The Realness, The Foundation

Paolo Javier here, Queens Borough Poet Laureate through 2013. Author of several books and chapbooks of poetry, as well as the publisher of a Queens-based tiny press, 2nd Avenue Poetry (2ndavepoetry.com). I'll be posting QPL news, including upcoming readings, workshops, exhibitions, literacy outreach, writing project/s, festivals, and much more. Contact info: queenspoetlaureate@gmail.com. For QPL history, write to phyllis.cohen-stevens@qc.cuny.edu of Queens College Communications, or copy and paste onto your browser the following link to the Borough President's page: http://tinyurl.com/3dmbhzr.

May12

bobholman: The address is the same. 308 Bowery The look is not Come one and all To Taylor’s boite For the Love of Taylor Mead (1924-2013) Taylor Mead, a poet, actor and exuberant bohemian who collaborated with Andy Warhol in the 1960s to nurture a new approach to making movies — sometimes spontaneously, always inexpensively (hand-held 16-millimeter cameras sufficed) and brashly experimental (one film consisted of an hourlong shot of Mr. Mead’s bare posterior) — died on Wednesday in Colorado. He was 88.” Come celebrate the oft-storied life and “brilliant downtown zen” poetry of this quintessential New York figure.   6 - 9 pm, May 13http://nyti.ms/12ke5I3

bobholman:

The address is the same. 308 Bowery
The look is not
Come one and all
To Taylor’s boite

For the Love of Taylor Mead (1924-2013)
Taylor Mead, a poet, actor and exuberant bohemian who collaborated with Andy Warhol in the 1960s to nurture a new approach to making movies — sometimes spontaneously, always inexpensively (hand-held 16-millimeter cameras sufficed) and brashly experimental (one film consisted of an hourlong shot of Mr. Mead’s bare posterior) — died on Wednesday in Colorado. He was 88.”

Come celebrate the oft-storied life and “brilliant downtown zen” poetry of this quintessential New York figure.
 
6 - 9 pm, May 13

http://nyti.ms/12ke5I3

6 notes #Taylor Mead. #Bowery Poetry Club. #Bob Holman.

May11

Fellow Sunnyside resident James Hall (on trombone) recently premiered his musical adaptations of contemporary poetry at the fantastic IBeam Center in Gowanus, Brooklyn. Real honored to see my poems “Heart As Arena” and “Tangerina” (featured in this video), both from The Feeling Is Actual, among James’ selections. Thank you so much, James! You can check out more of his work here.

2 notes #James Hall. #Poetry. #IBeam Center. #The Feeling Is Actual.

May9

RIP, Taylor Mead. Had the distinction of being heckled by this Warhol great while hosting a 2nd Ave Poetry event back in 2006 at the Bowery Poetry Club. You will be missed! Here’s a poem Taylor left behind for us in his apartment:

Poetry in Taylor Mead's apartment.

1 notes #Taylor Mead.

May7

RIP RAY HARRYHAUSEN WE SAY GOODBYE TO THE GREATEST VISUAL EFFECTS ARTIST THE MOVIES HAVE EVER KNOWN Is it unreasonable to suggest that, for better or worse, special effects just don’t seem quite as special now as they were when Ray Harryhausen made them? It’s not even so much that he was a master of the form—though he was certainly that—as the fact that his mastery was the product of a purely physical labor. Harryhausen’s special effects were real, hard work, accomplished as much through technical ingenuity as by sheer dedication to a craft; when you see his work brought to painstaking life on screen, even now, the immense effort is visible in every frame. Cherishing Harryhausen’s now antiquated stop-motion animation techniques isn’t a matter of mere nostalgia for some outdated facet of movie history—the quality of the work speaks louder than that. It’s true that many of the fantastic creations for which Harryhausen was responsible have aged and look dated, maybe even quaint, but they don’t look dated in the same way that, say, the early computer effects plastered throughout “Tron” do. Digital effects have a tendency to fall into what seems like instant obsolescence, where even the most-cutting edge images are outpaced the moment they arrive, making year-old blockbusters seem clunky and decade-old ones to look practically archaic; the advances are so sudden, the achievements so fleeting, that what’s once-revelatory rapidly becomes an antique. But Harryhausen’s effects never had that problem: their style was so singular, their presence on screen so wonderful and strange, that even today they don’t appear old-fashioned so much as otherworldly. OUR TRIBUTE CONTINUES ON FILM.COM

RIP RAY HARRYHAUSEN

WE SAY GOODBYE TO THE GREATEST VISUAL EFFECTS ARTIST THE MOVIES HAVE EVER KNOWN

Is it unreasonable to suggest that, for better or worse, special effects just don’t seem quite as special now as they were when Ray Harryhausen made them? It’s not even so much that he was a master of the form—though he was certainly that—as the fact that his mastery was the product of a purely physical labor. Harryhausen’s special effects were real, hard work, accomplished as much through technical ingenuity as by sheer dedication to a craft; when you see his work brought to painstaking life on screen, even now, the immense effort is visible in every frame.

Cherishing Harryhausen’s now antiquated stop-motion animation techniques isn’t a matter of mere nostalgia for some outdated facet of movie history—the quality of the work speaks louder than that. It’s true that many of the fantastic creations for which Harryhausen was responsible have aged and look dated, maybe even quaint, but they don’t look dated in the same way that, say, the early computer effects plastered throughout “Tron” do. Digital effects have a tendency to fall into what seems like instant obsolescence, where even the most-cutting edge images are outpaced the moment they arrive, making year-old blockbusters seem clunky and decade-old ones to look practically archaic; the advances are so sudden, the achievements so fleeting, that what’s once-revelatory rapidly becomes an antique. But Harryhausen’s effects never had that problem: their style was so singular, their presence on screen so wonderful and strange, that even today they don’t appear old-fashioned so much as otherworldly.

OUR TRIBUTE CONTINUES ON FILM.COM

(Source: film-dot-com)

200 notes #Ray Harryhausen.

I can’t encourage you enough to watch this fantastic documentary by the great Lynne Sachs. She will be screening Your Day Is My Night  twice in the next couple of weeks, & will be on hand to give a Q&A immediately after. Part of the Second Annual Workers Unite Festival. 

Friday, May 10 Opening Night
Cinema Village
22 East 12th Street @University Place NYC
8 p.m.
post-screening Q&A w/ co-producer & cinematographer Sean Hanley


Friday, May 17
The Brecht Forum
451 West. St. at. Bank St.
7:45 p.m.
post-screening Q&A with director Lynne Sachs

2 notes #lynne+sachs #Workers Unite Festival. #Documentary. #Chinatown.

May4

May2

EOAGH Lunch Poems Reading at the CUNY Chapbook Festival featuring Abigail Child, Jaime Shearn Coan, EC Crandall, Paolo Javier, Patricia Spears Jones, Burt Kimmelman, and Susan Landers Friday, May 3 at 1 PM at the CUNY Chapbook Festival  CUNY Graduate Center 365 Fifth Avenue NYC  Hosted by Tim Trace Peterson  http://chapbookfestival.org/  http://eoagh.com    Abigail Child is a media artist and writer whose original montage pushes the envelope of sound-image relations. Child is the author of 5 books of poetry (A Motive for Mayhem, Scatter Matrixand Artificial Memory among them) and a book of critical writings: THIS IS CALLED MOVING: A Critical Poetics of Film from University of Alabama Press (2005). Her newest book of poetry,MOUTH TO MOUTH is forthcoming from EOAGH Books this summer. Child has taught film/video production and history at various schools and is currently Senior Faculty at SMFA, Boston. Her home is in NYC. Jaime Shearn Coan lives in Brooklyn, New York, teaches creative writing and literature at City College, and leads a long-standing writing workshop with LGBT elders through the NY Writers coalition. His poems have appeared in several journals and his artist book, Dear Someone, the product of a collaborative queer letter-writing project, is distributed through Printed Matter. A 2012 Poets House Emerging Poets Fellow, Jaime has been awarded residencies at the Virginia Center for the Creative Arts and Saltonstall Arts Colony. EC Crandall’s poems have been published in PANK, Jupiter 88, Gay Shame, and The Trans Literary Reader. Crandall is co-author of the satiric novel Executive Privilege, and teaches in the University Writing Program at Columbia University. Paolo Javier is the current Queens Borough Poet Laureate. Author of several books and chapbooks of poetry, most recently The Feeling is Actual (Marsh Hawk Press), Javier is also as the publisher of a Queens-based tiny press, 2nd Avenue Poetry (2ndavepoetry.com). Patricia Spears Jones is poet and playwright and author of Painkiller (2010), Femme du Monde(2006) and The Weather That Kills (1994) and three chapbooks. She edited Think: Poems For Aretha Franklin’s Inauguration Hat/ (2009) and Ordinary Women: An Anthology of Poetry by New York City Women (1978) and is editing 30 Days Hath September for the Black Earth Institute blog. Poems and prose are featured in African Voices, The Agni Review, Bomb, Barrow Street, Calabar, Callaloo, www.kwelijournal.org, Fifth Wednesday, The Oxford American, The Southampton Review, and TriQuarterly. Burt Kimmelman has published seven collections of poetry, the most recent The Way We Live(Dos Madres Press, 2011); Gradually the World: New and Selected Poems, 1982 - 2013(BlazeVOX [books]) is forthcoming. He has also published a number of books of criticism and scores of essays on medieval, modern, and contemporary poetry. He teaches at New Jersey Institute of Technology. Susan Landers is the author of 248 mgs, a panic picnic (O Books), Covers (O Books), 15: A Poetic Engagement with the Chicago Manual of Style (Least Weasel), and What I Was Tweeting While You Were On Facebook (forthcoming, Perfect Lovers Press). Her latest project,Franklinstein, is a mash-up of The Autobiography of Benjamin Franklin, Gertrude Stein’s Making of Americans, and the history of one Philadelphia neighborhood. She blogs about this project at susanlanders.tumblr.com.

EOAGH Lunch Poems Reading 
at the CUNY Chapbook Festival

featuring Abigail Child, Jaime Shearn Coan, EC Crandall, Paolo Javier, Patricia Spears Jones, Burt Kimmelman, and Susan Landers

Friday, May 3 at 1 PM

at the CUNY Chapbook Festival 

CUNY Graduate Center

365 Fifth Avenue

NYC 

Hosted by Tim Trace Peterson 

http://eoagh.com 

 

Abigail Child is a media artist and writer whose original montage pushes the envelope of sound-image relations. Child is the author of 5 books of poetry (A Motive for Mayhem, Scatter Matrixand Artificial Memory among them) and a book of critical writings: THIS IS CALLED MOVING: A Critical Poetics of Film from University of Alabama Press (2005). Her newest book of poetry,MOUTH TO MOUTH is forthcoming from EOAGH Books this summer. Child has taught film/video production and history at various schools and is currently Senior Faculty at SMFA, Boston. Her home is in NYC.

Jaime Shearn Coan lives in Brooklyn, New York, teaches creative writing and literature at City College, and leads a long-standing writing workshop with LGBT elders through the NY Writers coalition. His poems have appeared in several journals and his artist book, Dear Someone, the product of a collaborative queer letter-writing project, is distributed through Printed Matter. A 2012 Poets House Emerging Poets Fellow, Jaime has been awarded residencies at the Virginia Center for the Creative Arts and Saltonstall Arts Colony.

EC Crandall’s poems have been published in PANK, Jupiter 88, Gay Shame, and The Trans Literary Reader. Crandall is co-author of the satiric novel Executive Privilege, and teaches in the University Writing Program at Columbia University.

Paolo Javier is the current Queens Borough Poet Laureate. Author of several books and chapbooks of poetry, most recently The Feeling is Actual (Marsh Hawk Press), Javier is also as the publisher of a Queens-based tiny press, 2nd Avenue Poetry (2ndavepoetry.com).

Patricia Spears Jones is poet and playwright and author of Painkiller (2010), Femme du Monde(2006) and The Weather That Kills (1994) and three chapbooks. She edited Think: Poems For Aretha Franklin’s Inauguration Hat/ (2009) and Ordinary Women: An Anthology of Poetry by New York City Women (1978) and is editing 30 Days Hath September for the Black Earth Institute blog. Poems and prose are featured in African Voices, The Agni Review, Bomb, Barrow Street, Calabar, Callaloo, www.kwelijournal.org, Fifth Wednesday, The Oxford American, The Southampton Review, and TriQuarterly.

Burt Kimmelman has published seven collections of poetry, the most recent The Way We Live(Dos Madres Press, 2011); Gradually the World: New and Selected Poems, 1982 - 2013(BlazeVOX [books]) is forthcoming. He has also published a number of books of criticism and scores of essays on medieval, modern, and contemporary poetry. He teaches at New Jersey Institute of Technology.

Susan Landers is the author of 248 mgs, a panic picnic (O Books), Covers (O Books), 15: A Poetic Engagement with the Chicago Manual of Style (Least Weasel), and What I Was Tweeting While You Were On Facebook (forthcoming, Perfect Lovers Press). Her latest project,Franklinstein, is a mash-up of The Autobiography of Benjamin Franklin, Gertrude Stein’s Making of Americans, and the history of one Philadelphia neighborhood. She blogs about this project at susanlanders.tumblr.com.

1 notes #Poetry. #Tim Trace Peterson. #EOAGH. #Lunch Poems.