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It seemed to her that anyone who embraced during this sway of violins and harmonies was elevated to a place where hidden things stayed in hiding and white Mary Janes were never stained. The first word of the song came to her and she decided it was the best one that had ever been invented: heavenly. Only when the song ended did Sis realize that the people on the porch had lined the baluster, observing them. He seemed resentful at having to step out of his reverie. The Hokey-Pokey Man blinked a few times and then threw a glance to the driveway, where not a single car was parked.

It wafted at her, warm and rich and pure, not at all like the clash of sweets and starches on the midway. Then the Hokey-Pokey Man burst into vicious laughter. You the nigger, little girl. You know why? Instead of waltzing the woman with the ringlets, he kissed her. That makes us legal! Ask your nigger grandma about that. As the woman clung for dear life, the Hokey-Pokey Man twirled dementedly through the yard to a rhythm he hummed between heaving breaths. The people on the porch started laughing. Sis knew they were laughing at her.

He just stood with her, neither certain of whether it was even possible to step away with grace. Soon the couple on the steps placed a new 45 on the phonograph. This was strange and frantic music, not at all heavenly. It made the people on the porch hop up and down and flounce their hips. In a global pandemic of instant communication via the growing armamentarium of sophisticated cell phones equipped as near computers jabbering in fragmentary symbols and inundated by input from the infinite number of blogs and twitters, the speed of current living seems to be approaching that of light.

In this raucous atmosphere, where history is not only discarded but nearly negated, the presence of artists who keep us in touch with the flow of life is ever more important. Rod Moss is an Australian artist who, though well known in his.

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Moss has devoted his talent to focusing on the origins of life in the vast land of Australia by returning to the Aborigines. Rather than using the neglected and abused Aborigines as canvas fodder for his paintings, he has moved into Aboriginal territory, making his home in central Australia in a place called Alice Springs, distant in proximity and cultural diversity from the sophisticated major cites of. Melbourne and Sydney.

Poems and art

A remarkable artistic technique is the manner in which Moss subtracts color from the skin of the Aborigines, electing instead to paint faces, hands and feet in black and white. Aboriginal figure is in black and white. It is the obvious wealth of art history background always at work in the mind of Rod Moss coupled with the unique manner of painting the near indescribable quality of light found in the areas where the Aborigines live and the painterly choices he makes in visually describing what he sees and feels that makes this art so important.

It is difficult for the viewer to be in the presence of a Rod Moss painting without absorbing at least some of the responsibility for the manner in which civilized man has pushed indigenous peoples into the background, all in the name of progress. Taylor Mali is giving poetry a good name. He is dynamic, forceful, humorous and relevant. Mali is a teacher, poet, and voiceover artist; and, he is among the best known slam poets in poetry history.

He led six of his seven national poetry slam teams to the finals stage and won the championship a record four times. Mali is the author of What Learning Leaves, has recorded four CDs, and is included in various anthologies. He recently appeared in performance with Galway Kinnell. GC: How do you describe Taylor Mali in the 5th grade? Grad School?

TM: In fifth grade I was already over five feet tall, which made me one of—if not the—biggest kids in the grade. I took karate on Thursday nights and drove with my whole family six of us to our house in Connecticut most weekends. I thought I was funny. In eighth grade, I was still big for my age. I thought I was going to become a jock. I was on the wrestling team and I went undefeated that year, tying other kids up in knots with my legs. I was secretly very insecure; I guess I was thinking that someone would take advantage of that opportunity to be something other than heartless.

I erased it before anyone wrote anything. I drove a black convertible Mustang and was very Californian. The woman who would later become my first wife was miles away at a school in Missouri, so I tried to behave myself at parties and be a safe guy to my female friends. Dear Lord! But I was good and channeled all that energy into my poetry. I also. GC: How did you arrive at such an emphatic stage persona? Usually poets get humor from self deprecation.

TM: I went to drama school in Oxford and studied with some of the best actors in the Royal Shakespeare Company, so I know how to use my body as an instrument, my voice. I think that tends to make me appear more thoughtful and emphatic. As for humor, I am still pretty self-deprecatory. GC: What perils must be overcome to step on stage to deliver a serious message via humor?

TM: Good question. The biggest peril for me is that the humor will derail the poem completely. Other people more familiar with my work and my story discreetly elbowed her in the ribs and told her to shut up, but I have no problem with her reaction. It made for a great, awkward moment in the room.

GC: What is the best thing that ever Part of the format of that series is that the poets trade one poem. It is such a breathtaking poem—I wish I could write like that! But I hope that whoever says that to me is serious about it and will go buy a book or check one out of. The longer you sit with poetry the greater your appreciation of its subtleties becomes.

There are poets whom I adore who would not do a thing for some of my most ardent fans because the poets are too rarefied. As a poet wrestling daily with language, you are drawn to write ever more subtle and abstruse poems. My work is the tricycle of poetry. GC: Many say they want more of Taylor Mali. What More is in reserve and ready to go? TM: I have a new book coming out in September of this year. About my life teaching, touring, and loving. And of course, new performances get uploaded to YouTube every now and then.

GC: What do you think of the philosophical idea that voice is the breath where all poetry resides? What does that even mean exactly? That all poetry must ultimately work on a spoken level? But what about silence? Do they reside in breath as well? GC: What stand-ups do you admire who value d language as central to their material? TM: George Carlin is the obvious answer, and I have loved his work for over 30 years.

My brother recently told me that he thinks I borrowed a lot of my performance style from Carlin as well. Who else? GC: Do you memorize poems and see a use for oral rhetoric? TM: Yes. And yes. At a poetry reading, your performance is essentially an ad for your book. GC: You are seriously close to being famous. What are the benefits? Or sometimes people will come up to me with cell phones and ask me to speak to their younger brother who is about to perform one of my poems in a slam at school. I like to bring happiness to people, and fame helps with that. GC: In the house of language, who would you like to hang out with?

There I would write, jump, run, swim, think, talk, craft, revise, and just generally exist with other writers like Dr. After a shower and a cup of green tea, I might walk slowly and meditatively through the overly ornate but curiously oppressive Hallway of Modifiers, taking in all the beautiful adjectives and adverbs hanging on the wall diaphanously in all their ephemeral splendor.

But the majority of every day I would spend in the Study of Nouns at a desk by a window with my ass in a chair. Robert Frost and Billy Collins would no doubt also be there. GC: Are there any meditative poets that you go to for personal refreshment? TM: Sure. Mary Oliver comes to mind. Also W. GC: Since your poems are successful on the page, do you write first without thought of presentation? TM: Actually, it is very hard for me to ignore completely the part of my mind that calculates how best to. It just never switches off completely.

That said, I am trying not to be quite so bound by the performative so yes, I try to just write. GC: Do you think what used to be the poetry establishment is now more poetry populism? TM: Not at all. What used to be the poetry establishment is still the poetry establishment. Voices from the fringe, even populist voices especially populist voices will always have a tough time being heard or taken seriously. But there is no single canon compiled by a secret panel of white men. There are only books that certain people in certain places decide you must read.

And those lists change all the time. But they do so at the pace of glaciers back when glaciers moved slowly. GC: In the present White House administration, how do you think the use of language reflects policy?

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TM: More accurately than in the last administration certainly. When your policy is to instill fear in your people so they will become protectionist and xenophobic and blind to your efforts to enrich your friends then your language must obfuscate, deflect, confuse, enrage, and otherwise distract. But the tiller now is in the hands of a saner captain.

Everything is more transparent—the course, the methods, the ultimate goals—and the language reflects that. Of course he was dead wrong. Even I knew that. Everyone thinks of Thursday! King Comforter When you leave me in the morning, sleeping, to make your tea and write your poetry, you must know I slink to your side and steal your body pillow, holding it in my arms as if it were you. Dear God, I love your body pillow almost as much as I love your body, which is sometimes more than you love your body— O, lovely body!

Love, my love— and now I mean you—listen: I stripped the bed this morning, naked. Washed the sheets, and dried them. And now, as much of our bed as I can make without you I have made. I need your help to make the rest. Pink Slip A woman enters the train at Grand Central and chooses not to take one of the empty seats, as if doing so, relaxing the body even that tiny bit, would invite the tears that have started to well in her pretty eyes to fall.

She has just been laid off. Without warning. Was told to clear out her desk, except for the phone, which had been taken already. So she has spoken to no one. Or what she will do now. Two men offer her napkins, the sight of a woman in tears being what it is to all men. And I say the only thing there is to say, the only thing I can think of that might help. Which is nothing. Tuesday Nights Outside The Church of Gustavus Adolphus An odd assortment of men stands outside the church every Tuesday night smoking, their common addiction stronger than Jesus.

I want to ask what they come for and whether they find it but am afraid, perhaps, that having once been told, I will need it, too. The practice of grace becomes part of the grind. You are the seeker and also the sought.

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Burn all your bridges and the books you bought. What looks like the lifeline is part of the bind. The mind is the trap in which the mind is caught. What can be left must be left behind. The truth is that which cannot be forgot what never was lost is the hardest to find. What can I or poetry do for them? We wanted to give you a cross-section. This will be the cross. The represented characters portrayed in my work exist between grounded reality and the fantasy the portrayed individuals wish to become, or fear of becoming. Jason helped create Broadstreetstudio to give artists a place to help promote their career within the fraternity of a group instead of as individuals.

I see my own training as a platform to discuss more complex meanings that are a reflection of a very complex society. If my platform is not strong enough for my work to stand on then my message will not reach anyone. Have any of your mistakes become a success?

Personally I think most artistic choices I do are mistakes that must be overcome. I really enjoy working as an artist, but lets be serious — this is a job that comes with some emotional sacrifice. To me, being an artist is a great search for something you will never find. Do you find yourself visualizing everything as someday becoming a painting? As an artist, I am really interested in unreal situations that surface in ordinary circumstances.

Painting is a perfect medium to express the marvelous situation. Sometimes the objects I choose are chosen for their beautiful contrast with flesh. Flesh has such an interesting texture on its own and portraying the face next to plastic or metal can create a variety of strange outcomes.

The variety is unlimited. What do you listen to while creating? I like to listen to something that is going to get my mind off of the process of painting. I listen to a lot of music, but lately I have been listening to a lot of. I am really interested in politics and history so these shows keep me busy. Do you have a ritual you follow before a new work is started? My ritual begins with a lot of coffee. Before I start a new painting I go through moments of bad fear and then, well I just jump in. How long does one of your paintings usually take to finish in this style?

Usually one of my pieces will take no shorter than a month and no longer than three months. I usually work on about three paintings at once so sometimes it can be hard to determine how long one individual piece will take. At times I will walk away from a piece that is driving me mad, but not so long that I will forget about it and move on. Wright was born in Los Angeles in His work is in several important private collections.


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He lives and works in Los Angeles. I explore the tension between the physical world and our inner selves, and the strange yet often poignant beauty that surfaces from that tension. I want to impart a clarity and individuality to the people and things I depict at a time when that individuality is in danger of being glossed over by our consumerist culture. What is your painting process? My painting process is flexible and improvisational. I start with a specific idea for a painting but remain open to new ideas during the execution that may give the work more interest or impact.

I start by sketching in the elements directly on the canvas with a brush. I work the painting up in a series of passages like this. I use a couple medium size brushes for the whole painting, and a simple color palette. My technique and paint application are very spare and direct. My formal training is in graphic design; however, I fell in love with drawing while going thru my design program. I feel both the design education and the hundreds of hours I spent in life drawing classes allowed me to cross over into painting fairly easily.

I think for the vast majority of artists wanting to work professionally, some kind of formal background is really necessary. I think any tool that can help develop your talent and give you an edge is an asset. Do you have a ritual you follow before each new work is started? Yes, I stall and pace anxiously around my apartment for several hours! Yes, often! My best example of this was a painting where I had impulsively painted a large female torso in the extreme foreground. I added a man in a chair behind her in the upper left corner, with his head cropping off the top edge of the canvas just under his nose.

I lived with that for a few days, unsatisfied. I wiped out everything except her mouth at the very top of the canvas. It just hit on something. Aloe, Chair, Lamp How do you know when a work is done? Sometimes I ignore the nagging and I wind up unhappy with the piece later. Occasionally I ask the galleries to send a work back so I can fix things that were unresolved. What is your secret weapon? I can view the whole picture or zoom in and study specific details. I do a lot of portraits like this. Plus, the contrast between painting from life and painting from photos I feel enriches both approaches.

What is your day typically like as an artist? I have time organization issues. Part of this is because I hate routine, yet also kind of crave it. I always wind up. I go thru bouts of heavy-duty easel time where I have lots of energy, sometimes working thru a nite or two.

You can get quite isolated being a painter. I like to go out and run chores and be around other people in the morning. How has the current economic situation affected your art? When I began about six years ago I had a full time job. After that, I was able to support myself strictly with painting.

I believe it was John Galt. He feels the need to proclaim his gayness because it drives his Southern Baptist family to hours of prayer. Check out his gay adventures at. I tell her I tear up when I think about it, sometimes. Then I become stuck on changing the topic. You see, I have a way with being stuck, stuck between forgiving and forgetting. I sigh, expect, Are you still attracted to me? It came back quickly like the lyrics of a song. Denise had a reading at Outwrite Books. She was in rare form, a real Queen Colleen.

One of her fans bought us a round of shots. Then a margarita. One turned to three to five. You come and go. I asked the taxi driver to pull over. I felt margarita starting to rise. I begged, Denise stop!


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But it is the way that Nightingale uses these math terms that transforms them into poetry. In Geometry of Dreams: Origins can find their own way out. What can we do? Ride the circumference. Ride as if the least common denominator — what we all are — were a linear equation… In Becoming Beautiful But Going Mad: In a poem you said music was mathematical. You forgot to say love. Everything depends on music and love.

Imagine a world with no music, no sound. A equals B. You lift your cup: circles on the table. You inhale, exhale: circles of smoke. You look into his eyes: circles of doubt. Bisect it, and we are all on one side or another — from The Geometry of Dreams What, after all, is reality, but a different spatial plane, a riddle we move to, traveling in circles?

Find its radius and cut across. But Geometry of Dreams is not all arithmetic. Amidst the circumferences, right angles, parabolas, and circles, there is love The moon, the stars, the sun, they speak a language round and filled with light. She thinks it should be a generic term… She sits at a table doing figures,. Miranda looks at her bank book, discovers a negative balance, circles it in red.

Yes, when I found you, I did cry… — from 1. Still, there is some attraction, if only for the feel of hard muscle, the slick smell of sweat, the lies whispered under cover of night. If nothing else, you were good material: jokes, stories, poems. Being a-mused past tense. Geometry of Dreams is a unique read. However, my ultimate goal remains the same for them all — to create work that stirs inner dialogue.

I rely on the use of empty space and minimal compositional elements to encourage quiet reflection. After leaving school she focused mostly on figurative works, still life drawings and commissioned portraiture. Within the last year, her portfolio has continued to evolve through her small Seascape and Tornado series.

All of my projects begin with research. I just start applying colors freely and move them around as I go. For my larger figurative work, I loosely sketch the subject with a light wash of grey paint. Cox at the front desk for applications. Email lisa. That means teachers are no longer using the carrot-and-stick approach with rewards such as owl stamps, stickers and toys.

Principal Byrd answered some additional questions about her decision. A: As a Responsive Classroom school, we have been working on reinforcing, reminding, and redirecting students. We want students to demonstrate desired behaviors as a result of their own intrinsic motivation. We are teaching students to be reflective and self-regulated. Rewards stickers, owls, etc have been replaced by affirming language, recognition of desirable behaviors, and encouragement.

A: None so far. As we remove extrinsic rewards, they are being replaced with consistent reaffirmation of students throughout the day. Would you invest in community activities? Classroom upgrades? Teacher training? Special programs? Nothing is off the table. Send your ideas to Communications Chair Tony Lombardo.

If Dr. King was still alive, I would say you are right, because I think we should come together because we are all one of a kind. Children in grades 3rd through 5th are invited to join The Payne Players theatrical ensemble. An introductory meeting will be p. Parents are encouraged to attend and participate. Come learn about the school budgeting process and tell LSAT members what your priorities are for the coming school year.

Did you know there are more than 25 clubs at Payne Elementary? From chess and Pokemon to art and drama to basketball and flag football — there is something for every kid. And though the year is well underway, many clubs are still accepting new participants. Attached to this email is a handy spreadsheet with club details, eligibility guidelines and points of contact.

Clubs at Payne Elementary. The influx of iPads was the result of an unanticipated 8 percent uptick in student enrollment there are students at Payne. Oxendine, who shared the photo below, said the iPads are already in use. In preparation of enrollment season, Payne teachers and staff are hosting coffee talks and classroom introductions for parents. The sessions start at 9 a. Moving up to…. Kindergarten-Friday, Jan. We appreciate the support from our new neighbors.

Prepare to raid your couch cushions. While the effort runs Feb. Click here for more fundraiser details. Do you have experience with data entry? Payne is looking for a volunteer who can work hours, twice a week. Data would include emails and contact information. Work would also involve answering phones. Email Ms. Oxendine: akua. She has accepted a job as a research analyst for a contracting company in Virginia. She anticipates AmeriCorps providing a successor, though he or she has not yet been named.

I am saddened to leave Payne, but am thankful for the time I was able to spend at your school. I look forward to visiting and seeing the great things that will be happening at Payne in and beyond! Capitol Hill Little League registration is now open for the spring season. Click here to register your player s for baseball and softball for the spring. All kids who live within the Capitol Hill footprint or attend a Capitol Hill school are eligible to play, and scholarships are available.

The feeder schools will also have tables at the event. Entertainment includes a DJ, popcorn and more. Classroom donation boxes will be delivered to Pkth grade classrooms. Individual donation boxes for students will be delivered to Pk3 — 2nd grade classrooms, and by request to 3rd — 5th grade.

In addition to the boxes, each teacher will receive a copy of the Pennies for Patients Information Flyer , a goal tracker, and a collection schedule. Additional Information is available upon request. But the RSC trimmed it sensibly and went at it full-tilt with a refreshing lack of reverence. A classic example of theatrical base metal turned to gold. As well as turning in brilliant performances, they then formed a torchlit guard of honour for the audience as we walked along a tree-lined avenue to the exit. Disclaimer: The author is an ordinary theatre-goer who is neither an academic nor a drama critic and has never acted, directed or been involved in any way with anything more than a school nativity play.

READ: 10 things you didn't know about Shakespeare. Terms and Conditions. Style Book. Weather Forecast. Accessibility links Skip to article Skip to navigation. Tuesday 09 July Shakespeare: The play's the thing - all 37 of them Theatre-lover Jeff Robson is about to complete a year quest - to see every one of William Shakespeare's plays performed live. What has he learnt? By Jeff Robson.