Blair Underwood & Nicole Ari Parker in A STREETCAR NAMED DESIRE on Broadway

This season, desire is taking on a whole new rhythm as the greatest play  from America’s most celebrated playwright sizzles onto the stage at The Broadhurst Theatre. From the producers of the trailblazing 2008 Broadway production of Cat On A Hot Tin Roof, starring James Earl Jones and Terrence Howard, comes a hot new take on Tennessee Williams’ Pulitzer Prize-winning masterpiece, A Streetcar Named Desire. Leading this sizzling new cast is Blair Underwood (L.A. Law) in his Broadway debut as Stanley Kowalski, Nicole Ari Parker (Soul Food) as Blanche DuBois, Daphne Rubin-Vega (Rent) as Stella Kowalski and Wood Harris (The Wire) as Mitch. Directed by Emily Mann (Artistic Director of Princeton’s esteemed McCarter Theatre) and featuring an original score by five-time Grammy Award® winner Terence Blanchard, this scintillating Streetcar brings a whole new rhythm to Williams’ enduring portrait of sex, class and secrets in one of America’s most fascinating and diverse cities. Come and feel the heat.  Broadhurst Theatre, 235 West 44th Street, NYC. Performance ScheduleTues 7pm, Wed 2 & 8pm, Thurs 7pm, Fri 8pm, Sat 2 & 8pm, Sun 3pm Week ending July 8: Mon 7pm, Tues 7pm, Wed-Dark-July 4th, Thurs 7pm, Fri 8pm, Sat 2 & 8pm Sun 2 & 8pm BUY NOW and SAVE OVER 35%* Front Orchestra & Front Mezzanine $79.50 to $89.50* Rear Orchestra & Middle Mezzanine $69.50* Rear Mezzanine $49.50* *Offer valid on select performances and seat locations. Restrictions may apply. Visit BroadwayOffers.com mention code: ASFLY79 or call 212 947-8844 For groups pf 10 or more, call Toni, 718 703-2260

SKINNY the movie Premieres in NYC this weekend

FILMMAKER PATRIK-IAN POLK OF

“PUNKS” AND “NOAH’S ARC”

NEW YORK CITY OPENING OF NEW INDIE FILM

“THE SKINNY” AT THE FAISON FIREHOUSE THEATER ON FRIDAY, JUNE 8TH

The highly anticipated NYC premiere of THE SKINNY, the third feature film from Patrik-Ian Polk (PUNKS, NOAH’S ARC) will be presented during the First Annual Pride Cultural Series at the Faison Firehouse Theater, 6 Hancock Place, Harlem, NY 10027 opening Friday, June 8th with proceeds benefiting GMAD’s (Gay Men of African Decent) Charles Angel Youth Leadership Academy's 'Stop the BS' campaign- an anti gay-bullying and suicide initiative.

A sharply scripted comedy, THE SKINNY tells the story of four young, black, gay men (Magnus, Sebastian, Kyle, Joey) and their lesbian best friend (Langston), who meet up in New York City one year after their graduation from Brown University. Their plans for a weekend of fun start off well, relaxed in each other’s company as only old friends can be. But old tensions quickly resurface.

Drinking, drugs, hidden desire and the demands of promiscuity put friendship, trust and even lives at risk. In between sharp one-liners and a great soundtrack there’s a few important lessons that these pleasure-seekers must learn for themselves. Written with a real sense of the demands of urban living, these bright and believable characters will remind you of someone you know. Remaining true to his past work, Polk addresses issues in THE SKINNY that face the LGBT community such as date-rape, infidelity, and HIV/AIDS awareness.

The film stars Jussie Smollett (the former child actor of “Mighty Ducks” & “North”, and older brother of well-known actress Jurnee Smollett), Blake Young-Fountain, Anthony Burrell, Shanika Warren-Markland and Jeffrey Bowyer-Chapman. Supporting cast includes alumnus of Polk’s past features such as Darryl Stephens (“Noah’s Arc”), Jennia Fredrique (“Noah’s Arc”), Wilson Cruz (“Noah’s Arc”) and Seth Gilliam (“Punks”, “The Wire”, “Oz”, “Teen Wolf”). The cast also includes newcomers Dustin Ross and internet sensation B. Scott.

THE SKINNY’s open-ended NYC run begins Friday, June 8th at the Faison Firehouse Theatre in Harlem (6 Hancock Place, New York, NY 10027) as the featured film of the Firehouse's First Annual Pride Cultural Series.

OPENING WEEKEND's Showtime: 3:30pm | 5:30pm | 7:30pm & 9:30pm

Tickets $15.00 purchased in advance online at Smarttix.com.

For additional details & showtimes go to Skinnythemovie.com.

CONTROVERSIAL STREETCAR/ Nicole and Blair on MSNBC

With regard to the "Nay Sayers," like the New Yorker theater critic, John Lahr, that asked Santa Clause, last Christmas, to bring him no more "Infernal all black cast productions of Tennessee Williams' plays, unless he can have his equal in 'FOLLY'; an all white production of an August Wilson play!" "FOLLY," really?!  

We have been having such an AMAZING run, playing to full houses, standing ovations EVERY night, since the very first preview. Our run on Broadway was just extended another month until August 19th and all systems are go for us to take the production to London in Oct. Though 90 % of the reviews have been positive...(we are, after all critiquing an art form and everyone is entitled to their own opinions), it is the commentaries from the likes of John Lahr (theater critic for The New Yorker magazine) and racist rants from NY Times critic Ben Brantley masquerading as a "review," where you realize that they are not even remotely interested in reviewing or critiquing the work and/or artistry upon the stage. The so-called guardian Elite of the New York theater world, would rather take a position of condescension and dismissal when  people of color have the "audacity" to take on the extraordinary, beautiful work of Tennessee Williams. Once you know your history and know that there was indeed a culture of people (in the 1700s), endemic to Louisiana called the "gens de colour libre," or "free people of color," and that these people owned plantations and some actually owned their own slaves, there is no basis to dismiss the backstory of our Dubois sisters who hail from their family owned plantation called Belle Reeve. Or to dismiss the part of the story where Blanche Dubois pines for an oil millionaire called Shep Huntleigh. If these dismissive Nay Sayers knew their history, they would know that there were a number of black people that owned oil wells in the 30s and 40s:

These are three actual black millionaires in the deep south of the 1930s and 40s that serve as prototypes for Shep Huntleigh.

William Madison McDonald 

Gooseneck Bill McDonald moved to Fort Worth in 1906.  He built the Fraternal Bank and Trust Company in 1912.  The bank was located at 401 E. Ninth Street. The bank was successful and survived the Great Depression. The bank provided loans to African American entrepreneurs during the segregated era.

According to a 1984 Fort Worth Star Telegram story, Mc Donald was “Ft. Worth’s first black millionaire”. He lived in a 12 room mansion on Terrell Avenue  His home “rivaled any in Fort Worth at the time.”

Joseph Jacob Simmons

Joseph Jacob Simmons, Jr. (January 17, 1901 – March 24, 1981) was a prominent African American oilman. He "rose above humble beginnings to become the most successful and most recognizable black entrepreneur in the history of the petroleum industry."

As an internationally known oil broker he partnered with Phillips Petroleum Company and Signal Oil and Gas Company to open up African oil fields in Liberia, Nigeria and Ghana. In 1969, he became the first black to be appointed to the National Petroleum Council

The headline from this conversation is: BLACK FOLKS, STAY IN YOUR PLACE!

As long as we stay in our place and do only the great "Black" classics, like "Fences," "Porgy and Bess," "A Raisin In The Son,"  etc. your artistry will be lauded and touted, (as it should be), but if you dare step into the deified realm of Tennessee Williams, expect profound resistance and resentment. This is evident not only in our production but in "Cat On A Hot Tin Roof," produced by the same producers; Stephen Byrd and Alia Jones in 2008 with an all-black cast. Incidentally, with the same dismissive climate, "Cat" prevailed and became the highest grossing "play" (not musical) of the year!

I saw the production and the work was stellar.

"Cat boasted three previous Tony Award "winners;" James Earl Jones, Phylicia Rashad and Anika Noni Rose, but the reviews were blistering and the entire company, cast and crew were completely ignored and shut out of a single Tony nomination, the highest honor in the world of Broadway. Ironically, so were we, save a deserved Tony nomination for Paul Tazewell's costumes. Though the costumes are terrific, are you telling me that when you come to see our play the ONLY thing you are left with is how amazing the costumes are? dismissal and condescension.

Once again, you realize that the "resistance" and "resentment" is not based on the work. We are not being judged based on the work. It is the "power of the idea," that seems to unnerve the "elite;" the idea that people of color could produce and perform Tennessee Williams and do it well. The beauty in all of this is that when an ideas time has come it cannot and will not be ignored!

Nicole and I decided to make a concerted effort to expose John Lahr and other's ignorance with regard to people of color doing Tennessee Williams. We did an interview on MSNBC on Thursday with the brilliant Michael Eric Dyson. The response and buzz has been phenomenal. Feel free to send the video viral if you like. Thanks much.

Blair

Check out the link below:
http://www.bing.com/videos/watch/video/a-streetcar-named-desire-reborn-with-blair-underwood/6smlw5d?from=

Film Explores Term ‘Gay For Stay’ & Risky Behavior of Black Men Post-Prison

by Drew-Shane Daniels

for musedmagonline.com

There’s a video that has been circulating on the web discussing black men and their behavior post-prison. Throughout the short film called Earl’s Post-Prison Playdate, the director exploits the downlow lifestyle, breaks down the unstable black family dynamics and educates viewers on the risky behaviors men learn from being in jail.

Earl’s Post-Prison Playdate was written, directed, and produced by award-winning NYC filmmaker, Rod Gailes OBC. Richard S. Carroll Jr., Pernell Walker from the Sundance-Hit, Pariah, and Iris Wilson of Broadway’s FELA star in the short.

Most of the controversy from blogs and critics overshadow the real meaning of the film. The film was created as part of an HIV/AIDS awareness campaign addressing lifestyle issues affecting our community. HIV/AIDS is a huge epidemic in our community- no matter the sexuality. Even though I felt I was watching a script full of stereotypes, I know this is real life for many people in our community (or at least some variation). The message still remains the same: go get tested!

Please check out the video below and share with your friends:

Earl's Post-Prison Playdate: Feature from OBC DreamTheatre on Vimeo.

The Strange Things About The Johnson's FULL MOVIE

Okay, ok... I'm a few months behind on this film and this topic; however, I watch it this week. WOW!!! WOW!!! WOW!!! I don't know what else to say. YOU MUST WATCH FOR YOURSELF.

The Johnsons are an attractive, well-to-do, upper-middle class family. Sidney, husband and father, is a famous poet, known and adored for his kindness and sensitivity. Joan, wife and mother, is a dutiful housewife, an obsessive homemaker and the life of every party. Their son, Isaiah, is a charismatic young man who has just gotten married to an equally appealing young woman. In fact, there is only thing that separates the Johnsons from their charming friends and neighbors: Isaiah, the son, has been molesting Sidney, the father, since he was twelve years old. And what's more, Sidney has written a memoir that chronicles, in great detail, the ins-and-outs of this unseemly father-son relationship. Will the manuscript ever see the light of day, or will young Isaiah have a thing or two to say about it? THE STRANGE THING ABOUT THE JOHNSONS is a dark satire of the domestic melodrama, which asks "What if...?" and then, for some reason, comes up with an answer.

However, the comments are more interesting to me... What did you think of the film?



&

Patrick Ian Polks new film The Skinny premieres in Washington, DC & Atlanta

"The Skinny" Exclusive
One Week Engagement Begins April 6th in Washington, DC & Atlanta, GA

THE SKINNY opens Friday, April 6th for an exclusive one-week engagement in Atlanta at the Midtown Art Cinema (931 Monroe Drive, Atlanta, GA 30308) and Washington D.C. at the E Street Cinema (555 11th Street NW, Washington DC 20004) with more cities to follow. We will be having a "Meet and Greet" with the director and the cast on Friday, April 6th at E Street Cinema at 7:30pm and 9:45pm. In Atlanta, we will be having a "Meet and Greet" with Polk and the cast at the Midtown Art Cinema on April 7th at 7:30 and 9:45pm.

From the director of cult classics PUNKS and NOAH'S ARC, comes the much-anticipated third feature film from Patrik-Ian Polk THE SKINNY, a sharply scripted comedy about a group of four young, black, gay men Magnus, Sebastian, Kyle, Joey and their lesbian best friend, Langston. They arrange to meet up in New York City one year after their graduation from Brown University. Their plans for a weekend of fun start off well, relaxed in each other's company as only old friends can be. But old tensions quickly resurface.

Drinking, drugs, hidden desire and the demands of promiscuity put friendship, trust and even lives at risk. In between sharp one-liners and a great soundtrack there's a few important lessons that these pleasure-seekers must learn for themselves. Written with a real sense of the demands of urban living, these bright and believable characters will remind you of someone you know. Remaining true to his past work, Polk addresses issues in THE SKINNY that face the LGBT community such as date-rape, infidelity, and HIV/AIDS awareness.
The film stars Jussie Smolett, Blake Young-Fountain, Anthony Burrell, Shanika Warren-Markland and Jeffrey Bowyer-Chapman. Supporting cast includes alumnus of Polk's past features such as Darryl Stephens ("Noah's Arc"), Jennia Fredrique ("Noah's Arc"), Wilson Cruz ("Noah's Arc") and Seth Gilliam ("Punks"). Also, the film introduces new actors Dustin Ross and internet sensation B. Scott.

In an exciting partnership, the film has teamed up with the Black AIDS Institute to promote the importance of health in the LGBT Community, especially in the Black and Latino communities. The Institute will sponsor appearances, receptions and panel discussions in Washington D.C. and Atlanta featuring producer/director Polk and cast members Jussie Smollett, Blake Young-Fountain and Jennia Fredrique (who all appear in the Black AIDS Institute's latest PSA campaign "Greater Than AIDS"). The Skinny director and cast will be on hand to discuss the HIV awareness story-lines in the movie and other sexual health issues of importance to the LGBT population.

"I've been involved with the Black AIDS Institute since the early days of my NOAH'S ARC television series, and I've been addressing issues of HIV and AIDS in my work since my first film PUNKS," Polk explains. "So it makes perfect sense to partner with them to promote their great cause and highlight the HIV awareness issues raised in my new film THE SKINNY."

The film also features music written and performed by Patrik-Ian Polk. With tunes that illustrate the highs and lows of the film, Polk sings with his heart and soul to capture the essence of it all. Polk was inspired by artists such as Grammy-Award winning Adele to "who had created a very personal album based on her romantic experiences," he says. Polk continues to share coyly that, "...most of the songs I wrote, although they fit very nicely in THE SKINNY, are actually about some very personal experiences with...someone very specific."

For more information, see http://www.skinnythemovie.com.
__________________________________

Advance Movie Ticket Information

Atlanta, GA - Purchase Tickets HERE

Washington, DC - Purchase Tickets HERE

News & Entertainment ‘Love Jones’ Creator Talks Directing E. Lynn Harris’ ‘Invisible Life’ + ‘Love Jones 2′?

by MUSED MAG ONLINE

Being one of the classic movies in black films, Love Jones celebrated its 15 year anniversary. Yes, 15 years! It doesn’t even seem like it has been that long but fans cannot get enough and still demand a sequel from writer and director Theodore Witcher.

In his debut, Witcher left us with a movie that helped portray another side of black culture. Since 1997, Loves Jones has had audiences craving black romantic films. Witcher seems to be current with the times a movement preparing to take on a film that deals with homosexuality in the black community.

Check out the interview between Witcher and the Urban Daily as he discussed his plans for Love Jones 2, black films and tackling homophobia in the black community.

How did it feel watching Love Jones again on the big screen?
Actually, I didn’t. I stayed for the first few minutes, and came back towards the end. It’s been so long, and the audience has seen it before, so it’s not like I’m getting the original reactions from people. Now it’s really about the pleasure of the familiarity. Your favorite scene’s coming up, your favorite line’s coming up. Over the years, your relationship with a movie changes tremendously.

There were complaints that Love Jones signaled the end of the spoken word movement, because everyone jumped on the bandwagon.
It’s the same thing as digging a rock band that no one else knows about other than you. Then when they became a hit, people say they’re a sellout because they’re a success. It’s the same phenomenon. People find a corner of a universe and once it expands, they don’t like it. My concern was more for the actual spoken word poets who wouldn’t think the poetry featured in the movie wasn’t good. If you lived in Brooklyn and going to Brooklyn Moon, that was the authentic ground zero shit. The spoken word in Love Jones would seem like a Hollywood version. I knew that, but I had to make it more accessible to a mass audience.

Last month, Larenz Tate and Nia Long tweeted a question to their followers “How would you feel about a Love Jones 2?” and the reaction was overwhelmingly positive. Would you consider directing a sequel?
Yes, we’ve discussed it. We’re working on it.

With The Help we had two black actresses (Viola Davis, Octavia) that were put front and center for award nominations. Would you consider The Help a black film?
Well, what qualifies a black film? Does it have to have a Black director? Norman Jewison who is White, directed A Soldier’s Story which has a predominantly black cast. The Help which is a mixed cast, is a story about the plight of black people. White novelist, White screenwriter, White director—is that a Black film? Probably not in the way most people mean it. If you mean like Do The Right Thing, then it’s not a Black film.

News dropped last year that you’re working on a film adaptation of E. Lynn Harris’ “Invisible Life.”
I’ve been working on that for the past year with Tracey Edmonds and some other folks. That’s still ongoing, there’s a script. It’s still a work in progress.

We had Pariah that dealt with lesbian themes, how receptive do you think the black viewing audience will be to Invisible Life?
We actually talked about that. I’m hoping they’ll be receptive. In my adaptation I took the fundamentals of the story and tried to make it as universal as possible. The main character is trying to be true to himself in an environment that won’t allow him to be. The setting takes place in the 90’s, almost 20 years ago and it was worse back then. It’s no secret that in segments of the black community there’s a certain amount of homophobia. I’m hoping we will join the 21^st century and be on the right side of history and just look at the story from a human point of view.

Read more of the interview at Urban Daily

And the winner is... Octavia Spencer for the HELP

Best Actress winner and “The Help” star Octavia Spencer is in love with her little golden guy.

“I think he and I are gonna get married!” an ecstatic Octavia told Access Hollywood’s Shaun Robinson on Sunday night at the Governor’s Ball following her big win.

“I don’t even know I don’t know what I said, that’s what I’m worried about,” the actress said of her emotional acceptance speech.

“Actually, you said ‘Thank you world,’” Shaun reminded the star.

“Did I say, ‘Thank you world? I said, ‘Thank you world?’” she said with a laugh. “Thank you world!”

In addition to her love for her new golden statue, Octavia explained that she’s really enjoyed all the other non-golden men who helped shower her with awards over the past few weeks.

“I’ve gotten awards from Christian Bale, Don Cheadle, Brad Pitt, Bradley Cooper, Owen Wilson — I mean, it doesn’t get [better!],” she said.

And what does she plan on doing with her statue – something she affectionately refers to as “the hottest guy in the room” – when she gets home?

“I am going to never let this guy out of my sight for the next 48 hours,” she explained. “I’m gonna redecorate my house, so I can put him right smack dab in the middle of something.”

Octavia explained to Shaun that she’s honored to now have “Oscar winner” come before her name.

“I have to live up to it,” she said with a smile. “I have to live up to it.”

Also on Sunday night at the Governor’s Ball, Shaun spoke to Octavia’s “The Help” co-star, Viola Davis, who was overjoyed for her friend’s win.

“I just so proud. It means so much to Octavia,” Viola told Shun. “It’s like she said last year at this time, she didn’t know where her next job was coming, and now this. It’s just speaks to just how magical this business can be.”

4 Colored Boys Like Me

Dane Harrington Joseph

Writer and actor; producer, 'Drama Queenz' and 'Langston's'

Posted: 1/9/12 02:49 PM ET on The Huffpost Gay Voices

I am not a racist.

There's a perfectly sound reason why my new project, Langston's, is subtitled "a film by (4) colored boys." Besides the obvious answer (it's a collaboration between four noted black and latino filmmakers), there's also a much more personal reason, dating back about 20 years to when I was a little colored boy myself (as my grandma would affectionately call me).

Back then, I would occasionally wet my bed at night. After such incidents I'd hide my gold-tinted "tighty whities" from my father, who would undoubtedly "whoop" me if he found them. Nonetheless, despite my best efforts, he would sniff them out after they had festered for a few days in some ill-concealed location.

He would then call out for me in his ironically shrill, baritone voice, and, after a series of insults, proceed to beat me, accentuating verbally my various flaws with each lash. My worst offense, however, would be crying, because "black men don't cry," an adage he'd bark at me whenever my eyes started to well up. So I would just bite my lip until he was finished, then retire to my room and cry secretly into my pillow, all the while thinking, "I need help."

Of course, I didn't mean I needed to be rescued from my father's "tough love." Rather, I needed help controlling my compulsion to be me. I didn't want to be me. I hated me. "Me" needed help, and I knew no other little "colored" boys like me who could show me the way. So I looked to pop culture for guidance: music, movies, TV. Bill Cosby? No. Montel Williams? Denzel Washington? No. Flava Flav? Hell no. There was not one media personality or public figure that reflected me. I wasn't relevant. I didn't matter.

I grew up, cried a little less, and, as a teen, became even more obsessed with the idea of finding someone to connect with -- other little colored boys like me. I discovered this newfangled thing called "the Internet" at the library. I made new virtual "friends" and consequently put myself in unsafe situations, sexually and emotionally, just to feel something, to relate to someone. I thought that love manifested physically between a 41-year-old Italian bear and a 15-year-old little colored boy could fill a void, could help substitute for the lack of love I felt for myself; it didn't.

I recall going to my mom a few months later and having her take me for my first HIV test, and crying, and then her crying, and then us crying again when the results came back negative. And I remember thinking I would never be self-destructive in that way again.

I must admit, however, that the lure of boys and booze to fill a void still lingers, to gain instant gratification to temporarily replace constant feelings of illegitimacy. And while this could, in truth, be the story of anyone of any race, I find that my existence as a gay man of color has rarely been validated; how I felt as a little colored boy looking to the media for validation still resounds today as a grown colored man. Aside from a slew of big black men in pretty dresses (RuPaul, Tyler Perry, Eddie Murphy, Martin Lawrence, Jamie Foxx, and Flip Wilson, all of whom I admire, but almost all of whom aren't gay) and some admirable attempts by a few noted filmmakers (Patrick Ian Polk, Maurice Jamal, and Roger Omeus, to name a few), there has not been a constant presence of gay men of color in mainstream media or popular culture.

Coupled with negative societal perspectives on homosexuality, the diminished presence of black-themed entertainment that was so pervasive in the '80s and '90s, and the Euro-centric focus of most gay entertainment and advertising, it's not so surprising that self-destructive actions among young gay black men are on the rise, with the CDC reporting that new infections among said demographic saw a dramatic increase of 48 percent in recent years, with 59 percent of those carrying the disease unaware of their status.

As a filmmaker, I see the problem as a matter of value. Television and film are a reflection of reality, barometers of what is real and relevant. If you do not see "you" reflected, subconsciously or not, a feeling of irrelevance can set in. And when this occurs, it can devalue your existence, especially when you are at a younger, more impressionable age and trying to find yourself.

So what happens to little colored boys like me? The ones growing up with no one to look up to? The ones who wet the bed and can't make their fathers proud? The ones who hate themselves and cry at nights? The ones sleeping with older men to fill a void or sleeping with just anyone with disregard for their lives or personal health? Are they as lucky as I was, or do they become a statistic?

My resolution for 2012 is to create more works for boys like me and turn feelings of irrelevance into feelings of self-love and inner peace. This resolution is reflected in the aforementioned film Langston's, a piece that spans the gamut of the LGBTQ experience for people of color. After a year of development, the four of us have created a singular film comprising four interconnected stories set in a gay, urban nightclub in Brooklyn.

The film is unapologetically colored, daringly gay, and yet strikingly universal. More importantly, it will forever be a testament to the worth and beauty of a community, something for little colored boys to look to so that they rarely, if ever, feel the emptiness I once felt.

May your stories be told, no matter what race, religion, orientation or creed, as well. You deserve it. You have value.

Through Jan. 14, we are accepting donations for this passion project on Kickstarter. We welcome your support for our love letter to little colored boys like us.

LANGSTON'S a film by (4) colored boys needs your support... GIVE TODAY!!!

"I went down to the river,
I set down on the bank.
I tried to think but couldn't,
So I jumped in and sank."
― Langston Hughes

WHAT
Whether old or young, masc or fem, prep or urban, we all share an attraction that draws us together and forces us to see the similarities in our differences...and in the club, there's no hiding from this truth.

An unparalleled collaboration between 4 noted filmmakers, LANGSTON'S is a modern portrait of gay men of color who are linked together by a tragic act.

A film by and 4 boys of color.

WHY
Together we can stop other young men of color from sinking.

Novo Film Project is dedicated to examining the questions latent in the LGBT community of color. In every project, Novo Film Project builds upon the contemporary and classic concerns and themes that remain timeless in order to introduce more "colorful" images in the cinematic landscape. In association with Off The Clock Productions, LANGSTON'S is the first feature length effort in achieving this goal.

In short, LANGSTON'S is a response to the diminishing presence of "colored folks" in mainstream film, a novel opportunity for us to tell our story and affect positive change within our community.

WHO
LANGSTON'S fuses the talents of 4 emerging, award-winning filmmakers:

Dane Harrington Joseph
Co-producer and writer of Drama Queenz, the hit comedy series about three friends and roommates dealing with life, love, and trying to make it in New York City. Now in its third season, the show has been presented at film festivals and pride events across the country, on many notable blogs and websites, and has a special partnership with BGCLive.com.

Dwight Allen O’Neal
Executive Producer/Creator/Writer of Christopher Street TV (now available through TLA Releasing) and the forthcoming spin-off series cockTALES. A notable blogger, celebrity make-up artist, and international GAYlebrity, Dwight’s work has featured in Vogue Magazine, TheFutureFoward.net, and various other hot spots across the world wide web.

Daniel Armando
Executive producer/director/writer, Boys Like You (winner “Best Male Short,” North Carolina Int’l Gay and Lesbian Film Festival) and vice president of development at Novo Film project.

James Peoples
BET/Urbanworld Screenwriting finalist and writer of the first novo film project, Where Truth Lies (Official Selection, North Carolina Int’l Gay and Lesbian Film Festival). James' work has also been featured in the NBC Shortcuts festival. James was also one of the recipients for Best Science Fiction film at the Terror Film Festival.

HOW
YOU can make this happen. Through your support, you can help give voice to emerging artists, a disenfranchised community, and the individuals within that may be sinking. By partnering with Novo Film Project and Off the Clock Productions, you will bring to life work by us, for ALL of us.

Give today.

Idris Elba Featured on Latest Essence Cover

Let’s just go ahead and get this out of the way: Idris Elba is one good looking dude. Okay? We admit it. If we ever got to meet Elba we’d get lost in his eyes and then probably hug his leg until his bodyguards or the police forcibly removed us. That kind of reaction is probably why Essence decided to put the actor on the cover of its November issue.

Inside the issue, which hits newsstands October 12, Elba discusses being a dad and what he finds physically attractive. “Skin, I love beautiful skin,” Elba tells Essence. “I’m tactile, very tactile. A woman who has really nice, looked-after skin is such a turn-on for me. It’s always sexy.”

We’d give more details about the interview, but we have a feeling almost everyone just went to the nearest Duane Reade to buy the most expensive lotion they can find.

He is GREAT in BBC America's Luther:

Click here

Alicia Keys Wants You to Enjoy a Special Offer

ALICIA KEYS WANTS YOU TO ENJOY A SPECIAL OFFER:
Save up to 30% on the show The Boston Globe calls
“Laugh-out-loud funny. Cause to shout for joy!”

Meet the LeVays, a well-to-do family who have come together over this August weekend at their Martha's Vineyard home. The delicate balance of the family is completely upset when the two adult sons independently choose to introduce their girlfriends to the parents. Sibling rivalries flair, class distinctions surface, and family secrets unravel. That’s STICK FLY, a wickedly funny, endlessly surprising new play by Lydia R. Diamond. Yes, it was a relaxing weekend at the beach ... until the baggage got unpacked.

BUY NOW AND SAVE UP TO 30% FOR PERFORMANCES THRU DEC. 18.

Previews begin November 18. Opening Night December 8.

Orchestra & Front Mezz $85.50-$92.50* (reg $121.50-$131.50)

Middle Mezz $64.50* (reg $91.50)

Balcony $35-$45.95* (reg $35-$65)

CLICK HERE or call 212-947-8844 and use code SFDWK92

Performance schedule Nov. 18-Dec. 11: Mon, Tues, Wed & Fri 8pm; Sat 2 & 8pm; Sun 3 & 7:30pm

Performance schedule beginning Dec. 12: Mon, Tues & Thurs 7pm; Fri 8pm; Sat 2 & 8pm; Sun 3 & 7:30pm

Regular performance schedule. Added performances Dec. 21 at 2 & 7pm and Dec. 28 at 2 & 8pm. Schedule subject to change. Holiday schedule may vary.

Groups 8+ call 800-432-7780

StickFlyBroadway.com

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INVITE - MOVIE SCREENING: Critically-acclaimed film PARIAH Screens in Conjunction with "OUT on the Hill"

The National Black Justice Coalition in partnership with the DC Mayor's Office of GLBT Affairs will host a Special Advance Screening of the critically-acclaimed, coming-out story PARIAH on Sunday, September 25, 2011 at 7:00pm, Regal Gallery Place, 707 7th Street, NW, Washington, DC.

A Q&A with Director Dee Rees and Producer Nekisa Cooper will immediately follow the screening.

A rousing success at its world premiere at the 2011 Sundance Film Festival, this deeply felt human drama is the feature debut of writer/director Dee Rees. Adepero Oduye portrays Alike (pronounced “ah-lee-kay”), a 17-year-old African-American woman who lives with her parents (Kim Wayans and Charles Parnell) and younger sister (Sahra Mellesse) in Brooklyn’s Fort Greene neighborhood. A gifted student, Alike is quietly but firmly embracing her identity as a lesbian. With the support of her best friend Laura (Pernell Walker), she is especially eager to find a girlfriend. Wondering how much she can confide in her family, Alike strives to get through adolescence with grace, humor, and tenacity. Spike Lee is among the feature’s executive producers. PARIAH is slated to open in Washington, DC during January 2012.

To view the trailer click here: http://focusfeatures.com/pariah.

To download a printable screening flyer, click here.

To RSVP, enter your name, phone number, and mailing address at this evite link.

Please note: We can only accept one email RSVP per attendee. If you plan to come with someone, ask them to RSVP separately via email.

Let Us Help You with THE HELP

I just got back from a special-screening of "The Help" at my local movie theatre, so I thought that I might as well do a review for all of you who are somewhat interested to see this movie and need a PUSH.

Now, first off, I must admit that I have only read a portion of the book, but I definitely do know a lot about it. After watching the trailer, I was intrigued. At first glance, the casting caught my attention big-time. Emma Stone as 'Skeeter'? I bet most people were as shocked as I was to find out that she was cast as the main character -- but let me tell you what: the casting was superb! I could not have chosen a better cast than what was already chosen. There was amazing chemistry between both the antagonists and protagonists. I won't go into too much depth about the characters, but for me, Emma Stone, Viola Davis, Jessica Chastain, Sissy Spacek, and Octavia Spencer were the shining stars of the movie.

I know that there has been an on-going issue about this movie from a lot of people claiming that "the blacks had to be 'saved' by the whites" (pardon the language), or something along those lines. I have to agree that the trailer does give off that type of vibe -- Skeeter saving the colored-folks -- however, the movie tells and depicts otherwise - the colored-folks actually saved themselves. Minny and Aibileen, as well as the other colored-folks in the community, were the real "heroes" of the movie; they just needed someone to push them to their potential (Skeeter).

I can not remember the last time I saw a movie that inspired me, made me cry, made me laugh, and made me sad, angry, and hopeful, all at the same time -- this is what "The Help" strides and aims for, without making it "cheesy". Without a doubt in my mind, there are definitely Oscar-worthy performances in this movie. Not only does this movie depict just the colored-folks' side of the story, but it also equally shows the feelings of the white-folks, as well. So, you definitely get both sides of the story without it being more or less "mean" or "degrading" to any sides.

There are definitely a few awkward moments in the movie, but what movie doesn't have them? This movie started around 10:10 and ended around 12:20 -- about 2 hours and 10 minutes, give or take, if my calculations are correct. However, this movie only felt like it was an hour-long. It was so good that I didn't even know the two hours passed by until the theatre lights lid and the rolling credits began.

All in all, this is a DEFINITELY-MUST-SEE movie. I personally believe that it is one of the best movies of 2011. Go see it -- you will not regret it. If you have any questions, feel free to ask.

And during its opening weekend (August 12^th) Box Office reported it came in 2^nd at $26.0M behind Planet of the Apes at $27.8M. You need to catch up…