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J.R.'s Journey
News Conferences, Interviews, and Media
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I’m A Little Spooky!!
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No Acrylics Today
Several memories as a child involve locating a pack of construction paper, glue, scissors and other accessories to prepare for numerous hours of entertainment. I would make collages from home décor and other design magazines, laying out my dream home. I saw vanities, Shoji screens, cherry wood and mahogany pieces that I knew would be a part of my personal style one day.
Aside from the notecard business I began in 8th grade <www.cafepress.com/jordanwilliams>, featuring my original artwork with mediums of acrylic, charcoal, and map pencils, I kept a drawing binder where the latest pictures, an upwards of 3 to 5 a week, could be stored for future reference. Often times my characters humored the style of popular Anime programs like Dragonball Z and Tenchi Muyo.
It was later that I came to appreciate Anime as an art form through teaching the craft at Laguna Gloria Art Camp in Austin, Texas during the Summer. I also took a class where the team created a Flash video where the characters engaged in a dancing duel at a discotec.
After college it seemed the motivation toward anything art related had dwindled. Aside from a few sketches in the margin of notebooks, there weren't any extravagant hands resembling that of Sauron, or a potential comic strip series featuring characters in Chibi style.
But today was different.
As an assignment I drew a portrait where in my efforts to capture the subtle lines and glimmers from a picture, my craft advanced. Whether it was the iconic bags under the eyes, the shape of the fingers, or dimples around the mouth, these small details flowed through the pen in a way never seen before. I am glad to know the gift is alive and well.
#Thankful for the #God-given talent.
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Lessons of Heritage and Motherhood from the African American Museum
The African American Museum featured the exhibits, Generations: A Women’s Conversation and David Newtown’s Facing the Rising Sun Freedman’s Cemetery. The pieces from A Women’s Conversation were from local artists such as Valerie Gillespie, Marilu Flores Gruben, Annette Lawrence, Anita Knox and Executive Director of the South Dallas Cultural Center Vicki Meek.
Dallas’ historical Freedman’s Memorial was established in 1991 where David Newton’s vision of African slaves, both free and enslaved would have a place of retrospection for the living and dignity for the dead. It is evident that the “classic spirit” of Newton’s work as described by museum curator and artist Emmanuel Gillespie, through “mythology, heroes [and] The Bible” permeate throughout the collection of stoic and languid sculptures.
Regretfully, upon the sudden death of David’s mother in Detroit, he could not oblige the audience with his presence. However, his work represented him well. And with the conversation of motherhood and women’s role in the world, such events seemed uncanny.
An artist’s muse has the power to cultivate work of vast and inspiring potential. Valerie Gillespie told The Dallas Weekly her inspiration is “[her] three month old daughter.” Before her pregnancy Valerie was working on pieces dealing with “human nature” called “The Great Divide;” however, as pregnancy became a greater realization in her life she began to “paint on what [she] felt about becoming a mother.” Valerie conveys these feelings through “acrylic on canvas and mixed medium,” using markers, wood pieces, pages from books and “anything [she] used in [her] daily life.”
What also attributed to the dramatic switch in Gillespie’s projects were the conversations she had with her mother and grandmother about motherhood. “I knew I was about to embark on this huge, monumental journey with this other little being, so that in itself is pretty intense, but I think that sparked everything for me,” said Gillespie.
In light of knowing that children are watching their mother’s actions to determine how they should behave, Gillespie states she wants to “be the best person [she] can be for her [child].” Valerie plans to endeavor through the “motherhood series and see where it takes [her].”
Throughout history, the charm of a newborn baby cycles through adolescence and matures into adulthood, where in the African American experience, this process has been altered into sordid proportions. Vicki Meek’s work pertains to “sexuality and sensuality and how that got warped into what is essentially voyeurism, and an inability to see one self in a respectful way as a mere sex object.” There is a generational gap between Meek and the present generation of women who are “embracing [the role of sex objectification] willingly, and “raising the next generation of young women.”
It is seen in daily life that little girls are not seen as little girls anymore because their dress suggests another kind of sensibility with which their age does not compute. “I think a lot of this stems from the fact that we failed them – because we’re the ones that educated them or didn’t educate them about whose shoulders they stand on,” said Meek. The names of “Ida B.Wells, and Harriet Tubman, and Ella Baker,” were recalled and remembered for their strivings to ensure “that we would never be objectified again,” which at this point seems in vain. “For [the women of today] to readily embrace [sexual objectification] and flaunt it is beyond disturbing,” said Meek. Highly contrary to the rearing of today’s mothers, Vicki spoke about her mothering experience: “I look at my own daughter who I raised and I know how I raised her – she didn’t turn out like that.”
Although some may blame the media, that approach reinforces a “scapegoat” mentality. In order to combat the issue of voyeurism effectively, it must come through the “personal responsibility that we as women have to take regarding how these young women are being enculturated.”
After the stories of Valerie, a young mother who wants the best for her new baby girl, and Vicki’s concern that the next generation of young girls will not perpetuate the values necessary to become upright women of color, another reference comes to mind from Proverbs 22:6: “Train up a child in the way he should go [and in keeping with his individual gift or bent], and when he is old he will not depart from it.” (Amplified). Even the scriptures written over 2,000 years ago speak to the necessity of parents rearing their child accordingly.
For young mothers who want the best for their babies, and the seasoned mothers who need an education in how to become better role models, the verse from Proverbs and women with likeminded views conveyed through Valerie, Vicki, and their art work can shift the next generation into the prosperous living that was intended, by those who died so that future generations could truly live.
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Members of the Suspicion, Lies, and Sweet Potato Pies Cast and The Dallas Weekly's Jordan Williams
Photo Courtesy of Managing Editor, Gordon Jackson of The Dallas Weekly
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Suspicion, Lies and Sweet Potato Pies Cast Tell All
The Black Academy of Arts and Letters will debut the anticipated play, “Suspicion, Lies and Sweet Potato Pies” Friday, August 12 through Sunday, August 14. Many have described the director, Teresa D. Ballard as “the next Tyler Perry” based on her vision and passion for writing and directing.
When affluent womanizer De André Fellows becomes a targeted suspect as his flock of adoring women disappear through a series of systematic killings, Fellows is supported by the prayers of his mother and mystery solving techniques of friends Stan (Christian Keyes) and Squirm (D. Ellis). As the cloud of suspicion looms, De André meets an intangible woman sold out for Christ and becomes preoccupied with how to woo her. The cast includes both national and local talent with two-time Grammy winner Jennifer Holliday, R&B artist Tony Terry, Hip Hop’s Big Chief, Pop Star Lauren Ashley and other noteworthy individuals.
Comedian and actor D. Elli$ has two roles in the dramedy (drama and comedy). “I play Squirm and I also play Mrs. Bertha,” he told The Dallas Weekly. The Texarkana native “was reluctant to [throw on a dress] because [he knew] that is really Tyler Perry’s lane, but [the opportunity] came up.” He bantered that even when donning a dress his posture was still unmistakably masculine. Elli$ has been in the entertainment business for 12 years. While working alongside Jennifer Holliday, preparing for a comedy tour in September, and hosting parties with Jamie Foxx and a Boys II Men concert he said, “Ain’t nothing like doin’ somethin’ and being in your own business and doin’ what you love to do.”
Co-star Christian Keyes describes his experience in the production as an attempt to “treat every single thing like it’s the biggest thing ever, because that’s how [he] would want people to treat [his] projects.” His character Stan, “De André’s more sensible best friend” encourages him to find the right woman than “finding twenty mediocre women.”
Along with acting Christian has a music career, where The Gospel Music Channel has continuously aired his video “I’m Alright,” since Thursday, August 4. “I’m not a ‘gospel music artist’ but God put the song on my heart, so I had to write it.” The Detroit native has been a thespian for five years, and earlier in his career worked with Tyler Perry in “Madea Goes to Jail” and “What’s Done In the Dark.” During those experiences “I learned a lot about being a professional, being ready and prepared and focused. And I got to work with a lot of great people, too,” said Keyes. When describing Tyler Perry Christian said, “As a producer [and] as a writer he definitely wants what he wants and knows what he wants.”
Christian came into the entertainment industry as a model and later booked auditions for local plays and commercials in Michigan. When acting became a new reality in his life, Keyes attended classes and read books to better his craft. “I didn’t want to be the guy that has a solid look but can’t act worth nothing.” Christian acknowledged that in both careers, particularly in music, “depending on the on the mood of the song or whatever the storyline is in the song you’re acting that out.” He also finds songs that help him “mentally [and emotionally] connect to the character.” Christian’s next project is a film he wrote, “Note to Self.” Shooting begins in October in Los Angeles with a cast of confidential “household names.”
Lady Jade, Dallas’ K104 Radio Personality plays the role of Bitter Brianna in the play. “All women can relate [to this character] because at some point in [one’s] life a lady has been bitter.” Although Jade was a child model this is her first theatrical debut where she is truly “[stepping] out of her comfort zone.” Jade’s foreknowledge that “[radio] is not scripted” helped her prepare for her role, and the actors who missed or adlibbed their lines. In those cases, it was important for other actors to remain in character and continue with the scene. “The entire cast is just fantastic! It’s funny how in such a short period of time we have actually become like family.”
Amelia Jeffries role as Portia, De André’s girlfriend in Suspicion, Lies, and Sweet Potato Pies is another notch in her extensive work belt in television, film, and theatre. “We have a lot of fun,” says Jeffries about the cast. “We play hard together, so we are very open with eachother to criticism, but everyone is 100 percent.” Jeffries praised Teresa Ballard as a director who “is very open to feedback. She lets you be an artists and she gives you the pathway of where to go.” Amelia’s next project is a film to shoot in Baton Rouge, Louisiana.
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MuteMath's Odd Soul
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MuteMath's Odd Soul
iTunes released two of MuteMath's latest songs, "Blood Pressure" and "Odd Soul" to debut on their next album, "Odd Soul" available October 4, 2011.
Blood Pressure speaks to the conventional one-up berating many have encountered from family and other voices speaking into their life: <Why can't you be more like your older brother? / Why don't you do a little more for Jesus?>. The chorus is a chuckle worthy chant, creating a sense of solidarity among those beleaguered by the nagging: <Blood Pressure!/ Do better! / Keep Risin'>.
Like Blood Pressure, Odd Soul has a down-to-Earth quality, depicting the outsider reality and mentality of those who do not fit the conventional mold. One of the lyrics that hooks me says if the child wonders what is wrong, tell her "Daddy don't belong!" And the chorus confirms, "I'm an odd soul!"
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Weekly Analysis (April 19,2011)
The weekly sum consisted of an article discussing Hollywood fairy tales (essentially how Hollywood is modernizing classic fair tales, such as those from Brothers Grim and Disney). In addition, there were two comparison and contrast pieces from The Los Angeles Times and The New York Times about the films 'The Princess of Montpensier' and the animated film, 'Rio'.
Other news consisted of the pianists being laid off at Nordstrom's department store (highlighting a concern for *name branding), an analysis of the Scream 4 film, and the creative conventions of the Tron: Legacy album and Paul Simon's new album.
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Paul Simon's New Album
There was an article in the Los Angeles Times discussing Paul Simon's new album, centered around death. Several quotes framed the discussion, with noteworthy artists talking about Simon's techniques-in-work toward the album. It seems that Simon's style is a come-as-it-goes, with influences from the places he's visited (Africa), keeping music at the core, and everything that can be used will be used while the core remains true to itself.
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Tron Album
On Relevant magazine's site I found a review for Tron Legacy's album. The critic discussed the musical conventions of the robot duo, Daft Punk, and how their style although is unknown as their sound harkens to many influences, it does present connections elsewhere that keep them as a group and their genre worth investigating further. Included in the article was the Derezzed music video.
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Scream 4 Analysis
I found an article from RELEVANT Magazine critiquing Scream 4 as a film that is troubled with more "self-awareness" than with the potential to offer anything new. The plot was discussed as well as the key points of the film: keeping close to family and friendship.
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Pianists, no more in Nordstrom :o(
The Los Angeles Times discussed the last of the piano players had to walk away from Nordstrom's department stores. Nordstrom might regret laying off their pianists, in their blindness toward (name) branding.
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The Los Angeles Times and The New York Times View on 'Rio'
When discussing the film Rio, The Los Angeles Times highlights on why animated films are big in the movie industry - a major part because the viewer demographics "doubles", where the line between adult and kids does not have to be drawn. However, The New York Times tends to read as a simple movie review: brief insight into the plot, a list of renowned voices as the characters, and when the film will release along with the list of actors in the film.
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The Los Angeles Times and The New York Times' View of 'The Princess of Montpensier'
Both news sources present interesting scopes on the film. The LA Times begins with adjective ladden view of the film, followed by the cinematic convetions of the director, specifications of the characters invovled and a nice note about the creation of the film (classy quality). Whereas the New York Times focuses on the sensuality of the piece, the brutality regarding social issues. Below on the page is the name of the film, when it is released in New York and LA, and cast and crew names.
New York Times: <http://movies.nytimes.com/2011/04/15/movies/bertrand-taverniers-princess-of-montpensier-review.html?ref=movies>.
Los Angeles Times: <http://www.latimes.com/entertainment/news/la-et-princess-montpensier-20110415,0,3759893.story>.
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Hollywood Fairy Tales
The LA Times discussed the rapid rate of fairy tale stories reconfigured in present day Hollywood. Of the movies mentioned was Beastly. According to my earlier post about the film as a critic, I was disappointed in the film for the lack of depth, gaging on the stereotypes presented in the film. However, according to the articles, Fairy tales with a twist tradition is what the public wants to see, commenting that the beast in Beastly could not, not turn back into a human.
So it seems, the fairy tale trend will continue forth with similar reinvetions of the plot to grab a younger audience.
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Weekly Update (April 1, 2011)
This week I compared/contrasted restaurant reviews from the NY Times and LA Times, reviewed the upcoming 'Thor' movie, and two music reviews: one discussing how Marsha Ambrosius has kept truthful to her personal style, and the uniqueness of Jazz in Lot 1.
I also noted the differences between the NY and LA Times: The writer’s names in the LA Times are listed at the bottom, accented by a dash followed by their name as if the article were a personal letter, whereas the NY Times have their writer’s names listed at the top after the title of the article.
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Keeping in Real: Jazz in Lot 1
I found an article in the LA Times discussing the nuances of a particular jazz performer: his style, his credentials, and how he began as a musician.
I've noticed a striking difference between the articles from the New York Times and the Los Angeles Times. The writer's names in the LA Times are listed at the bottom, accented by a dash and their name as if the article were a personal letter, whereas the NY Times have their writer's names listed at the top after the title of the article.
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