Lyrical City writing workshop series

City as Memory: A Lyrical City Writing Workshop
Whether we were born in Washington, DC or migrated here, the city functions as a living repository, holding memories of people, places and events in our lives. What happens to our memories as the city evolves and changes, as landmarks disappear and new sparkling edifices take their place? How do we write about the places and people that have shaped us? What have you been a witness to? How do we look into the mirror at ourselves?

E. Ethelbert Miller kicks off the Lyrical City writing workshop series with a class on memoir. In addition to the workshop on Sunday, all are invited to attend his presentation “No Women, Two Books, One Man: An examination of memoirs and family” the day before at the Washington Historical Society (details below).

Bio
E. Ethelbert Miller is a literary activist. In addition to several volumes of poetry, he is the author of two memoirs, Fathering Words, and most recently, The 5th Inning. He is the board chairperson of the Institute for Policy Studies (IPS), a board member of The Writer’s Center and editor of Poet Lore magazine. Since 1974, he has been the director of the African American Resource Center at Howard University. Mr. Miller is the former chair of the Humanities Council of Washington, D.C. and a former core faculty member of the Bennington Writing Seminars at Bennington College.

About Lyrical City
Lyrical City is a six-part writing workshop series facilitated by outstanding writers with a strong DC connection. The workshops focus on the African-American poetry tradition in DC and various cultural aspects of the city. The workshops are open to all. There is also at least one slot reserved in each workshop for an emerging youth writer (age 16-25).

Participation is limited to 12 people. The cost of each workshop is $25. Some partial scholarships are available. (To request a scholarship, please include a 2-3 sentences briefly explaining your financial needs.) Residents of the Mt. Vernon neighborhood receive a discounted rate. To apply for the workshop, please send an email with your name, a brief paragraph (50-150 words) explaining what you hope to get out of the workshop and one poem. Accepted applicants will be notified on how to make advance payment (online or via snail mail).

The first workshop will take place on Sunday May 3 from 4-6:30pm at Busboys & Poets, 5th & K, in the Cullen Room.


Upcoming workshops will be facilitated by Reuben Jackson, Thomas Sayers Ellis,Toni Asante Lightfoot and Sharan Strange
.
This workshop is funded in part by the DC Commission on the Arts & Humanities, an agency supported in part by the National Endowment for the Arts

The Historical Society of Washington, DC presents:
“No Women, Two Books, One Man: An examination of memoirs and family”
Saturday, May 2, 2:00 – 3:30 p.m.
801 K Street, NW at Mount Vernon Square, Washington, DC 20001
Ethelbert Miller discusses his two memoirs—Fathering Words and his new book,
The 5th Inning. This discussion is an opportunity to talk about love, divorce, marriage, and family life. Are all the stories true? Come and find out. The author writes in his new book, “This book is a riff on middle-age, marriage, fatherhood, and failure. In baseball the fifth inning can represent a complete game. The structure of this book consists of balls and strikes. As a writer I might now and then throw the reader a curve.”
(Ages 12 to Adults) RSVP@historydc.org or 202-383-1828. FREE

Gerard Caliste Opening in Saturday, Santa Monica April 4th

gcaliste_front
If you happen to be in Southern Cal this weekend an artist whose work i came across is going to be showing at the Lois Lambert Gallery (http://www.loislambertgallery.com/) in Santa Monica April 4th – May10th. His name is Gerard Caliste and his website is http://www.gerardcalisteart.com. check it out!

from my boy Gabe.. Support Youth and Oak Hill

Please join us Wednesday, December 10th for a poetry reading by youth at Oak Hill.

From 5 to 6pm next Wednesday, poets will share their original work with invited guests. This will be a unique and exciting opportunity to hear directly from incarcerated DC youth who have a lot to say, and a lot of insight into the world around them.

Those interested should RSVP to Gabriel at gfeldman@seeforever.org, so that their names can be put on the security clearance list. SPACE is LIMITED, so please RSVP soon if interested, and only if you really think you can make it.

Again, it’s Wednesday, December 10th from 5-6pm at Oak Hill Youth Center (Laurel, Maryland–about 30 minutes from DC.) Details will follow for those who RSVP. There are some very powerful pieces being read, and you won’t regret making the trip!

check this artist: Barkley L. Hendricks

hendricks

First of all big ups to Google Reader because without it I would have never found out about this artist. I was reading John Keene’s blog J’s Theater and the a painting in his post caught my attention because it looked like a Kehinde Wiley ( I won’t link him, there is plenty of info out there about himyou can find it) , but it was actually a portrait done by Barkley L. Hendricks check out more of his work here . The similarities are pretty striking… check out the Fela portrait here to see how striking the similarities are; I like how keene put it on his blog. He said that “His (Hendricks) DNA is all up in Wiley’s and others’ work. ” Apparentely, The Studio Musuem after (w)rapping the Kehinde Wiley show put up Barkley L. Hendricks show and it will be up through March 15, 2009, get more info here

Big ups all the way around to Google Reader, John Keene for posting to J’s Theater, Sarah Ball for her article Battle of the Brushes of Urban Portraiture or Urban Outfitters , and the curators at the The Studio Museum of Harlem for their research in finding and showing Barkley L Hendricks.

Sources for this post.

http://jstheater.blogspot.com/

http://www.newsweek.com/id/169158

http://nasher.duke.edu/galleries/main_gallery/?cat=1&offset=0&pic_id=1

http://www.studiomuseum.org/barkley-l-hendricks-birth-of-the-cool/

http://topics.nytimes.com/top/reference/timestopics/people/h/barkley_l_hendricks/index.html

http://www.newsweek.com/id/169158

RIP Lawrence Wheatley

RIP Lawrence Wheatley, Jazz Pianist
RIP Lawrence Wheatley, Jazz Pianist

Sometimes I feel like “going fishing,”

Like life is just a can of worms.

A lonely musician, sitting here wishin’

You’d listen, but on my own terms.

—Lawrence P. Wheatley

Looking in The Post this afternoon I was a little blown to hear about the passing Jazz Pianist, Lawrence Wheatley. I only recall having heard him play once and before i could a chance to rap to him he had gotten up from the piano and walked out the door.

According to this article he apparently was a poet and called himself the “Bard of Bebop.” I would really have loved to talk to him about the INTERSECTION of jazz and poetry and how he negotiated  that INTERSECTION in his work, if at all.

http://www.washingtonpost.com/wp-dyn/content/article/2008/11/19/AR2008111903942.html

http://www.washingtoncitypaper.com/display.php?id=12577

http://www.washingtoncitypaper.com/display.php?id=12577

breath of life+Tomasz Stanko

Breath of Life: a conversation about black music, a blog by Kalamu and Mtume ya Salaam did this really awesome piece on this Polish trumpet player that I have been digging on for quite sometime now, Tomasz Stanko.

I am not going to say to much more about it, but i think the following quotes speak volumes not only about the reach, influence and impact of African American culture in general, but jazz in particular.
go over to Breath of Life and read the piece and go out pick up some of Stanko’s music…you won’t be disappointed. While you are over there check out the archives, these brothers are having some really important and sharp convo about not just music by people of African descent but music in general.

The message was freedom. For me, as a Polish who was living in Communist country jazz was synonym of Western culture, of freedom, of this different style of life.
—Tomasz Stanko

I find all attempts to confront and to be against inherited reality to be natural ones and the desirable ones. It’s life. To explore and to learn you can start from any point, it could be as well here and now. If you like jazz you don’t necessary need to know what was in the past, which includes my music. It all depends on one thing – the sensibility of he listener.


Myself, I’ve always been a mix of two extremes:

– Obsession for the innovation

– Love for classically understand concept of tradition and “beauty”. By “beauty” I mean the same approach and esthetics we find in Balthus’ paintings.


I’ve never distinguished between my desire for advance which guided my life and my love of mainstream and modal jazz of Trane and Miles or Chet Baker’s moods. I’ve always listened to diverse music: from Nancy Wilson to Brazilian samba to Keith Jarrett. My sound was inspired by very traditional trumpeter Buck Clayton, who has never played anything close to modern jazz but I was able to incorporate his colors, ambiance and his unique “dirty sound” into my own vocabulary. Free jazz has always been for me a philosophy of life, my way of life. It’s something which determines my personality and who I am; not necessarily what music I play. I love Cecil Taylor stuff but Taylor’s inspirations have never precluded me from listening to say, pop music. After all jazz is primary about the tolerance.
—Tomasz Stanko