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John Canemaker’s lyrical and personal study of a Long Island garden through the seasons, based on his paintings, to an original jazz score by Fred Hersch.
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After you have reveled in the beauty of John Canemaker’s Bridgehampton, welcome to the incredible world of this amazing animator, teacher, writer, historian, and Renaissance man — there is so much to explore!
You can watch or download his Oscar-winning film The Moon and the Son and a collection of his earlier animation (including Bridgehampton) John Canemaker: Marching to a Different Toon or buy both on DVD!
Check out his brilliant blog, John Canemaker’s Animated Eye here (and don’t forget to bookmark it, he updates it frequently with amazing information and images)!
Plus, Canemaker is the author of some of the most thoughtful, beautiful, and well-researched books on the men and women who have created animation. Check out his Amazon page here!
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Our friend Wendy Dubin is a great cook — we have had the pleasure of enjoying her food many mouth-watering times. She is also a wonderful artist, whose gorgeous bowls, teapots and other pottery are a pleasure to see and use. And in A Good Dish, Dubin combines her loves for fresh, homemade food and handmade pottery to create a website and blog that are simply delicious. In addition to great (and achievable!) recipes, tips on sourcing ingredients, profiles of potters, cookbook recommendations, and more, she illustrates her blog posts with photographs that make you want to grab and spoon and dig in!
(The photo above is corn soup in an equally yummy woodfired porcelain cup by Perry Haas. Below is Wendy Dubin, herself).
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Join Pulitzer Prize-winning critic, artist, writer and curator Hilton Als as he lifts up and takes a different look at what he considers marginalized classics of the 20th Century. Shirley Clarke’s Portrait of Jason was a groundbreaking work of cinema verité when it was released in 1967. Captured over a single evening, the portrayal of gay African-American hustler and aspiring cabaret performer Jason Holliday interrogated race, class and sexuality in ways that were and still are ahead of its time. Als has adapted the film into an audio drama that captures the intimacy, vulnerability and rawness of the original piece while probing power and the price of storytelling itself.
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Born in Durban in 1936, Lewis Nkosi died in Johannesburg in 2010, after an illustrious career as a print journalist, broadcaster, literary critic, novelist and writer across varied genres. Alongside journalists such as Can Themba, Bloke Modisane, Henry Nxumalo, Todd Matshikiza, Nat Nakasa, Es’kia Mphahlele and Casey Motsisi, he was part of a short-lived 50s black urban political and cultural renaissance in apartheid South Africa. In 1959, together with fellow Drum writer Modisane and American filmmaker Lionel Rogosin, he cowrote the script for Come Back Africa, featuring among others, Themba and singer Miriam Makeba. Nkosi wrote thunderously and fought a damn good fight for black people’s dignity in Africa and the African diaspora. After leaving South Africa in 1960 on a Nieman Fellowship Scholarship to study journalism at Harvard University on a one-way exit permit, he became one of the finest, most enduring and unforgettable critics of his generation.
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“A Love Festival (A Short Story)”
In December when sunlight appeared to have been filtered through thin sandpaper and glazed windows streaked with frost concealed a Polish city that had been resurrected from wartime debris, he awoke in a room where flowers had been scattered about the floor during an all–night party and the smell of coffee still lingered in the air along with the stale odour of cigarette butts mashed into ashtrays, and tepid perfume emanated from tired used–up bodies which lay everywhere in sensual disorder; one next to him, the head and face hidden behind a tangle of yellow hair, one uncovered leg thrust out from scant blankets, a small, nicely rounded tumescent breast peeping from the thin edge of a slipping brassiere; and Duduza knew at once he was far away from Africa…
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Compton Mayor Aja Brown on the goals and outreach of the Compton Pledge.
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Last month, Compton Mayor Aja Brown and the Compton Pledge announced the successful enrollment of 800 families in Compton’s guaranteed income pilot program, making it the largest city-based guaranteed income initiative in United States history. Launched in December 2020 with the support and administration of the Fund for Guaranteed Income (F4GI) and the Compton Community Development Corporation (CCDC), the Compton Pledge has already disbursed $1 million to support over 1770 recipients, including dependents. A total of $9.1 million will be distributed in recurring payments over the next two years. The community-led pilot uses a custom, web-based payments platform to enhance the economic security and self-determination of historically marginalized groups, including undocumented and formerly incarcerated residents. The program is the first to offer a tailored set of payment options and allow participants to switch between them. To date, 50% chose Direct Deposit, 9% chose Venmo, 8% chose PayPal and 33% chose prepaid card.
To follow the progress of the Compton Pledge, a two-year program delivering recurring cash relief to low-income residents, go to comptonpledge.org and select “sign up for news” or follow Compton Pledge on Twitter, Instagram or Facebook. To make a tax-deductible donation to the Compton Pledge, led by the nonprofit Fund for Guaranteed Income, go to comptonpledge.org/donate.
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We are excited and happy to congratulate our dear friend and former colleague Nadja Tennstedt on her new position as director of industry at the prestigious DOK Leipzig film festival! DOK Leipzig is an annual festival for documentaries and animations that celebrates film, promotes debate, and focuses on the values of peace, tolerance, human dignity and freedom of expression, along with a strong, individual artistic signature of the filmmakers.
Active in the film sector for many years, Tennstedt has focused increasingly on documentary and independent film. Most recently she coordinated The DocSalon, the documentary film platform at the Berlinale’s European Film Market (EFM), where she led networking and community building activities within the documentary industry. “We are fortunate to welcome Nadja Tennstedt to our team, an experienced collaborator who is highly regarded by documentary creatives around the world, and who has earned her reputation through passion, imagination and her dedicated advocacy for diversity,” festival director Christoph Terhechte says.
Before joining DocSalon, Tennstedt, who studied film production in New York, worked in numerous fields of film distribution. She directed international sales and acquisitions at Milestone Films, and was in charge of marketing at Zeitgeist Films, a distributor of independent fiction and documentaries. After returning to Europe from the USA, she worked for film festivals such as Locarno and the Berlinale. “I participated in DOK Industry as a professional visitor in the past and was enchanted. With a friendly and collaborative atmosphere full of international participants, it offers an efficient industry platform that I believe in,” Tennstedt says. With an eye to the future, she adds: “Changes in the international film industry, which have been greatly accelerated by the pandemic, pose great challenges to the entire documentary community. At the same time, they present opportunities to rethink and change existing models and structures. I am very much looking forward to accompanying and promoting these developments alongside Christoph Terhechte and all of my colleagues to support the doc community. My goal is to constantly develop DOK Industry’s offerings and adapt them to changes in the financing, production and distribution of documentaries.”
Tennstedt has also recently been involved with DocSalon in rethinking existing structures and developing inclusive models. Together with Themba Bhebhe, head of the EFM Diversity & Inclusion Initiative, she developed the DocSalon Toolbox Programme, which was established to help filmmakers from marginalised groups and the Global South enter the international film market with the help of tailored programmes. In collaboration with archive producer Monika Preischl she introduced Archive Day, Germany’s first business platform dedicated to cinematic work with archival material. “Particularly important to me in my work is a focus on the participation by creatives from underrepresented groups and challenging power structures that exist in the documentary industry,” Tennstedt says. “I would especially like to thank Brigid O’Shea, who has led DOK Industry for the past ten years and who, together with her team, has made the platform a wonderful place for the doc community,” Tennstedt adds
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