million multiyear commitment to 170 Boys & Girls Club sites in Los Angeles County, an increase from their previous $2 million in multiyear grants to the clubs. South L.A.’s Brotherhood Crusade received a $2.3-million commitment.

    ::

    A young man with a black bandanna on his head, seen from the shoulders up in front of a mural of several large portraits

    The Youth Justice Coalition helped Fernando Torres get through high school and avoid prison. He now works in construction and is having his gang tattoos removed.

    (Mel Melcon / Los Angeles Times)

    Before it was home to FREE L.A. High School, the Youth Justice Coalition’s 35,000 square-foot building on South Central Avenue was a juvenile court. The courtrooms now are classrooms and the dank holding cells are open to the community as places to pay respect to friends and family who have been or remain incarcerated.

    Coalition staff worked with Torres’ court-appointed attorney to create a diversion program: If Torres could graduate from high school and complete 40 hours of community service, he would do no prison time.

    In his spare time now he draws portraits, Torres says, flipping through phone photos of a dozen pencil and crayon drawings of young women of color. His gang tattoos are in the process of being removed.

    “Seeing the cells motivates me,” Torres says. “I don’t want to be in a box. I want to be free.”

    Among the Youth Justice Coalition’s supporters is the California Black Freedom Fund, a collective statewide philanthropic response to the 2020 police murder of George Floyd. Led by the Irvine Foundation — which had embraced a singular focus in 2016 on low-income workers — the fund’s goal is to get $100 million in unrestricted funds into Black-led community groups.

    The fund’s L.A.-based contributors include the Weingart, Annenberg, Liberty Hill and Hilton foundations, the California Community and California Wellness foundations and the California Endowment.

    The Black Freedom Fund’s ambitious goal recently expanded, says Marc Philpart, its executive director. His backers are pushing the state to match their $100-million commitment and turn the fund into an endowed foundation that survives long into the future.

    A man pictured from the waist up, standing, with Los Angeles City Hall and trees in the background

    “We want to establish a long-term, sustained approach to racial equity, racial justice,” says Marc Philpart, executive director of the California Black Freedom Fund, which began as a statewide philanthropic response to the 2020 police murder of George Floyd.

    (Robert Gauthier / Los Angeles Times)

    “We want to establish a long-term, sustained approach to racial equity, racial justice,” says Philpart.

    Gov. Gavin Newsom has agreed to an initial investment of $3.5 million, nudging the project forward, according to Philpart.

    In addition to the Youth Justice Coalition, which has received $200,000, other nonprofit beneficiaries of the Black Freedom Fund include the Afrikan Black Coalition ($100,000), the Los Angeles Black Worker Center ($500,000) and the Los Angeles Community Action Network ($350,000).

    Howard, of the Irvine Foundation, says California has a long history of erecting legal and structural barriers that block Black people and members of other marginalized groups from jobs, healthcare and housing, and each community faces different barriers.

    “We need to understand how to dismantle those barriers,” he says. “If we’re going to transform society, everyone has to have a seat at the table.”

    “There’s a sea shift in who has power in California,” says John Kim, president and CEO of Catalyst California, which advocates for racial justice and whose revenue has doubled in recent years. “Money is power, and the foundations are giving it directly to people of color.”

    Community groups have used that power to make “real gains” in L.A. County and city budget allocations, Kim says.

    But “after 170 years of exclusion and extraction, it’s just one decade of progress,” he adds. “L.A. has a long way to go.”

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    Corie Brown

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  • That ‘AI-Generated’ Anime Is A Slap In The Face To Pro Animators

    That ‘AI-Generated’ Anime Is A Slap In The Face To Pro Animators

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    Screenshot: Corridor Digital / Kotaku

    Recently, “AI” machine-learning technologies have been creeping their way into artistic fields in both entertaining and harmful ways. While some AI content creators are just making videos for harmless fun, others, like the creators of a recent AI-generated anime short, wrongfully believe they’ve democratized the animation industry when they’ve really just come up with a more technologically demanding method of plagiarizing other artists.

    Earlier this week, Corridor Digital, a Los Angeles-based production studio that creates pop culture YouTube videos, uploaded a video called “Anime Rock, Paper, Scissors.” Written and directed by Niko Pueringer and Sam Gorski, it revolves around two twins vying for the throne left vacant by their recently deceased father. Their battlefield? A game of rock, paper, “twin blade.” By leveraging the machine-learning text-to-image model Stable Diffusion, Corridor Digital gave camera footage filmed in front of a green screen a dramatic anime-like appearance. It’s basically AI-assisted rotoscoping. You can watch the video below.

    Corridor Digital

    Read More: Netflix’s AI Anime Gets Roasted For Crediting Artist As ‘Human’

    “It’s part of our humanity to try and visualize things that don’t exist. Like, let’s talk about traditional 2D animation. Cartoons, the most creatively liberating medium, is also the least democratized. It takes incredibly skilled people drawing every single frame of your movie to make it happen,” Pueringer said in a separate YouTube video, titled “Did We Just Change Animation Forever?” “But I think we came up with a new way to animate. A way to turn reality into a cartoon and it’s one more step toward true creative freedom where we can easily create anything we want.”

    In a pinned comment underneath, Pueringer wrote that their AI-driven animation production technique isn’t meant to replace human animators but as a means to bring visual ideas to life without the “near-insurmountable mountain of work” that a large animation studio with a large budget would need to get the job done.

    “Imagine one person, or a few friends, bringing their crazy ideas to life. Imagine if a traditional animator could automatically have their drawings inked and colored. Imagine eliminating the uncanny valley on CGI faces. These tools have the potential to do that. We’re trying to figure out how, and sharing our journey. If we want community-controlled AI tools, we need to develop them as a community, otherwise, they become proprietary tools locked behind a company,” Pueringer wrote.

    In an email with Kotaku, Peuringer said that although someone can train an AI model to learn the styles of many artists, it’s incorrect to assume that is the technology’s sole use case.

    “Through this experiment, we’re figuring out how we can use [our] own art with these tools to speed up the process. ‘Anime Rock, Paper, Scissors’ is the first step in our experiments [in] figuring out how any of this works in the first place,” Pueringer said.

    Feeding an AI model data isn’t creating art

    Despite how appealing the AI behind ‘Anime Rock, Paper, Scissors’ may seem to Corridor Digital’s fans, the group’s AI-powered anime is yet another harmful innovation in the animation industry because it steals from real artists in ways that seem little different than the prospect of other machine-learning technologies copying and selling actors’ voices without consent.

    Unlike the breathtaking Dragon Ball Z fan film, Dragon Ball: Legends—which took the indie studio Studio Stray Dog four years to make—Corridor Digital’s attempt at recreating the passion and energy displayed in early-aughts anime comes off as violently hokey and embarrassing because it’s a soulless recreation of animation techniques haphazardly strewn together without any technical skill or artistic merit.

    Despite acknowledging the fact that anime is about tying visual language to a story through stylized metaphors and art direction, Pueringer revealed that Anime Rock, Paper, Scissors’ visual style was made by feeding their Stable Diffusion AI model background art and character images they took from the early aughts fantasy anime film Vampire Hunter D: Bloodlust.

    “We tried to grab frames of like different people, some face shots, some torso shots, full body shots, hands, hair, even some abstract things like flowers because, with all these different objects—with each picture effectively being a different object and a different character—when we train the model, it’s not going to learn any single subject. Instead, it’s going to learn the style in which all of these subjects were drawn,” Pueringer said.

    Ultimately, Corridor Digital’s trained model shat out a TikTok filter-looking mess in which over-the-top shadow effects constantly clipped through character models, despite their technologies’ best attempts to prevent any kind of uncanny valley flickering you’d see in an anime-filtered Snapchat video. Claiming that you understand the visual language that anime studios strive to portray while blatantly copying the art style of anime studio Madhouse’s work literally frame by frame isn’t a “democratization” of anime creation. That’s just being a hack.

    Corridor Crew

    While many of Corridor Digital’s YouTube commenters see Anime Rock, Paper, Scissors as a means to make content creation more accessible, others viewers thought the video was an insult to human animators.

    “This just seems like a way for tech guys to force their way into the artist’s circle while simultaneously stealing actual artists’ work to use for their ai to learn off of. They should show this to the actual animators that visit them, I wonder how they’d react,” YouTube commentator SouperRussian wrote in response to Corridor Digital’s “Did We Just Change Animation Forever?” video.

    Many workers within the animation industry hate it

    Unlike many of Corridor Digital’s social media fans, fellow YouTuber animator Ross O’Donovan thinks Corridor Digital’s AI anime is walking on thin ice with professional animators. O’Donovan advised Corridor Digital to find “a first aid kit” to prepare for the discourse that would transpire should it talk to an actual group of animation industry professionals. He specifically suggested Corridor Digital sit down with folks like the team behind Netfllix’s Castlevania series to hear what they think about the creation process of Anime Rock, Paper, Scissors.

    Turns out Corridor won’t need to hit Castlevania director Samuel Deats’ line, because he’s already made his opinion known to the public. Deats disagreed with Corridor Digital’s claim that their AI tool was “one step toward true creative freedom,” that would democratize the animation industry. Instead, Deats tweeted that Corridor Digital are just “lazy thieves spitting on an entire art form.”

    “When AI dudes say ‘democratize’ they just mean ‘steal’ and ‘exploit,’” Deats replied in a Twitter thread.

    Deats wasn’t alone in his sentiments toward Corridor Digital’s advocacy for machine learning models in the animation industry. “This absolutely sucks, hope this helps,” Toonami co-creator Jason DeMarco wrote in a tweet. Ralph Bakshi, the legendary underground animator behind Fritz the Cat and the 1978 Lord of the Rings animated film didn’t dignify Corridor Digital’s claim with a response. Instead, Bakshi simply replied “no comment” in response to a tweet cheerleading Corridor Digital’s “incredible” AI-powered anime.

    Despite the online backlash Corridor Digital received from folks within the animation industry, Pueringer believes that Anime Rock, Paper, Scissors isn’t any less ethical than the other pop culture-related YouTube videos they’ve uploaded to their channel “to tell their story.”

    In a post on the r/Corridor subreddit, Peuringer noted that while sudden change can be a scary thing, “especially if it feels like your passion or livelihood is on the line,” Corridor Digital is exploring the use cases of their AI model as a means to “help shine a light into the fog for everyone” wanting to bring their imaginations to life.

    “I see potential for tools like these to let an animator let this process propagate their ink and color easily across [an] entire shot, for example. It’s potential like that that gets me excited about this tech, and why we do these experiments in the first place,” Pueringer told Kotaku.

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    Isaiah Colbert

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