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My Red Carpet Quest: A Two-Year Search for Steve

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My Red Carpet Quest: A Two-Year Search for Steve

Times Insider explains who we are and what we do and delivers behind-the-scenes insights into how our journalism comes together.

Steve Olive was my white whale.

I had been trying for two years to write a profile of Mr. Olive, the co-founder of Event Carpet Pros, the California-based company responsible for custom-making the colorful, though not always red, carpets for thousands of movie premieres, the Golden Globes, the Grammy Awards, the Super Bowl and, since 1997, the Academy Awards.

I learned about Mr. Olive in 2023, while reporting an article about why the organizers of the Oscars were rolling out a champagne-colored carpet that year. My editor, Katie Van Syckle, and I had found the Event Carpet Pros website and we took turns calling the listed number in an effort to reach someone. Finally, Katie connected with Mr. Olive, and briefly interviewed him.

But this mysterious, matter-of-fact, low-key man at the heart of the glitz and glamour of awards season stuck in my mind. I wanted to know more about him. How does one become a rug guy? What had he wanted to be when he grew up? Had he ever attended an award show himself?

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Last year, when the Oscars returned to a classic red carpet, Katie and I again agreed that I should pursue a story on Mr. Olive, but he was hesitant. But this year, with the encouragement of the Academy of Motion Picture Arts and Sciences, he agreed. It was three weeks before the ceremony.

Mission: Steve, as I termed it, had officially begun.

I sent a barrage of frantic texts and placed several calls to Brooke Blumberg, a publicist for the academy, trying to nail down when the carpet, which was manufactured at a mill in Dalton, Ga., would arrive at the company’s warehouse in La Mirada, Calif., a city in Los Angeles County.

My goal was to be there when the approximately 30 rolls, each weighing 630 pounds, were unloaded in the Event Carpet Pros parking lot, from a truck that had been driven about 35 hours, from Dalton. The scene, I imagined, would be akin to the arrival of the Rockefeller Center Christmas tree in New York City.

Despite my persistent overtures, Ms. Blumberg informed me that I had missed my chance. The truck had arrived at the warehouse the afternoon before I was planning to fly to Los Angeles.

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“Oh darn!” I texted her. “We can hopefully get the install, though!” (The week before the ceremony, the 50,000-square-foot carpet is rolled into place by a crew of 20-some workers on Hollywood Boulevard.)

My next priority was meeting Mr. Olive at his office. But he had the flu, so I was told the interview might need to happen over a video call. Still, Katie and I thought I should go to California to capture the scene. And I wanted to meet his co-workers, as well as talk to the person who orders the red carpet for the Oscars from Mr. Olive each year.

When I finally made the decision to get on a plane, there was a chance that I might have neither the opportunity to talk to Mr. Olive in person nor to see the red carpet. But I bought a seat on a Wednesday afternoon flight and hoped for the best.

On my first day in La Mirada, I scouted out the Event Carpet Pros warehouse, a 36,000-square-foot white structure tucked among palm trees. Then, on Thursday night, I interviewed Joe Lewis, a producer for the Oscars who has ordered the awards show’s red carpet from Mr. Olive for the past 16 years.

On Friday morning, face mask on as a precaution, I visited Mr. Olive — now energetic, his bout with the flu evidently a distant memory — at his office inside the warehouse.

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I’d had an idea of him in my head for two years, and I was curious to see if it matched the man. At 6-foot-2, bald and dressed entirely in black, he was somehow exactly as I’d imagined. He was, I learned, a former bodyguard for Mötley Crüe.

He had gotten into the red carpet business in 1992, with his brother-in-law, who installed tents around the country. I met Mr. Olive’s 26-year-old son, Nick, and his co-workers, all of whom told me the same thing: This is a man who doesn’t want, or need, the spotlight; he’s just happy making other people happy.

“I’m not good at this,” said Mr. Olive, as he awkwardly tried to follow the instructions of our photographer, Jennelle Fong, at what must have been his first-ever photo shoot, while standing on the Oscars red carpet.

A bit media shy, it took him some time to open up. And he was never really keen to discuss himself or his days as a bodyguard, for some of the hottest ’80s bands. “I’m not interesting,” he told me.

But I observed him becoming more comfortable as the talk turned to his lifeblood: carpets. He loved talking about his favorite collaborations over the years — all meticulously documented on the company’s Instagram account, which he created in 2013 — and sharing photos of his dog, Olive.

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“You’ll make me look good, right?” he asked an hour and a half later, as we parted ways. I promised to send him a copy of the article after it was published.

Over the weekend, it was a frantic scramble to write my article. I wanted to capture not just Mr. Olive’s personality, but also the scope and scale of the modern “red carpet,” not just as a platform for fashion, but as a personal branding opportunity for celebrities. I wanted people to understand why what Mr. Olive was doing mattered.

I submitted my article on Monday morning; Ms. Fong photographed the installation of the red carpet on Hollywood Boulevard on Tuesday; and we had the story ready to go for Wednesday afternoon, when the carpet would be rolled out.

I didn’t get my Rockefeller Center Christmas tree arrival moment. But I witnessed something even better: One unassuming man, who neither wanted nor needed recognition, sharing his joy over his decades-long passion.

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Podcast industry is divided as AI bots flood the airways with thousands of programs

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Podcast industry is divided as AI bots flood the airways with thousands of programs

Chatty bots are sharing their hot takes through hundreds of thousands of AI-generated podcasts. And the invasion has just begun.

Though their banter can be a bit banal, the AI podcasters’ confidence and research are now arguably better than most people’s.

“We’ve just begun to cross the threshold of voice AI being pretty much indistinguishable from human,” said Alan Cowen, chief executive of Hume AI, a startup specializing in voice technology. “We’re seeing creators use it in all kinds of ways.”

AI can make podcasts sound better and cost less, industry insiders say, but the growing swarm of new competitors entering an already crowded market is disrupting the industry.

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Some podcasters are pushing back, requesting restrictions. Others are already cloning their voices and handing over their podcasts to AI bots.

Popular podcast host Steven Bartlett has used an AI clone to launch a new kind of content aimed at the 13 million followers of his podcast “Diary of a CEO.” On YouTube, his clone narrates “100 CEOs With Steven Bartlett,” which adds AI-generated animation to Bartlett’s cloned voice to tell the life stories of entrepreneurs such as Steve Jobs and Richard Branson.

Erica Mandy, the Redondo Beach-based host of the daily news podcast called “The Newsworthy,” let an AI voice fill in for her earlier this year after she lost her voice from laryngitis and her backup host bailed out.

She fed her script into a text-to-speech model and selected a female AI voice from ElevenLabs to speak for her.

“I still recorded the show with my very hoarse voice, but then put the AI voice over that, telling the audience from the very beginning, I’m sick,” Mandy said.

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Mandy had previously used ElevenLabs for its voice isolation feature, which uses AI to remove ambient noise from interviews.

Her chatbot host elicited mixed responses from listeners. Some asked if she was OK. One fan said she should never do it again. Most weren’t sure what to think.

“A lot of people were like, ‘That was weird,’” Mandy said.

In podcasting, many listeners feel strong bonds to hosts they listen to regularly. The slow encroachment of AI voices for one-off episodes, canned ad reads, sentence replacement in postproduction or translation into multiple languages has sparked anger as well as curiosity from both creators and consumers of the content.

Augmenting or replacing host reads with AI is perceived by many as a breach of trust and as trivializing the human connection listeners have with hosts, said Megan Lazovick, vice president of Edison Research, a podcast research company.

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Jason ⁠Saldanha of PRX, a podcast network that represents human creators such as Ezra Klein, said the tsunami of AI podcasts won’t attract premium ad rates.

“Adding more podcasts in a tyranny of choice environment is not great,” he said. “I’m not interested in devaluing premium.”

Still, platforms such as YouTube and Spotify have introduced features for creators to clone their voice and translate their content into multiple languages to increase reach and revenue. A new generation of voice cloning companies, many with operations in California, offers better emotion, tone, pacing and overall voice quality.

Hume AI, which is based in New York but has a big research team in California, raised $50 million last year and has tens of thousands of creators using its software to generate audiobooks, podcasts, films, voice-overs for videos and dialogue generation in video games.

“We focus our platform on being able to edit content so that you can take in postproduction an existing podcast and regenerate a sentence in the same voice, with the same prosody or emotional intonation using instant cloning,” said company CEO Cowen.

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Some are using the tech to carpet-bomb the market with content.

Los Angeles podcasting studio Inception Point AI has produced its 200,000 podcast episodes, accounting for 1% of all podcasts published on the internet, according to CEO Jeanine Wright.

The podcasts are so cheap to make that they can focus on tiny topics, like local weather, small sports teams, gardening and other niche subjects.

Instead of a studio searching for a specific “hit” podcast idea, it takes just $1 to produce an episode so that they can be profitable with just 25 people listening.

“That means most of the stuff that we make, we have really an unlimited amount of experimentation and creative freedom for what we want to do,” Wright said.

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One of its popular synthetic hosts is Vivian Steele, an AI celebrity gossip columnist with a sassy voice and a sharp tongue. “I am indeed AI-powered — which means I’ve got receipts older than your grandmother’s jewelry box, and a memory sharper than a stiletto heel on marble. No forgetting, no forgiving, and definitely no filter,” the AI discloses itself at the start of the podcast.

“We’ve kind of molded her more towards what the audience wants,” said Katie Brown, chief content officer at Inception Point, who helps design the personalities of the AI podcasters.

Inception Point has built a roster of more than 100 AI personalities whose characteristics, voices and likenesses are crafted for podcast audiences. Its AI hosts include Clare Delish, a cooking guidance expert, and garden enthusiast Nigel Thistledown.

The technology also makes it easy to get podcasts up quickly. Inception has found some success with flash biographies posted promptly in connection to people in the news. It uses AI software to spot a trending personality and create two episodes, complete with promo art and a trailer.

When Charlie Kirk was shot, its AI immediately created two shows called “Charlie Kirk Death” and “Charlie Kirk Manhunt” as a part of the biography series.

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“We were able to create all of that content, each with different angles, pulling from different news sources, and we were able to get that content up within an hour,” Wright said.

Speed is key when it comes to breaking news, so its AI podcasts reached the top of some charts.

“Our content was coming up, really dominating the list of what people were searching for,” she said.

Across Apple and Spotify, Inception Point podcasts have now garnered 400,000 subscribers.

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L.A. County sues oil companies over unplugged oil wells in Inglewood

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L.A. County sues oil companies over unplugged oil wells in Inglewood

Los Angeles County is suing four oil and gas companies for allegedly failing to plug idle oil wells in the large Inglewood Oil Field near Baldwin Hills.

The lawsuit filed Wednesday in Los Angeles Superior Court charges Sentinel Peak Resources California, Freeport-McMoran Oil & Gas, Plains Resources and Chevron U.S.A. with failing to properly clean up at least 227 idle and exhausted wells in the oil field. The wells “continue to leak toxic pollutants into the air, land, and water and present unacceptable dangers to human health, safety, and the environment,” the complaint says.

The lawsuit aims to force the operators to address dangers posed by the unplugged wells. More than a million people live within five miles of the Inglewood oil field.

“We are making it clear to these oil companies that Los Angeles County is done waiting and that we remain unwavering in our commitment to protect residents from the harmful impacts of oil drilling,” said Supervisor Holly Mitchell, whose district includes the oil field, in a statement. “Plugging idle oil and gas wells — so they no longer emit toxins into communities that have been on the front lines of environmental injustice for generations — is not only the right thing to do, it’s the law.”

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Sentinel is the oil field’s current operator, while Freeport-McMoran Oil & Gas, Plains Resources and Chevron U.S.A. were past operators. Energy companies often temporarily stop pumping from a well and leave it idle waiting for market conditions to improve.

In a statement, a representative for Sentinel Peak said the company is aware of the lawsuit and that the “claims are entirely without merit.”

“This suit appears to be an attempt to generate sensationalized publicity rather than adjudicate a legitimate legal matter,” general counsel Erin Gleaton said in an email. “We have full confidence in our position, supported by the facts and our record of regulatory compliance.”

Chevron said it does not comment on pending legal matters. The others did not immediately respond to a request for comment.

State regulations define “idle wells” as wells that have not produced oil or natural gas for 24 consecutive months, and “exhausted wells” as those that yield an average daily production of two barrels of oil or less. California is home to thousands of such wells, according to the California Department of Conservation.

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Idle and exhausted wells can continue to emit hazardous air pollutants such as benzene, as well as a methane, a planet-warming greenhouse gas. Unplugged wells can also leak oil, benzene, chloride, heavy metals and arsenic into groundwater.

Plugging idle and exhausted wells includes removing surface valves and piping, pumping large amounts of cement down the hole and reclaiming the surrounding ground. The process can be expensive, averaging an estimated $923,200 per well in Los Angeles County, according to the California Geologic Energy Management Division, which notes that the costs could fall to taxpayers if the defendants do not take action. This 2023 estimate from CalGEM is about three times higher than other parts of the state due to the complexity of sealing wells and remediating the surface in densely populated urban areas.

The suit seeks a court order requiring the wells to be properly plugged, as well as abatement for the harms caused by their pollution. It seeks civil penalties of up to $2,500 per day for each well that is in violation of the law.

Residents living near oil fields have long reported adverse health impacts such as respiratory, reproductive and cardiovascular issues. In Los Angeles, many of these risks disproportionately affect low-income communities and communities of color.

“The goal of this lawsuit is to force these oil companies to clean up their mess and stop business practices that disproportionately impact people of color living near these oil wells,” County Counsel Dawyn Harrison said in a statement. “My office is determined to achieve environmental justice for communities impacted by these oil wells and to prevent taxpayers from being stuck with a huge cleanup bill.”

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The lawsuit is part of L.A. County’s larger effort to phase out oil drilling, including a high-profile ordinance that sought to ban new oil wells and even require existing ones to stop production within 20 years. Oil companies successfully challenged it and it was blocked in 2024.

Rita Kampalath, the county’s chief sustainability officer, said the county remains “dedicated to moving toward a fossil fuel-free L.A. County.”

“This lawsuit demonstrates the County’s commitment to realizing our sustainability goals by addressing the impacts of the fossil fuel industry on front line communities and the environment,” Kampalath said.

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Instacart is charging different prices to different customers in a dangerous AI experiment, report says

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Instacart is charging different prices to different customers in a dangerous AI experiment, report says

The grocery delivery service Instacart is using artificial intelligence to experiment with prices and charge some shoppers more than others for the same items, a new study found.

The study from nonprofits Groundwork Collaborative and Consumer Reports followed more than 400 shoppers in four cities and found that Instacart sometimes offered as many as five different sales prices for the exact same item, at the same store and on the same day.

The average difference between the highest price and lowest price on the same item was 13%, but some participants in the study saw prices that were 23% higher than those offered to other shoppers.

The varying prices are unfair to consumers and exacerbate a grocery affordability crisis that regular Americans are already struggling to cope with, said Lindsey Owens, executive director of Groundwork Collaborative.

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“In my own view, Instacart should close the lab,” Owens said. “American grocery shoppers aren’t guinea pigs, and they should be able to expect a fair price when they’re shopping.”

The study found that an individual shopper on Instacart could theoretically spend as much as $1,200 more on groceries in one year if they had to deal with the kind of price differences observed in the pricing experiments.

At a Safeway supermarket in Washington, D.C., a dozen Lucerne eggs sold for $3.99, $4.28, $4.59, $4.69, and $4.79 on Instacart, depending on the shopper, the study showed.

At a Safeway in Seattle, a box of 10 Clif Chocolate Chip Energy bars sold for $19.43, $19.99, and $21.99 on Instacart.

Instacart likely began experimenting with prices in 2022, when the platform acquired the artificial intelligence company Eversight. Instacart now advertises Eversight’s pricing software to its retail partners, claiming that the price experimentation is negligible to consumers but could increase store revenue by up to 3%.

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“These limited, short-term, and randomized tests help retail partners learn what matters most to consumers and how to keep essential items affordable,” an Instacart spokesperson said in a statement to The Times. “The tests are never based on personal or behavioral characteristics.”

Instacart said the price changes are not the result of dynamic pricing, like that used for airline tickets and ride-hailing, because the prices never change in real time.

But the Groundwork Collaborative study found that nearly three-quarters of grocery items bought at the same time and from the same store had varying price tags.

The artificial intelligence software helps Instacart and grocers “determine exactly how much you’re willing to pay, adding up to a lot more profits for them and a much higher annual grocery bill for you,” Owens said.

The study focused on 437 shoppers in-store and online in North Canton, Ohio; Saint Paul, Minn.; Washington, D.C., and Seattle.

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Instacart shares were down more than 5% in midday trading on Wednesday and have risen 1% this year.

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