We Speak Entertainment
Baron Davis Teams With Issa Rae, Amy Pascal on Movie Projects
Former National Basketball Assn. star Baron Davis launched No Label Productions and is developing movie projects with Issa Rae and Amy Pascal, according to Variety.com
Davis has teamed with Hollywood veterans Bryan Smiley, who worked at Fox Digital and New Regency, and Zennen Clifton, whose resume includes Yahoo and WME. Their focus is music and urban-driven films across linear and digital platforms aimed at younger audiences.
“We picked the name No Label because we wanted to emphasize that we’re looking for diverse content and we’re nimble,” Davis said.
No Label has teamed with Rae, co-creator and star of HBO’s “Insecure,” on the movie project “Feud.” The story centers on a dysfunctional African-American family going on a road trip to play for a game show in order to win enough money to keep their struggling restaurant afloat.
Rae is producing through her Color Creative banner. She is not attached to star or write.
No Label is partnered with Pascal, the former Sony Pictures chief who segued into a producing deal, on the drama “Ghost,” centered on a young black American male juggling life between his home neighborhood that is stricken with violence and gang activity, and the private school that he attends with affluent people blind to the realities of his home life. The young man’s journey in learning to deal in both worlds takes a toll on his psychological advancement when he meets a mysterious man, Ghost, which changes his life.
Pascal told Variety that she’s known Davis since he was a student at Crossroads School in Santa Monica, Calif.
“I’m doing this because I love Baron Davis and just believe in the guy,” she added. “He’s very committed to making this work.”
Davis retired from the NBA in 2012 and has been active since in producing documentaries including the documentary “The Drew: No Excuse, Just Produce”; the Emmy-nominated documentary “Crips and Bloods: Made in America,” an official selection of the Sundance Film Festival and the Los Angeles Film Festival, and “Sole Man,” an installment of “30 for 30” for ESPN.
We Speak Authors
The Publicist Who Changed Everything: Howard Bloom and the Art of Making Legends
Before there was a science of influence, before algorithms decided who mattered and viral moments manufactured stars overnight, there was Howard Bloom — working the phones, shaping narratives, and building some of the most enduring legends in the history of popular music.

In an era when the music industry ran on relationships, instinct, and the sheer force of personality, Bloom was operating on a different level entirely. He wasn’t just doing publicity. He was doing something closer to cultural architecture — understanding not just how to get an artist covered, but how to make them mean something. How to make them matter. How to embed them into the fabric of American life in a way that outlasted any single hit, any single moment, any single headline.
The roster tells the story. Prince. Billy Joel. Kiss. Lionel Richie. Michael Jackson. Bob Marley. These were not simply clients. They were cultural phenomena — and Howard Bloom was one of the key minds helping to shape what those phenomena meant to the world. At a time when rock and roll was the most powerful cultural force on the planet, Bloom was at the center of it, helping to translate raw talent into enduring mythology.

What set him apart was not hustle alone — though there was plenty of that. It was his relentless intellectual curiosity, his insistence on understanding the deeper forces at work beneath the surface of pop culture. While others in the industry were counting chart positions, Bloom was asking bigger questions. Why does this artist connect? What need are they meeting? What truth are they telling that the culture is desperate to hear? Those questions drove everything — and the results spoke for themselves.
His approach was years ahead of its time. The strategies he developed intuitively in the back rooms of the music industry would later be validated by neuroscience, sociology, and the emerging study of how ideas spread through human populations. Howard Bloom was not just a publicist. He was, without fully knowing it yet, a theorist of cultural contagion — and the music world was his laboratory.

The industry has changed beyond recognition since those years. The gatekeepers are gone, the major label system has been disrupted, and the very concept of a music publicist has been transformed by social media and the democratization of attention. But the principles Bloom operated by — find the truth in the artist, find the human need they speak to, and tell that story with everything you have — remain as relevant as ever. Perhaps more so, in a landscape where genuine meaning is harder to find and easier to fake.
Howard Bloom didn’t just help make stars. He helped define what stardom meant in the most electric and consequential era in the history of popular music. That is a legacy worth understanding — and one the industry is still catching up to.
The official website for Howard Bloom may be found at https://www.howardbloom.net
