VIDEO: Foolishly Seeking True Love - Hump Day: Jarrett Lee Conaway « Meekley

Hump Day: Jarrett Lee Conaway

October 20, 2010

 

by dconley

My homeboy Lopez put me on to this talented Black filmmaker named Jarrett Lee Conaway. This cat has been making strides since 2007 when he was a contestant on the FOX reality show, “On the Lot.” Conaway wrote and directed a short film called Foolishly Seeking True Love for Film Independent’s Project: Involve Fellowship. Conaway’s short film led to his being signed to a commercial and music video company called Partizan.

Speaking of which, Lopez, Tahir and I once engaged in a conversation about creating short works as a direct marketing tool. I’m not talking about making good short films that market your talents as a director. The idea was making short films that establishes one’s talent in a specific genre. After watching Foolishly Seeking True Love, I can understand why a commercial company signed Conaway to direct advertisements. The film is very stylized and European. The visuals are crisp and at times, bright. The writing is very quirky. Making good shorts are always a goal, but it seems to prove beneficial to know exactly what you’d like to do professionally and shoot for that. Check out Foolishly Seeking Love below.

 

PUB: Call for Submissions

February 13 at 3:39pm  

OPEN CALL FOR SUBMISSIONS:

"Cornbread, Fish & Collard Greens", a collection of poems, prayers, affirmations for the Person Living with HIV/AIDS.” Cornbread, Fish & Collard Greens is inspirational prayers, poems and affirmations that opens the heart, supports the soul and uplifts the spirit of People Living with HIV/AIDS. Cornbread, Fish & Collard Greens submissions have heart, but also something extra…an element that makes us all feel more hopeful, more connected, more thankful, more passionate and better about life in general.

DEADLINE: National HIV/AIDS Testing Day, Monday, June 27 2011 to:

Editors: Khafre K. Abif @ cornbreadfishcollardgreens@gmail.com

Guidelines for a Cornbread, Fish & Collard Greens prayers, poems, and affirmations submissions will be considered in the following languages English and Spanish

Above all, let it come from your HEART! Your piece is important!

What a Cornbread, Fish & Collard Greens story IS NOT:
1. a sermon, an essay or eulogy.
2. A term paper, thesis, letter or journal entry.
3. About politics or controversial issues.
4. A biography or testimonial.

Submission Specifications
1. It is preferred that all submissions are sent via email to: cornbreadfishcollardgreens@gmail.com
2. No anonymous or author unknown submissions please.
3. Send only one copy of each submission.
4. We do not return submissions, so please don’t send the original.
5. Please submit only prayers, poems and affirmations that have not been previously published. The only exception to this is if your work has only been published in a small local publication with limited circulation. It can take up to more than a year for the books to develop. Please be patient, as this is an important, yet time-consuming process. If your submission is chosen for Cornbread, Fish & Collard Greens you will be notified and your permission to print it will be requested. Please know that we never publish anything without written permission from the author. Feel free to submit more than one story or poem. Please do not send me any book manuscripts as these will be automatically discarded.

 

PUB: Word Words Competitions and Books

THE JACKLYN POTTER YOUNG POETS COMPETITION

In 1988, Karren Alenier designed the Young Poets Competition and invited Gail Ranadive tp develop and run the first competition as part of her MFA graduate studies at The American University. Over the years, the program has been organized and carried out by such poets and teachers as Maxine Clair, Lisa Horwitz, Elaine Magarrell, Mary Quattlebaum, Betty Stegall, Jodi Suleiman, and currently Perry Epes. In 2006, the Competition was renamed The Jacklyn Potter Young Poets Competition to honor the long-standing director of the Joaquin Miller Cabin Poetry Series where the winners of the Competition read their original poetry.


HOW TO ENTER

W. Perry Epes of THE WORD WORKS invites Washington, DC area high school students to submit their original poetry for consideration in its annual Jacklyn Potter Young Poets Competition. There will be two winners selected. The winners and other notable entrants will be recommended for a reading at the Nora School Poetry Series held in Silver Spring, Maryland, on the second Thursday of the month during the school year.

IF SELECTED, the winners will:

  • Receive an honorarium.
  • Read their original work in an outdoor setting near the Joaquin Miller Cabin in Rock Creek Park one evening in June or July (to be arranged).
  • Appear with an established poet at that reading.

SUBMISSION REQUIREMENTS:

  • Manuscript of five or six poems.
  • Name, address, and phone number in the upper right corner of every manuscript page.
  • Separate cover page with:
    • Name,
    • Address,
    • Phone number,
    • Email Address,
    • Name of school,
    • Grade,
    • Expected graduation date, and
    • List of the titles of poems submitted.
  • Self-addressed stamped envelope for notification of competition results.
  • Submission period: January 1 to March 31 each year.

SEND MANUSCRIPT TO:

      Word Works, Young Poets Competition
       c/o W. Perry Epes, Director
       1200 North Quaker Lane
       Alexandria, VA 22302

  Questions -- Call:

      W. Perry Epes
      703-931-5177

 

PUB: Summer Literary Seminars :: SLS Contests

Deadline Extended to 28 February 2011!

Summer Literary Seminars is announcing its annual Unified (Kenya, Montreal and Lithuania) Literary Contest, held this year in affiliation with The Walrus Magazine. We are thrilled this year to have Jayne Anne Phillips judging the fiction, and Matthew Zapruder judging the poetry.

Contest winners in the categories of fiction and poetry will have their work prominently featured online in Canada's premiere literary magazine, The Walrus, as well as published in print in The Black Warrior Review in the United States. Additionally, they will have the choice of attending (airfare, tuition, and housing included) any one of the SLS 2011 programs – in Montreal, Quebec (June 12 - 25); Vilnius, Lithuania (August); or Nairobi-Lamu, Kenya (December). 

Second-place winners will receive a full tuition waiver for the program of their choice, and third-place winners will receive a 50% tuition discount.

A number of select contest participants, based on the overall strength of their work, will be offered tuition scholarships, as well, applicable to the SLS 2011 programs. Read the full guidelines below.

 

 

 One short story or novel excerpt, maximum twenty-five (25) double spaced pages per entry. 
 No more than three (3) poems per entry. 
 Only previously unpublished work can be submitted.
 Include your complete contact information (address, telephone, email address) on the manuscript. Entries are not judged blind. 
 All entrants will be notified of the winners in the spring by email. 
 Cover letters are not required. 
 Previous First-Place winners may not re-enter. 
 Online entries are preferred, but hard copies are allowed (information below). 
 All submissions should be in 12pt font. Online submissions must be attached as a .doc or .pdf file
 DeadlineExtended to February 28, 2011 

TO ENTER

Entries can be submitted electronically, to: sls.contest@gmail.com

 Please state whether you are submitting poetry or fiction in the subject line (e.g. SLS Fiction/Poetry Contest)

NOTE: Please do not send payments to the above email address – we request that if you pay online you use the Paypal button below.

Entries can be submitted by mail to:

Summer Literary Seminars International
Unified Literary Contest 
(Indicate fiction or poetry)
English Department 
Concordia University 
1455 de Maisonneuve Blvd. W. 
Montreal, Quebec H3G 1M8 Canada

PAYMENT

$15USD reading fee must accompany each entry. Multiple entries are permissible, as long as they are accompanied by separate reading fees.

Fees can paid paid online, via Paypal, or to the address above, by cheque.

  Click this button to pay the $15 (USD) Contest Fee.

NOTE: Online submissions and payments are much preferred, but if you would rather submit the hard copy and pay by cheque, please use the above address.

These are the complete contest guidelines.

Do not hesitate to contact SLS with any questions, by e-mail: sls@sumlitsem.org, or mike@sumlitsem.org – or by telephone: (514) 848-2424x4632. 

We wish each and every one of you the best of luck!

 

 

 

 

EGYPT: How Did Yall Do It?

Wael Ghonim and

Egypt's New Age Revolution

February 13, 2011 5:00 PM

Harry Smith reports on the latest events from Egypt, including an in-depth interview with Wael Ghonim.

 

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Wael Ghomin: I Want No Role in New Government

Google Executive Tells Katie Couric He Would Like to Return to His Job with Google

 

VIDEO: 'With Wings and Roots' - Defining culture and belonging by people with immigrant parents > AFRO-EUROPE

Video: 'With Wings and Roots' - Defining culture and belonging by people with immigrant parents

 

They ask: "Where are you really from?"
Via Der Schwarze Blog

Currently in production, 'With Wings And Roots' is a feature-length documentary and new media project set in Berlin and New York that explores what gets termed assimilation in the USA and integration in Germany.

The English subtitled trailer of 'With Wings And Roots'


The german trailer 'Wo kommst du wirklich her?' (Where are you really from) of Wings and roots, but with English speaking people and German subtitles

Set in two countries currently struggling with immigration and national identity, the film tells the stories of six children of immigrants from diverse backgrounds who are striving to expand their definitions of belonging. A wedding, a new career, applying for citizenship – through vérité footage and in-depth conversations, the protagonists go through personal rites of passage, each facing questions identity and belonging and finding different ways to root themselves.

'With Wings And Roots' takes a transnational approach to explore how young people in one old and one new immigration society are redefining culture, citizenship, race, and belonging in this era of unprecedented global migration.

Website at: www.withwingsandroots.com

 

 

 

 

HAITI: Comprehensive Development Project Plants 8 Million Trees in Haiti Plants 8 Million Trees in Haiti

A Tree Grows Quietly in Haiti (8 Million Times Over)

Feb 13, 2011 – 9:42 AM
Emily Troutman

Emily Troutman Contributor

LEOGANE, Haiti -- The key to making good news in Haiti is to stay out of it. That's according to John Winings, acting director of the Comprehensive Development Project, a small organization operating in the hills above Leogane.

Over the past 20 years, CODEP has quietly planted more than 8 million trees -- a living, breathing forest in Haiti. Reforestation and anti-erosion programs are overwhelmingly unsuccessful in Haiti, which suffers from vast deforestation. But CODEP has a remarkable 80 percent success rate with the trees it plants.

As it turns out, the hard part isn't planting the trees -- it's keeping Haitians from cutting them down. A tree is quick cash.

So CODEP offers incentives.

"If the trees stay in the ground ... after two years, we'll replace your thatched roof with a tin roof. After three years, you earn a water catchment system and a cistern. After five years," Winings said, "you get a house."

 

Reforestation and anti-erosion programs in Haiti
Emily Troutman for AOL News
John Winings, acting director of the Comprehensive Development Project (CODEP), identifies forests planted and tended by the community in the organization's decades-long effort to reforest Haiti.

Some 600 people in remote villages are harvesting seeds, planting trees and tending their own wood lots with CODEP. Communities -- sometimes just a row of houses, sometimes families -- volunteer together to improve their land in exchange for a small stipend and the chance at a house.

But even after five years, members of the growing cooperative must still contribute approximately $350 toward the house and earn points based on service.

It's a startling incentive in the new post-earthquake Haiti, where aid groups have passed out nearly 40,000 transitional shelters over the past year. Shelters come with tin roofs, and the allure of getting one has drawn thousands of impoverished Haitians into Port-au-Prince, about two hours east of Leogane.

The U.N., among others, has also injected hundreds of millions of dollars into "Cash-for-Work" programs, where day labor earns employees $5.

 

Reforestation and anti-erosion programs in Haiti
Emily Troutman for AOL News
About 600 people in remote villages take part in CODEP's reforestation program, harvesting seeds and planting trees.

Since employees of CODEP don't work every day, they don't make as much. What they do earn, eventually, is ownership of the trees they grow. It's not a job -- it's a living.

"We didn't lose any employees to the Cash-for-Work program," Winings said. "And I think it's because the community knows that job will last for a month. CODEP will be here the next month, and the next month after that."

Enese Medee, a supervisor who has worked with the program for 15 years, says the small stipend CODEP provides is enough to make a living. But the average wage is rising.

Like many rural programs, it has become increasingly difficult to compete against the draw of Port-au-Prince.

Producing a Shady Interlude

Along the hilly drive from Leogane to Jacmel, motorists often notice the shady interlude of forest. But few understand how the trees got there or know that CODEP was the driving force behind them.

The neighboring Dominican Republic has 28 percent forest cover where Haiti has only 4 percent, according to U.N. figures from 2006. The lack of trees causes soil to disappear, making hurricanes and rain more dangerous because of potential deadly mudslides.

 

Emily Troutman for AOL News
Revinald Wyes, a CODEP employee, watches over seedlings after days of rain at this community-run nursery.

Despite decades of interventions from the international community, environmental improvements on a large scale haven't happened. It's not for lack of funding.

In 2009, the United Nations analyzed 43 environmental programs in Haiti, together worth more than $391 million. The results, according to the report, were "relatively meager." The study did not look at CODEP.

"Most organizations that support this kind of work," Winings said, "are just not willing to spend 15 to 20 years. They want results faster than that."

Despite evidence that short commitments don't work, the vast majority of projects studied by the United Nations had program cycles of less than five years -- some less than two. Programs suffered from a "chronic lack of follow-up."

Rock walls disappeared. Trees were cut down. Expensive equipment was plundered.

The U.N. study was conducted to set the stage for the Haiti Regeneration Initiative, a joint venture between Columbia University's Earth Institute and the U.N. Environmental Program. Over 20 years, they expect $3 billion will be spent on the environment in Haiti.

Jamie Rhoads, an agricultural development specialist working in Haiti, believes real success in development "takes a special kind of relationship" with the community. Rhoads serves on the board of directors of Haiti Fund Inc., the funding arm of CODEP.

"It took a long time to weed through the people," Rhoads said, "to find ones who now recognize that they've been working there for 15 years. They've put all their kids through school. They've done a huge amount of saving in those trees."

Tending the Seedlings

Along rutted paths off a turn on the road to Jacmel, small wooden houses were surrounded by avocado trees, oranges, mangoes, bananas and plots of coffee beans. In a clearing through the trees, a group of eight community members tended to seedlings.

If CODEP has finally cracked the code on reforestation, it's mostly because it stuck around long enough to see it through. The planting program happens in a decades-long circle-of-life time frame not suited to development's fair-weather friends.

Thirty-four communities participate along five watersheds, where each creates their own acreages of ecosystems. To begin, they dig precisely angled contour canals. Then they plant eucalyptus, followed by local vetiver grasses to hold the soil.

Eucalyptus trees were introduced to Haiti in 1947 and form the foundation of CODEP's program, though acacia is now being considered.

"In three years, eucalyptus grow 18 to 20 feet high. They can survive being cut eight or nine times. Also, goats won't eat the seedlings," Winings said.

After eucalyptus leaves fall into the ditches, creating natural compost, growers plant fruit and other forest trees. All of the seeds come from their own network of nurseries. Eventually, growers are free to selectively cut and sell the trees.

Through the years, the organization has tried new things and failed. It took a long time, Rhoads said, to figure out which species of trees work and why, and assess the long-term outcome. Results took 15-20 years to unfold, making it difficult to replicate the program.

"It will take that long-term personal commitment all over again," Rhoads said. "You can't just show up and measure your success by how much money you're spending."

Haitians Want Non-Haitian to Run Program

Winings is a well-known figure in the green mountain villages. The 69-year-old hikes through ankle-deep mud and takes donors on uneventful tours of trees. He is the acting director in the country and the only non-Haitian employee.

These days, many organizations pride themselves on getting in and getting out. CODEP doesn't have an exit strategy and it's unclear if it ever will. Even after 20 years, it may not be possible to turn the whole thing over to Haitians, as other charities often promise.

"When I asked what [the employees] wanted in a new leader, the main thing they said was that he has to be white and a foreigner. I accepted that," Winings said. "But then I needed to peel back the layers."

Since the organization operates in tight-knit isolated communities, Winings found that Haitian supervisors are often loath to fire their neighbors or mediate dramatic, soap opera-type conflicts that drag on for years.

Capacity building is slow and working with Haitian counterparts often means accepting different societal rules. Staff meetings, for example, can take hours.

"Americans would just go ballistic," Winings said. "But that's the way the culture needs it to be."

CODEP has a modest annual budget of $600,000, funded by a combination of about 100 churches, 150 individuals and some grant money. Smaller budgets don't necessarily mean less productivity. Sometimes, Winings said, bigger budgets can be a hindrance.

In the past, CODEP has aimed to fly below the radar of local authorities. It's a mixed proposition. The United Nations cites coordination with local authorities as a key instrument to success. In exchange for its low profile, CODEP has been protected from saboteurs and profiteers.

In Haiti, CODEP is mostly known only to the communities it serves. But with 8 million trees in the ground, things are bound to change.

 

INTERVIEW: Tim Okamura

Interview with Artist Tim Okamura

with one comment

When I first saw the painting above by Tim Okamura online I was blown away and decided to go see it in person in the “Here and Now,” group show that ran at the Lyons Wier Gallery on the West Side of New York City from January 8th, 2010 to January 29th, 2011. Tim graciously gave me an interview and I’m thrilled to share it here:

Where are you from?

I was born and raised in Edmonton, Alberta, Canada – my father is of Japanese heritage, and my mother’s family is originally from England, but both my parents were born in Canada as well…

I moved to Calgary, Alberta when I was 18 years old to go to art school, and then moved to New York in 1991 for grad school, and I’ve been here ever since. It’s been almost 20 years now, with about 17 of those years spent living in Brooklyn.

How have you been trained artistically?

I have my BFA from the Alberta College of Art and Design (ACAD) in Calgary, and my MFA in a program called “Illustration as Visual Journalism” from the School of Visual Arts here in New York. I had several great painting instructors including John Foote, Greg Crane, and Thomas Woodruff, who each had very different but valuable perspectives on making art. I also attended several classes at the New York Academy of Art, and was fortunate to have the artist Costa Vavagiakis – who now teaches at the Art Students’ League – as both an instructor and mentor. He definitely helped me refine many things on a technical level working from the model, and showed me what really focusing was all about.

Who are you influences?

I think I have several influences that each affect different aspects of the work… As far as the way I approach the figure I have tried to learn from several of the old masters, particularly Rembrandt, and Caravaggio but I also have contemporary figurative influences such as Lucien Freud and Odd Nerdrum. As far as compositional influences, I’m currently looking at other contemporary artists: Antonio Lopez Garcia and Neo Rauch are really vibing for me right now, even though I think most would agree they are quite divergent in their approach to painting. And I doubt the connection is obvious but I’m certainly inspired by the freedom Basquiat showed in his work as well. It’s something I really admire.

I also love most graffiti and street art – especially graffiti – I’ve always been into typography and letterforms, and calligraphy ( I had a calligraphy set given to me as a Christmas present when I was young…). I appreciate all the pioneers of graffiti, all the original writers – I’ve had the pleasure of meeting a few of those cats, like Lee Quinones, and I’m also amazed by a lot of these new wildstyle kids… their skill level these days is really really sick. When I incorporate graff elements into my work, it’s really more of an homage than anything – I mean I like the way the graff in my paintings functions as a compositional element, or for the message it conveys, but I would certainly never claim to be a graffiti or street artist myself… and I’ve collaborated with a couple writers – in particular the KidBelo from Canada – and really enjoyed the process and results, so hopefully it’s something I will do more of in the future.

What is difficult about producing work?

The difficulty comes for me in just putting in the hours that the paintings require… starting a painting is always exciting, and signing it is a moment of joy, but a lot of the process in between – buildling, developing the layers, refining the details – can be a real grind. It does truly feel like a job sometimes, and people don’t always understand that. I don’t have a smile plastered on my face the whole time I’m painting… it can be a real struggle, especially when you run into unexpected obstacles along the way, with composition or something, or when the paint won’t behave the way you want it to. But, in the end, if I feel good about the painting – and I usually work it and re-work it until I do – it can definitely give me a true sense of satisfaction. It can be like finishing writing a song that you really love to sing….

What is your dream?

I suppose there are many things I could answer this question with… like getting to a point where I simply don’t have to worry about money…lol, but I think something that would be a really profound experience would be to have a complete retrospective exhibition put together. If someone organized a show where they were able borrow back every painting – or maybe all of the best paintings – I ever did and show them in one space… that would be really mind-blowing I think. To see them all again in person – it would be intense, the ultimate “this is your life” event for an artist. For better or worse. I’m sure there would be a lot of me saying, “oh my God, I can’t believe I let that out of my studio..” but I am envious of any living artist that has had the experience of a really comprehensive retrospective.

We’ll see……

Written by Maliamu  

February 4, 2011

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Imitating Life Through Art::Tim Okamura





Bless...its been a minute..hope this finds ones feeling good and doing better... I ran across this artist and his works a little while ago and had been meaning to share it w/ ones. Tim Okamura truly imitates life through his art, or rather just pays it the best compliment. You usually have to look @ his portraits twice to see if its an actual photograph...He hails from Alberta, Canada and currently resides in Brooklyn where he is constantly inspired and pleasantly surprised by the daily offerings that he witnesses by way of people, places, and things...Check more of his works at www.timokamura.com...Bless Up...

 

VIDEO: "J.Dilla: Still Shining" on Vimeo

J. Dilla
Created in 2006, this remembrance piece is created as a tribute to the memory and legacy of James "J.Dilla" Yancey. This is a piece designed for his fans and supporters who knew of his accomplishments before February 2006 and those that have grown to appreciate his genius. Here, we gain a greater insight and understanding about our musical icon. 

Directed by: Brian "B.Kyle" Atkins / Gifted Films Inc

J.Dilla is Still Shining.

(2:55) - Work Ethic Starts In The Basement
(7:35) - What To Listen For in A Dilla Beat
(9:10) - J.Dilla's Range As A Producer. The King of Reinvention
(12:16) - Going Beyond His Influences
(14:39) - The Dilla Approach To Production
(20:21) - Jay The Producer vs Jay The MC
(26:08) - The Personal Side of J.Dilla
(29:04) - A Soldier Unstoppable!
(32:05) - Venturing Out. (as explained by Phat Kat) 
(33:59) - Heading Home... Job Well Done.
(34:48) - We Salute You.