News isn’t always fit to print. But this is a tumblr. It can go on & on & on.
There was an introduction to this, but I’m sure it was ultimately snipped because of the flabbiness. Also feel like the Du Bois reference wasn’t properly sketched out: I wanted to illustrate how the Canadian black experience (Africville/Caribana/Afrofest/etc.) differs from the American.
I also might be including this because I really couldn’t part with the quotage. (Tayari Jones Fan Club, right here.)
"If February is Black History Month, is the rest of the calendar reserved for white people?" asks American writer Tayari Jones in a 2008 Believef essay, in light of black artists’ struggle with a working schedule that’s "frequently packed during February, but comparatively lean during the rest of the year." While Black History Month may be split between celebration and marketing opportunity, Toronto’s theatre community are presenting works that not only challenge Du Bois’ "double consciousness" but thankfully, even include productions that run into the month of March. Indeed, many of the plays’ provocative, multinational aspects suggest theatre is not just "stuff white people like," regardless of what Christian Lander, and the rest of the year, might suggest.
EDIT: Ok, so a Torstar techie forgot to include the introduction, which I later find out via print that it ACTUALLY made it. A huuuuge relief.
If you’re a working actress or model of colour, past experience has taught you to arrive on-set with a makeup kit in tow. Despite the raised awareness of ethnic beauty, hairstylist Ryan Reed and makeup artist Shauna Llewellyn still hear far too many stories of burnt hair and the wrong shade of red lipstick.
“Hair’s the big one,” says Reed ruefully. “You hear things like hairdressers going to touch people up with water bottles and you just don’t do that. Don’t wet the hair! It’s just been freshly relaxed.”
“Or people making the big key-rate money, and sending these actors to black salons on the weekend, [for hairstyles] that they basically maintain during the shoot week,” cuts in Llewellyn. “We hear it all the time: ‘We’re so glad to see you, we didn’t know who we’d get.’”
1. Use the time of a total stranger in such a way that he or she will not feel the time was wasted.
2. Give the reader at least one character he or she can root for.
3. Every character should want something, even if it is only a glass of water.
4. Every sentence must do one of two things — reveal character or advance the action.
5. Start as close to the end as possible.
6. Be a sadist. Now matter how sweet and innocent your leading characters, make awful things happen to them — in order that the reader may see what they are made of.
7. Write to please just one person. If you open a window and make love to the world, so to speak, your story will get pneumonia.
8. Give your readers as much information as possible as soon as possible. To heck with suspense. Readers should have such complete understanding of what is going on, where and why, that they could finish the story themselves, should cockroaches eat the last few pages.
“There will be dislocations and resentments along the way, but the demographic shifts of the next 40 years are likely to reduce the power of racial hierarchies over everyone’s lives, producing a culture that’s more likely than any before to treat its inhabitants as individuals, rather than members of a caste or identity group.”—The End of White America?
“Although I have felt compelled to write things down since I was five years old, I doubt that my daughter ever will, for she is a singularly blessed and accepting child, delighted with life exactly as life presents itself to her, unafraid to go to sleep and unafraid to wake up. Keepers of private notebooks are a different breed altogether, lonely and resistant rearrangers of things, anxious malcontents, children afflicted apparently at birth with some presentiment of loss.”—Joan Didion (via furrowedbrow) (via robot-heart) (via everybodycares)
It’s all over: the holidays, your New Year’s buzz, your resolutions. Just admit it. You’re still facing down at least two and a half months of wintery days and nights.
EDIT: I didn’t actually write the City Style for EYE this week - must attribute to the lovely Kate Carraway. New re-design, new columnists. (Un)fortunately, I’m still your Inspiration Point gyal (ppl read me? SAY WHAA). But belts are being tightened - aren’t you following themediaisdying/canmedialayoffs? - and I’ll just be monthly.
So far, this is how I’ve processed Recessionista! The Musical in the following four stages:
Nouveau Age: reading Pema Chodron, briefly drinking herbal tea (bf and I thought we could save $15 by not buying the nice organic coffee beans. When I told a friend, she was like, ‘why don’t you just buy cheaper beans?’).
Hillary Banks-ing: purchased within a two-week span vintage Kenzo blazer and D&G plaid trousers, Dime Piece leggings, Model Citizen brooch, former on-display Geox black leather high boots ($60! That’s a really good deal). I felt so ‘All Falls Down’ (Kanye speaks to me).
Hustlin’: pitching stories / applying for arts admin gigs / babysitting.
Rebel without a Crew: Robert Rodriguez made El Mariachi on a $7,000 budget. Storytelling doesn’t cost much.
“If I could describe to you the terror - the sinking inadequacy - the blank horror which I felt every night before I went on. Like playing tennis without a racquet. Or, say, with a racquet with no strings - impotence - and pretense - Katie sings - Well, to me it was a great example of Katie doesn’t sing….Now to me this was a dreadful fact. I was back there in my hole waiting to go out into the ring. They were out there sitting - waiting - and they’d paid a big price for those tickets and they had a right to the best and here I was about to go forth - armed with a squeak. A mouse posing as a lion….I prayed - I wept - I did my [vocal] exercises - I prayed - someone help me - and out I went. Please, God… And do you know what? Love came across the footlights. And in waves and hugs… That’s all right, Katie - so you can’t sing but we get it - we hear you - we feel - we know you. And so together we worked it out. And I got a little better - enough better so that I didn’t die.”—
“The energy comes when you need it. I think out of this recession we’ll get enormous energy and a lot of new ideas. You create things when you’re deprived of them – that’s what I did. There will be all sorts of new and exciting things which will grow out of this time now.”—Mary Quant
“From such a perspective, artists are devices for the accumulation and concentration of data, cool and dispassionate. The quality of the objects and texts that they produce depends on “the will to select.” Thus, the individual’s ability to sort and process the ambient signals that constantly bombard all of us is what constitutes contemporary criteria for a successful artistic career.”—Darren Wershler
David Daniels lives in Berkeley, CA. He has been making words out of pictures and pictures out of words for over 60 years. He is a common person. He is as common as dirt and grass. From the plumb of his wine dark mind cellar here is a taste of each year of his life.