Latest news with #CindyLee
Korea Herald
01-05-2025
- Business
- Korea Herald
U.S. Immigration Fund Welcomes Cindy Lee as Vice President of Business Development, Head of South Korea
PALM BEACH, Fla., May 01, 2025 /PRNewswire/ -- U.S. Immigration Fund (USIF), a leading EB-5 Regional Center operator, is proud to announce the addition of Cindy Lee as Vice President of Business Development, Head of South Korea. Based in Seoul, Lee will lead investor relations and business development efforts in South Korea, further strengthening USIF's presence in the region. Lee brings extensive experience in international recruitment, consulting, and EB-5 investor relations. Prior to joining USIF, she worked at St. George's University, specializing in medical and health science admissions, and spent five years managing EB-5 investor relations at an established EB-5 Regional Center. Her background in both education and investment makes her uniquely positioned to guide South Korean investors through the EB-5 process with expertise and care. "I am thrilled to join U.S. Immigration Fund and contribute to its global success," said Lee. "South Korean investors are increasingly looking toward the EB-5 program as a pathway to new opportunities in the U.S., and I am excited to help them navigate the process with confidence and clarity." "We are excited to welcome Cindy Lee to the USIF team," said Nicholas Mastroianni, President & Chief Marketing Officer of U.S. Immigration Fund. "Her deep understanding of investor relations and her proven ability to build strong relationships will be instrumental as we continue to expand in South Korea. Cindy's expertise and leadership will enhance our ability to serve investors and provide them with top-tier EB-5 opportunities." Since its founding, USIF has helped thousands of families secure U.S. residency through EB-5 investments, successfully funding large-scale real estate projects with billions in capital. With Lee's appointment, USIF aims to expand its reach and continue offering premier service to South Korean investors and families. For more information or to schedule a consultation with Cindy Lee, use the links below.
Yahoo
17-04-2025
- Entertainment
- Yahoo
Cindy Lee, Director Of Oscar-Nominated Live-Action Short ‘The Last Ranger,' Signs With Luber Roklin
EXCLUSIVE: Cindy Lee, director of the Oscar-nominated 2025 live-action short The Last Ranger, has signed with Luber Roklin Entertainment for management. The South African filmmaker's The Last Ranger is inspired by the true story of Thandi, a rhino that survived a brutal attack, and the people who fought to save her life. Set against the stunning backdrop of the Amakhala Game Reserve, the film follows Khuselwa (Avumile Qongqo), the reserve's last remaining ranger, and her young, would-be protégé Litha (Liyabona Mroqoza), as they are caught up in the rhino-poaching crisis. The film was co-written by David S. Lee, Darwin Shaw and Will Hawkes, with the latter two producing under their Six Feet Films banner. More from Deadline 'The Last Ranger' Tells True Story Of Fight To Save Rhinos In South Africa: 'We Had Something Special' – Contenders Film: The Nominees 'The Monkey's Colin O'Brien Signs With Luber Roklin Madelaine Petsch To Exec Produce, Star In Amazon MGM Rom-Com 'Maintenance Required'; Jacob Scipio Also Set Most recently, Lee directed The Morning After, a series selected to screen at the 2025 Berlinale, which earned her a nomination for Best Direction at the Venice TV Awards. Previously, she directed the South African television series Desert Rose, which brought her a SAFTA nomination for Best Director. She has also previously helmed episodes of Showmax's acclaimed original drama The Girl from St. Agnes and the drama series Sober Companion, for which she was nominated for her first SAFTA nomination for Best Director. At present, Lee is attached to direct Blondie, a drama series about a single mother and stripper who must learn to juggle her job, kids, and the dangerous criminal terrain of Johannesburg, as she gradually transforms into the matriarch of an infamous crime family. Created and written by Sean Steinberg, the show is being produced by Adam Thal under The Star Film Company banner and Lucifer actress Lesley-Ann Brandt. Born and raised in South Africa, Lee is the daughter of legendary South African agent and casting director, Moonyeenn Lee. Also an esteemed director of commercials, she continues to be repped by Moonyeenn Lee Associates and The Star Film Company.
Axios
31-03-2025
- Business
- Axios
Canada's largest Asian grocer is betting big on SF
The largest Asian supermarket in Canada is coming to San Francisco. Why it matters: The announcement from T&T Supermarket is the latest indicator that retailers still see long-term potential in the city despite an exodus of businesses during COVID. Driving the news: T&T plans to open a new store at San Francisco City Center (2675 Geary Blvd.) in winter 2026. It will mark the chain's fourth U.S. location and second Bay Area store after Westgate Center in San José, which is projected to launch in the fall. Its first U.S. store opened in Bellevue, Washington last year. A second one is planned for Lynwood, Washington this summer. Zoom in: The store will offer a wide variety of food options and services, ranging from T&T Private Label products like soup dumplings and Korean kalbi marinade to fast casual restaurant offerings and pastries at its bakery. There will also be an extensive selection of wines and spirits, with a special focus on Korean soju and Japanese sake. What they're saying: "The city offers a unique and eclectic food scene, and the neighborhood we've chosen is a vibrant retail hub," Tina Lee, CEO of T&T Supermarkets, said in a press release. "San Francisco is on the rise, and we're excited to be part of its next chapter." The big picture: T&T was founded by Cindy Lee, a Taiwanese immigrant to Canada, who opened her first store in 1993. It now operates 33 in the North America country.
BBC News
07-03-2025
- Entertainment
- BBC News
Who is Cindy Lee? Pop's most mysterious sensation
The enigmatic musician has released one of the most raved-about LPs of recent times. But they've done it without marketing or interviews – and you certainly won't find it on Spotify. Of all the musical acts that emerged last year, none was more fascinating – or more mysterious – than Cindy Lee. Last March, their album Diamond Jubilee – an astonishing two-hour, 32-track, lo-fi heliograph of rock and pop's formative sounds – appeared as if by magic: a sprawling, sumptuous, dream-like immersion of melodiously beautiful, often haunting songs of loss and longing. But this self-released album wasn't easily accessible, exactly, being unavailable on streaming services, or in any physical format. Warning: This article contains language that some may find offensive The music was beguilingly kaleidoscopic, moving from its aesthetic core of girl groups like The Supremes through folk, psych, glam, rockabilly, doo-wop, Velvet Underground-esque rock and Righteous Brothers-like balladry. But to hear it, you had to go to an antiquated 1990s-modelled GeoCities-style website and download the files from a service called Mega, with a suggested donation of $30; it was uploaded to YouTube shortly after. People were also eagerly scrambling to find out: who exactly is Cindy Lee anyway? There was no PR campaign, no interviews, and no social media presence. In fact, as it transpired, it was the enigmatic drag alter ego of alternative Canadian singer-songwriter Patrick Flegel, whose band Women had been a combustible but admired act in the 00s indie rock scene, releasing two acclaimed albums before splitting after an onstage fistfight. Flegel began their Cindy Lee project in 2012. It was shortly after their first live performance, playing bass in a friend's band, in their now trademark drag look: beehive wig, gold or silver sequined dresses, knee-high boots and fur coat. "In the context of modern drag, the way I do drag is so tame, conventional, basic, and traditional," they said in a rare 2020 interview. "I'm like, 60s closet queen drag... [in] a tradition of diva archetypes like Patsy Cline, Tammy Wynette, Diana Ross." The music and the look weren't matched in any particularly deliberate way, Flegel also explained in another 2022 interview. "They didn't really have anything to do with each other initially," he said, "they just kind of blended together. But that's kind of a long game thing, where it's not just some idea that I wrote down on paper – it's just my life." How the hype built Flegel's previous six albums as Cindy Lee had made little imprint: Diamond Jubilee's grand unorthodoxy could have been another hard sell. But switched-on music fans discovering the album couldn't get enough. As old-school word-of-mouth hype built, internet forums such as Reddit were awash with praise; the YouTube comment section was unanimously effusive ("This is one of the best albums I've heard in a decade. Wow" read a typical post). "There was a certain air of mystery to it that made it feel unique," says Steven Hyden, an author and music critic who co-hosts Uproxx's indie rock podcast Indiecast. "That added to the allure. It really feels like a mixtape of songs that might have been hits 40 or 50 years ago, but no one has heard yet. That was the quality that a lot of people responded to. And even though Patrick did have this history in indie rock, there was a feeling like it came out of nowhere." When, last October, a more conventional download was made available to buy on Bandcamp, an online record store and music community that connects independent artists with loyal, paying fans, it proved incredibly popular; then a couple of weeks ago, it was finally given a physical release on vinyl and CD. "Pretty instantly it was one of the biggest selling items on the site," says Aly Gillani, Bandcamp's European Artist and Label Representative and founder of independent label First Word Records. "It's sold very well, and continues to." It has been helped along by vociferous praise from the online US music press; one site, Aquarium Drunkard, called Diamond Jubilee "a throwback to a different, weirder, cooler, better era in independent music". Leading online magazine Pitchfork gave the album a score of 9.1, their highest for a new album in four years, propelling Cindy Lee forward in a way reminiscent of the site's taste-making 00s heyday, when its reviews habitually helped break indie acts like Arcade Fire. Meanwhile The Guardian voted Diamond Jubilee the second best album of 2024, behind only Charli xcx's cultural behemoth and dance-pop masterpiece Brat. There was something incongruous about seeing Diamond Jubilee and Brat side by side. Brat was the epitome of a 21st Century album, with a very 21st Century album campaign: aggressively marketed and cleverly hyper-self-aware, its domination of online discourse via memes and viral social media moments worked so well that its branding reached Kamala Harris. Diamond Jubilee, on the other hand, has rejected almost all prevailing theories about how music should be sold and consumed in the modern era, prompting a debate on wider music industry practices and the fan-artist relationship that goes far beyond the record itself. For a certain type of music fan – highly engaged and record buying – the act of discovery was a huge part of Diamond Jubilee's appeal, not to mention the commitment needed to source and then digest Flegel's ambitious artistic vision. "It does lean into that desire that some music fans have to go back to how things used to be," Gillani says, "when they could find an album and get excited and really dig into it, rather than constantly jump to the next one. There's a yearning from people to experience great artistry directly." "People felt like they were getting in on the ground floor in a way that you don't get much on the internet these days," Hyden says. "And with a feeling this record wasn't being shoved down people's throats by social media or labels or corporate media, it all combined to make it feel like it was a special event, although still a niche event." The power of shunning the promo trail Of course, artists finding different ways to sell and promote their music is nothing new. From Beyoncé surprise-dropping 2013's self-titled fifth album to Jack White's rollout of last year's No Name record – White initially gave away unmarked vinyl copies in plastic bags to unwitting customers in his Third Man Records shops – an inventive approach can ignite a campaign. "If you're a larger artist with a platform, you can afford to take risks that maybe smaller artists can't," Gillani says, while adding, nevertheless, that unknown musicians can sometimes use an off-kilter release strategy to powerful effect. Gillani points to secretive London neo-soul collective Sault, who for years never confirmed their identify, also refused interviews and once simultaneously made five albums available for free download in a five-day window. "Both Cindy Lee and Sault did things you would not necessarily advise," Gillani says, "and it definitely helped that the music is exceptional. But as a music fan, that captures my imagination. And doing something like that can be a really effective way of bypassing all of the things that you quote unquote 'have' to do to release music." The theory goes that if people have to work harder to hear something, it is more rewarding. "You want people to connect with it on an emotional level," Gillani says. "And I think by creating some barriers to that, yes, it's a risk, because they might not get through the barriers. But if they do, that emotional connection is doubled, tripled. That's hard to beat." And despite what it may look like, Gillani insists Diamond Jubilee was indeed marketed. "It's a high-risk strategy, absolutely, but it is still a strategy nonetheless." Though it's not one you see often in our oversharing, content-saturated online world: an artist giving the impression they're not fussed if their music is heard or not. Expensive PR campaigns with a strong social media presence are the norm for artists desperately vying for our attention. "Back in the 80s and 90s, artists weren't brazenly chasing clout in a way they do now," Hyden says. "I'm not blaming artists now for chasing clout, because we're in an environment where you're just trying to have your music heard through a huge trough of content online. But Patrick not chasing that was a throwback." Flegel's rejection of streaming – they once stated on their website about Spotify CEO Daniel Ek that "[HE] IS A THIEF AND A WAR PIG" – taps into a growing debate about the state of the music industry, and the economics of streaming in particular (one can only imagine what Flegel thought when an illegal upload of Diamond Jubilee was suddenly available on Spotify, only to be quickly taken down). On top of a worldwide cost-of-touring crisis – a new survey by Ditto Music states that 84% of UK independent artists can no longer afford to tour – smaller artists who have seen physical sales decline now see next to no financial reward from streaming. Spotify reportedly pays between $0.003 - $0.005 per stream, which is then split between all rights holders (which could include labels and publishers as well as artists). While the advantages for users are obvious – cost and convenience – it has seen the work of artists devalued. "Spotify has become a pretty inhospitable place for artists who don't get a lot of streams," Hyden says. "People treat Spotify like it's Netflix. And it's like, if the movie isn't on Netflix, then the movie doesn't exist. There's an illusion that that's the whole world. You would hope that people would take from Diamond Jubilee that not everything that there is to be heard is on streaming platforms. There's a lot of artists that operate outside of that because they choose to." More like this:• Kendrick Lamar's road to the Super Bowl• The 2024 drinking song that became a giant US hit• How Espresso became the song of the summer In-keeping with their initial album campaign, or lack of it, Cindy Lee has shown no interest in capitalising on their higher profile. Even before their US tour was cancelled midway through at short notice for undisclosed personal reasons last May, a message on their website read "THIS WILL BE CINDY LEE'S LAST AMERICAN TOUR". Critics who saw the shows that did happen, 45-minute solo-sets where Flegel, in their Cindy Lee aesthetic of beehive wig and gold dress, played to a backing track, reported a rapt audience watching a phenomenal guitar talent: Flegel played "with a casual mastery I'd imagined was reserved for those who've made deals with the devil," wrote NPR's Meaghan Garvey. But a reticence to perform was also noted: Stereogum's Ian Cohen reported in San Diego that Flegel commented onstage "I feel like a caged fucking animal". "Patrick being uncomfortable with the exposure has kept Cindy's profile on that cult level," Hyden says. "And maybe that's where it should be. Maybe some things are just meant for an audience of connoisseurs and appreciators. But we're not used to that way of thinking in the internet age. Before the internet, if you were in the indie world, it was understood that you weren't trying to reach that mass audience, and that allowed you to engage in a different kind of way. Now everyone's on the same platform. So if you're the person who is only getting 100,000 monthly listeners on Spotify, you get talked about in the media like you don't really matter, because they're comparing it with Coldplay. It's not helpful." It means stories like Cindy Lee are getting rarer – though not impossible. "But it relies on a lot of things going right," Gillani says. And while nobody is suggesting other artists should copy the Cindy Lee strategy precisely – "Diamond Jubilee is a unique record in that regard" Hyden says – for artists there are cues to take. "I think the big lesson is being intentional in what you're doing," Gillani says. "The industry is full of people telling you: 'you have to do this, you have to do that'. But it's your art and your expression; be thoughtful about what you do with that. Don't necessarily just chuck it all up in the most standard way." Nobody could accuse Cindy Lee of that, and having gone to ground at the peak of their popularity, it is unclear what the future holds for them. But the approach to Diamond Jubilee paid off on its own terms. The music will live on, however one chooses to engage with it. As Hyden says: "It feels like one of those records that people will discover as the years go on." Cindy Lee's Diamond Jubilee is now available on CD and Vinyl, as well as to download -- For more Culture stories from the BBC, follow us on Facebook, X and Instagram.
Associated Press
27-01-2025
- Business
- Associated Press
The Houstonian Hotel, Club & Spa Begins 2025 Conference and Event Space Refresh
The ten-month transformation will unfold in phases, unveiling stunning reimagining of all meeting and event spaces, from grand ballrooms to elegant board rooms. 'In addition to this complete refresh, our resort property offers on-site chef-driven restaurants, a renowned fitness club, and an award-winning spa all in one place.' — Cindy Lee, Director of Sales HOUSTON, TX, UNITED STATES, January 27, 2025 / / -- The Houstonian Hotel, Club & Spa proudly announces a visionary transformation of its conference and event spaces, including ballrooms, meeting rooms, board rooms, and corridors. Designed to elevate every gathering into an unforgettable experience, this reimagining will embody The Houstonian's signature blend of timeless elegance and modern sophistication, tailored for today's discerning meeting planners. Located in the heart of Houston and inspired by its 27-acre wooded landscape, the redesigned spaces will incorporate a color palette of muted taupes, grays, and blues with organic textures, elevated finishes, and delicate floral motifs, blending The Houstonian's timeless Texas charm with a contemporary touch. The neutral décor can seamlessly adapt to any occasion, from weddings to corporate gatherings, making it effortless for event planners to create a vibrant and personal atmosphere. To bring the design process to life, The Houstonian conducted focus groups with meeting and wedding planners, along with long-time vendors. This collaboration was intended to ensure a thoughtful approach while keeping the attendees' experiences at The Houstonian a top priority throughout the design and construction phases. 'Our focus groups told us what planners want most - top-notch amenities, neutral palettes, and comfortable spaces for attendees to gather and be inspired by their surroundings,' said Larissa Lachniet, Director of Sales & Catering Operations. Two new executive meeting spaces, the Mahogany and Teak Rooms, will feature a board room with elegant fixtures and state-of-the-art audiovisual and an adjoining library with custom millwork, built-in credenzas, and sophisticated dark gray, taupe, and blue accents. The rooms can be customized into a hospitality suite or a flexible space for nearly any occasion without the need for additional furnishings. On the upper level of the conference center, meeting rooms, ballrooms, and hallways are designed to harmoniously connect the indoors to the beauty just outside the windows. An elegant and custom-designed statement lighting fixture will float down the middle of the corridor, just outside the Aspen Room. High ceilings and natural light will fill the corridor from above, and curated furniture pieces will provide relaxing areas for guests to gather. The distinctively designed areas will continue to make The Houstonian an ideal destination for C-suite meetings, high-level retreats, and executive conferences, setting a new standard for business gatherings in the Bayou City. 'There is true authenticity and friendliness at The Houstonian. Our unique and enticing on-site experiences and menus are all about Texas and how we love to entertain,' said Cindy Lee, Director of Sales. 'In addition to this complete refresh, our resort property offers on-site chef-driven restaurants, a renowned fitness club, and an award-winning spa all in one place.' Specializing in friendly, anticipatory service has made the iconic Houstonian Hotel a sought-after destination for nearly 50 years. The hotel will continue its thoughtful hospitality throughout this phased transformation. Guests can anticipate uninterrupted experiences, as each of the three renovation phases has been carefully planned to minimize disruption. Locally owned and independently operated, The Houstonian is dedicated to preserving Houston's rich heritage while enhancing its reputation as a premier destination. This transformation reflects The Houstonian's dedication to excellence and to the legacy it has built over generations. Photos available here. ### Located in the heart of Houston, The Houstonian Hotel, Club & Spa is a Forbes Travel Guide Four-Star secluded retreat adjacent to the city's iconic Memorial Park and minutes from downtown, the Galleria, and Energy Corridor. The Houstonian recently completed a $70 million master plan renovation and was named in Travel + Leisure's World Best Awards as the #1 Resort Hotel in Texas. The resort is a member of Preferred Hotels and Resorts and is known for its timeless nature, elegant décor, private fitness club, and its involvement in Houston's historic events and celebrations. Guests at The Houstonian Hotel may relax and rejuvenate on a 27-acre oasis, with floor-to-ceiling wooded views in its 280 newly renovated guest rooms and suites, including a new Bush Suite with memorabilia from President George H.W. Bush's time at the property. TRIBUTE restaurant serves authentic Tex-Lex cuisine with an impressive wine list, The Bar & Patio is a classic local favorite, and the Coffee Shop serves guests in the elegant hotel lobby. The hotel has 33,890 square feet of indoor meeting space and 87,349 square feet of outdoor meeting space with a 'Houstonian Experiences' menu for corporate and social groups, meetings, and celebrations. The 185,000-square-foot Houstonian Club is available to hotel guests without a resort fee and offers over 180 weekly group exercise classes, aquatic programs, indoor and outdoor tennis, a resort pool with a rockslide, a 25-meter sports lap pool, and a quiet garden pool. Guests can enjoy the club's luxurious locker rooms and wet areas, a fully equipped fitness floor with over 300 pieces of equipment, an indoor turfed fitness zone, enhanced group exercise fitness studios, a cycle studio, a private yoga studio with aerial silks, and an indoor basketball court. Poolside dining is available at the expansive Arbor Grill, with wood decks, TVs, and a fire pit, and the club's grab-and-go called Refuel offers light fare and Starbucks Coffee. The club offers a full-time nutritionist, and a wellness therapy suite called The Covery at The Houstonian. At 26,500 square feet, the new Trellis Spa at The Houstonian is the largest luxury spa in the state of Texas. From the outside, it resembles a magnificent European Villa with statuesque architecture and luscious gardens. On the inside, soothing, nature-inspired hues complement a grand, light-filled reception, renovated treatment rooms, sauna and wet areas, a scenic treetop dining room, an indoor Reflection Pool, and tranquil lounging areas. Its outdoor Soaking Pools and Garden provides an authentic contrast bathing experience with open-air cabanas, rocking chairs, a fire pit, and a butterfly art installation. Seliece Womble X Instagram Legal Disclaimer:
