UCAN! Magazine Summer Issue 2015

UCAN!

VOLUME THREE ISSUE THREE

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BELIEVE YOU CAN! Don Kamelyon The One and Only Heidi Latsky Dance Co. A Movement of Awareness Conversation Piece What Bringing Down the Confederate Flag Means Goings On Flora Montes Brings Us Bronx Fashion Week

RainPryor Pure Legitimate Talent

Now you can own this award winning feature film! http://www.amazon.com/Breaking-Point-Sean-Nelson/dp/B010CG2DMO

FROM THE EDITOR

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Star Davis

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ISSUE THREE

EDITOR-IN-CHIEF

STAR DAVIS CREATIVE

DIRECTOR

RANDELL PEARSON SOCIAL

This issue’s note from me is a shout out to all artists and a big THANK YOU to our supporters.

UCAN! Magazine has always been about sharing the success stories of our creative comrades. It’s also about showing appreciation to our enthusiasts. Some of us are blessed beyond measure to have actual family who has our back. And then there are our “people” who are there for us by giving us time off from work to film or go on auditions, by keeping the kids, by rehearsing with us in the middle of the night, or giving us rides when there’s no other way to get to where we need to go. THANK YOU FOR YOUR BELIEF IN US! Many artists could not go on if it weren’t for you all who support, encourage, inspire, and sometimes shock us into getting our acts together.

This Summer of 2015 is filled with promise. Go beyond that. Fill it with expectancy! Expect to meet the right people. Expect your hard work to pay off. Expect goodness from those whom you encounter. As we go outside during the summer months, we feel heat and see all the trees and bushes in full foliage. They are thick with greenery and life.

So should be the pursuit of our dreams!

A special THANK YOU to Rain Pryor for a great show and for sharing your talent with us. You are a blessing to aspiring artists, way more than you know. #ByArtistsForEveryone Twitter: @UCANMagazine Website: www.UCANMagazine.com Facebook: https://www.facebook.com/UCANMagazine

MEDIA

MANAGER

COURTNEY LEE CORDERO CONTRIBUTING

EDITORS

AMELIA RAWLINS MELISSA GOLDSTEIN DR. BILLIE ANN DAVIS HEIDI LATSKY EDITORIAL

PRODUCTION

NAIMA SOLOMON ENTERTAINMENT

DIRECTOR

KAREN Y. BROWN RESEARCH

CENTER

DEIDRE GREGORY KEIDRA CAMERON MICHELLE DUBOIS ADVERTISING

DIRECTOR

KIMBERLY ANN RICHARDS

UCAN! MAGAZINE IS PUBLISHED SIX TIMES ANNUALLY IN ENGLISH.

UCAN!’s Editor-in-Chief, Star Davis backstage with this issue’s cover feature, Rain Pryor.

UCAN! IS REGISTERED AS AN INTERNATIONAL TRADEMARK. COPYRIGHT © 2015 BY PINDARA STUDIOS LLC. COPYRIGHT UNDER UIVERSAL COPYRIGHT CONVENTION. FRONT COVER AND ENTIRE MAGAZINE DESIGN COPYRIGHT @ 2015 BY PEARSON DESIGNS, BROOKLYN NY, USA. REPRODUCTION OF ANY PARTS OF THIS PUBLICATION REQUIRES EXPRESS WRITTEN CONSENT OF THE PUBLISHER. UCAN! ACCEPTS NO RESPONSIBILITY FOR UNSOLICITED MANUSCRIPTS, PHOTOGRAPHY OR ARTWORK.

Creating a Major Movement H E I D I

L A T S K Y

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P H O TO G R A P H Y B Y D A N I E L S N E E D A N D M A R K S H E L B Y P E R RY

The Heidi Latsky Dance Company (HLD) was created in 2001 purely from Heidi’s desire to create dance work that challenged her physically, emotionally, and artistically. “One vital part of our mission is to visually represent through dance that beauty and magic is found in unexpected places and that diversity is complex, human and fascinating,” she says.

She had been in a duet company with Lawrence Goldhuber (whom she met in 1987 in the company of Bill T. Jones/Arnie Zane) that capitalized on their size differences. He is tall and unusually large for a dancer, and Heidi is petite. Although they had a great partnership, Lawrence was a more conceptual artist and Heidi wanted to explore her technical abilities and work with dancers who were more classically trained. It is ironic that in 2006 when she was making a work for Lisa Bufano (pictured above), a visual artist who was a bilateral amputee, Heidi was as struck with Lisa’s fierceness and openness as she had been with Lawrence’s. The trajectory of HLD Company shifted back to what Heidi had been doing with Lawrence in 1997. However, although there was a shift in mission i.e. to redefine beauty and virtuosity through dances that incorporated performers with unexpected bodies, Heidi never lost her initial impulse for HLD which was to create work that is physically dynamic and technically virtuosic.

In 2006, while creating “Five Open Mouths” for Lisa Bufano, Heidi met many people from the NYC disability community and became very interested in exploring the integration into her work of a variety of performers from diverse backgrounds who also had unexpected physicalities. “I was interested in how this would enhance my choreography and how it would impact audiences,” she tells us. She began The GIMP Project- a body of work featuring both disabled and non-disabled dancers. Gimp is a word we are taught not to use, just as we are taught not to stare at people who look or move differently. But gimp is also defined as “fighting spirit and interwoven fabric.” Heidi emphasizes it is those qualities that are at the core of the work she creates.

“We have performed the work internationally and in New York City, as part of the Reelabilties Film Festival. I met Victor Calise, the Commissioner for the Mayor’s Office for People with Disabilities over the years at these events,” Heidi explains. But it wasn’t until this past year when he was planning a month long celebration of the 25th anniversary of the Americans with Disabilities Act that they worked together to coordinate free public events for disabled dancers and community members throughout the five boroughs of New York City. Such an event was a stirring performance this past week at the Whitney Museum. Audience members were treated to a performance of “Somewhere” along with a screening of the film “Soliloquy.” As an extra bonus, there was even a Q&A discussion with Heidi and members of the Company.

“Soliloquy” is quite a significant accomplishment for both dancers and viewers. This past year, Heidi was selected as the first choreographer to create a short film for the Dance for Film on Location at Montclair State University underwritten by the Andrew W. Mellon Foundation. Since its premiere at The Alexander Kasser Theater at Montclair State University, “Soliloquy” has been presented at the Festival de Marseilles and at the American Dance Festival in North Carolina . HLD’s hope is that this activity will continue and accelerate so that they get the work out to even more people through film, live performances, movement installations, lectures and workshops. The goal of HLD is also to be as inclusive in their infrastructure as they are in the performance aspect of the Company.

PHOTOGRAPHY: MARK SHEBLY PERRY

FEATURE OPENER: TONI AS DIRECTOR OF THE RHYTHM IN BLUE DISCUSSING A SCENE WITH ONE OF THE STARS STEVEN STRICKLAND AND AD PORTIA KNIGHTS. PRECEDING SPREAD: WITH WARREN BUFFET DURING A VISIT TO THE STAMFORD, CT OFFICE. ABOVE: POSTER FOR BEAUTIFUL KILLER, A SHORT FILM PRODUCED BY 15L PRODUCTIONS. ABOVE: THE CREW: VANESSA BATEAU, CHRISTEN COFER, GAVIN BORDIN, PORTIA KNIGHTS AND MALIK PARKER ON LOCATION IN WASHINGTON DC. JUST ONE OF THE SEVERAL FILMING LOCATIONS FOR THE RHYTHM IN BLUE. ABOVE: BEHIND THE SCENES OF FILMING IN NEW YORK CITY.

“This was a dream come true as I had been wanting for a while to expand beyond theaters and broaden our reach through site specific performances. And here we are now throughout the month of July performing at venues like Brooklyn Bridge Park, Lincoln Center, the High Line and the Whitney Museum,” Heidi states. The High Line alone has six million visitors a year, so this exposure is potent.

Nineteen percent of the American population has some form of disability. The data around disability and dance is practically nonexistent. What is known is that funders are not receiving many proposals that are inclusive. For instance, in 2014, only two percent of the applications for New York State Council on the Arts served disabled audiences, including disabled dancers.

Many people with disabilities hide from the mainstream, so the mainstream is not exposed to them and hence when exposed sees them as other. “Other”can evoke fear, distance, or overly sentimental goodwill.

The arts can touch us powerfully in ways that intellect alone cannot. Dance, in particular, is a visual physical art form. Dancers are often perceived as limitless while people with disabilities are perceived as limited. For most, a disabled dancer is an oxymoron.

Therefore, dance is the perfect vehicle to shatter these preconceived notions of disability and with disability, dance gains rich and fertile grounds for exciting and fresh creativity.

The Heidi Latsky Dance Company is committed to redefining beauty and virtuosity. They are committed to honoring the unique attributes of everyone they work with, with deep respect, rigor, and discipline. There is no room in their work for sentimentality.

This is not therapy. They hold themselves to a very high standard. And it is in meeting that standard that they truly honor people with disabilities for who they are; not the condition they have. And the impact of this work is rippling outwards at an increasing pace. Since 2006, HLD has grown remarkably from informal, intermittent shows to performing in European tours and the most prestigious dance venues in the world.

“One vital part of our mission is to visually represent through dance that beauty and magic is found in unexpected places and that diversity is complex, human and fascinating,” says its founder.

Heidi’s experience with The GIMP Project and Heidi Latsky Dance in general is that “thinking outside the box” and moving out of one’s comfort zones are two major keys to success. Those are the people who have contacted Heidi over the years and who she has worked with to create the Company that exists today. www.heidilatskydance.com/

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WILLIAM LANEY is an accomplished character actor whose work engages his audience. A couple of his many stage credits include the role of Angus in the Oberon Theatre Ensemble production of Alex Dinelaris’ THE DRAWER BOY, written by Michael Healey. It had a successful run at NYC’s SoHo Playhouse. William also played Detective Arlow in Austin Pendleton’s ORDER, which was written by Chris Boal and played at the Kirk Theatre, also in New York City. William finished an American Homicidal Production of the feature length film, BRISTEL GOODMAN by Dan Harnden and Richard Ramsdell. He very recently completed work on the short film, MACRO directed by Hermeilio Miguel Aquino. Check out William Laney’s IMDb page for his full resume and contact information: http://www.imdb.com/name/nm1079846/?ref_=nmmd_md_nm

C O V E R

F E A T U R E

RAIN

PRYOR

SHE SHOULD BE IN FRONT OF A CAMERA!!

S T A R

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When I bought my ticket to see Rain Pryor’s one woman show, FRIED CHICKEN AND LATKES, I had no idea what a treat it would be!

I remembered Rain from her stint as a high schooler on HEAD OF THE CLASS. I mostly knew her as the daughter of her comedic genius father, and I wondered if she had inherited any of that genius.

Lately the entertainment business gives a pass to the children of celebrities. The accomplishments of their parents have provided them with an automatic skip-to-the-front-of-the-line card in front of lots of hardworking artists who have studied and sacrificed.

These artists who are talented and driven have gotten used to being denied opportunities over and over again, and watching those with famous parents get the big breaks. Dancing with the Stars’ Kids would be a more accurate title for a show we all know. While Lionel Ritchie, Demi Moore, and Al Kardashian have proven brilliant in their fields, their children now enjoy the privilege being on television simply because of being their children. I will admit to being a bit skeptical before seeing Rain’s show.

And how wrong I was!

This woman surprised the mess out of me, to put it mildly. First of all, I had no idea she could sing. Her vocal talent is powerful and strong. The music accompaniment complimented her voice beautifully, without having to cover up any flaws. There weren’t any.

Her storytelling ability is just as commanding. The skill with which she transforms into different characters, right before our very eyes, is magical. I was thoroughly entertained. My only complaint, if you could call it that, was that I still had no idea of what a latkes was.

“It’s basically a potato pancake, traditionally eaten during Hanukkah” Rain laughed when I blurted out the question.

Rain wrote FRIED CHICKEN AND LATKES fifteen years ago, long before the days of no-talent-required reality shows. It’s interesting that this theatrical experience first came about from Rain’s desire to establish herself as a performer.

Mission completely accomplished.

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“And a lot of what I talk about is still going on today,” she points out. That is very true. Throughout the show, Rain gives us a look into her childhood of growing up with her black celebrity father and white Jewish mother. Her grandmother also played a big role in Rain’s life, often talking about the challenges Rain would face being a biracial child.

Today it’s encouraged for such children to celebrate all of their ancestry. That was not the case years ago. With humor, Rain talks about her father’s attraction to white women and also about how her maternal grandmother was not so happy with her daughter’s choice of a husband. She also touches on her father’s drug usage, and the challenges she faced being a child of such a brilliant, celebrated and tormented man.

Of course, being an observer, one could think having a famous father makes life a lot easier.

“Sometimes it made it much harder,” Rain explains. “You’re always in that shadow. Trying to escape it and create your own identity was very difficult.”

Although losing her dad was certainly a deep loss to her, it gave Rain a new outlook on life and on her career.

“He’s an ancestor now. Now I can go on and tell my own story. It’s like he’s a part of my shadow now,” she says.

When asked what keeps her motivated, without a second’s hesitation Rain answers, “My daughter.” Lotus (pictured on the preceding spread) provides a strength and motivation to Rain. It’s obvious that Rain’s every decision in life is determined by what’s best for her child.

“Don’t be afraid to speak up,” Rain continues. This sounds like it could be a good lesson for Lotus and for anyone. “Everyone has power. Even a drop of water causes a ripple.”

Even though some of the topics brought up in FRIED CHICKEN AND LATKES could be sensitive and poignant, Rain delivers them with hilarity and wit. Audience members are left with a clear idea of who Rain Pryor is – a dynamic, sensitive, complicated, and very talented woman. http://www.rainpryor.com/ https://twitter.com/rainpryor http://www.imdb.com/name/nm0699428/

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Entertainers Celebrate

the Removal of the

Confederate Flag D R . B I L L I E

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Whenever there has been a social crisis in the U.S., the voices of entertainers, artists, writers, and others seem to enter the fray.

Marvin Gaye wanted to know “What’s Going On” during the Vietnam War. That got some of us talking about who was drafted most often. Charles Tindley gave us his renowned song, “We Shall Overcome” during the Civil Rights movement of the 1960s. Numerous other artists raised their voices and used their platforms in many ways that could fill pages and pages here. It was no different recently when the national discussion turned to whether the Confederate flag should come down from the South Carolina State House property. The voices of entertainers, and others, were loud and clear: “Take it down!” That is the best printable version I heard. These were people who’d had enough of seeing a flag that they did not like, let alone honor, being displayed on government property or anyplace else in their country, the United States of America.

There are still plenty of voices to the contrary. Their arguments most often center around the Confederate flag being a part of their “culture and heritage.” Until this day I have yet to hear an accurate description of that “culture and heritage.” People who claim this need to know about the many years that the Klan marched down Main Streets in the South, waving the Confederate flag to the applause of white families, neighbors, and friends. It isn’t enough to say: “The flag is part of my culture.” Explain exactly what that “culture” is. Explain how people who gravitate towards white supremacy and racism embrace the Confederate flag, just as the Charleston murderer did, and how that makes for a better America. Start at the Civil War and how slavery was tied to why the South seceded from the Union, but to get what it wanted, the continuation of slavery, how the South gave birth to the Confederacy. To say it is one’s “culture and my heritage” means nothing without knowing the meaning behind it.

The recent bantering that took place over the Confederate flag’s place in history, and specifically the use of the flag in present day affairs clearly highlights, once again, our differences as Americans. It wasn’t surprising to hear the voices of many entertainers such as Mia Farrow, Kerry Washington and speaking support of the flag’s removal.

Why be proud of what the Confederacy did? Why honor their ancestors who were traitors against the Union? And why defend the practice of slavery for the personal economic benefit of but a few and the near annihilation of a people? I am a Southerner, born in North Carolina to African American parents who were second generation out of slavery. When Southerners talk about heritage and culture it is better to see who’s talking (black or white) to better understand which heritage and culture they are interpreting.

By their deaths, nine African Americans lifted up the Confederate flag issue for all to see. And people did not remain silent. History will show that these nine deaths were tied to this cause that had been in the works for almost two centuries. The removal of a symbol tied to white supremacy, slavery and the desire to have dominance over black people, racism, and treason was brought to the awareness of the world. It is true that many Southerners fought and died for their cause, but it still doesn’t make it just. Many people, including and sometimes especially entertainers, weren’t in the mood for continuing support for that kind of culture, past or present. The murders in Charleston, South Carolina woke people up, and the flag came down.

DON KAMELYON THERE CAN

ONLY BE

ONE A M E L I A

R A W L I N S

Cha·me·le·on: Chamaeleontidae, characterized by the ability to change the color of their skin, very slow locomotion, and a projectile tongue…i.e. Don Kamelyon Creatively expressive, passionate and always ready for a song, Mr. Don Kamelyon has continued to become a worldwide success by giving his fans the rhythmic music that they can’t seem to get enough of and the music that he can’t stop producing.

Born, Lundgren Unwyn Peters on the sister islands of Trinidad and Tobago, Kamelyon has been involved with music since the tender age of four, when the sight and sound of the steel-pan took him by storm. While growing up in Trinidad, Don played first pan with the Steel Orchestra Texaco Dixieland, who changed their name to Texaco Sky Chiefs, then Heineken Pan Vibes; due to changes with sponsorship. During his time there he was heavily influenced by band members Miko, Catise, Revel, Ash, Bass Man and Lenny.

He also tried his hand at Congas, Drums, Iron and Cow bells.

Always lead by the music within, Don was known for playing music that was totally different from what the group had practiced and putting his own spin on it, which usually gained him a warning from the orchestra’s captain Miko and astonished stares from his band mates.

By the time he was in his early teens, Don had ventured off to Barbados where within no time he began playing first pan for The Elks Owl, a well-known steel orchestra. While playing with this band, he was given the opportunity to play for all the major hotels on the island which included: Sandy Lane Resort, Accra Beach Hotel, Cobblers Coves, Discovery Bay, Dover Beach Hotel, Coconut Court Beach Hotel and The Hilton Hotel.

Later, Don ventured on once again, this time with his family to the United States where he first discovered recording studio equipment. He soon opened the doors to receive DJ gigs for local community events, block parties and nightclubs. Those encounters landed him in the battle for the title of Best DJ and lead him to create his own beats and remixes.

In 1996, the musical chameleon started putting local artists on his beats and producing beats for resident groups resulting in him receiving a development deal with Loud Records and SONY Music Entertainment. Later that year, he produced beats for another group who because of its admirable work were signed to Warlock Records. This was the start of a rewarding career.

From then on, Don maintained a 9-5 job in the health field as the Director of a prevention program, all while still putting forth strenuous focus on his music career. During this time Don also taught himself the ins and outs of the music industry, by reading, attending music seminars and meeting many musical geniuses along the way.

By May 2011, after co-producing concerts with major artists including, Keyisha Cole, Ne-Yo, Cassidy and Latoya Luckett, to name a few, Don made the choice to hone his craft by starting DON KA-ME-LY-ON PRODUCTIONS. His first album under the company was titled “The Awakening,” a collection of rhythmic tunes and social commentary involving our daily struggle.

Today, Don Kamelyon has innovatively made his mark in the music world, using his genre and expertise to create magic. In the near future he plans to take his performances on the road and overseas. He has also begun working on his EP, titled “Let Lovers Rock,” which is his way of spreading love worldwide. For this ambitious artiste, the road to success comes in many shapes and colors and he is devoted to painting a musical masterpiece. Remember DON KAMELYON. There Can Only Be One. Stay tuned… https://itunes.apple.com/us/album/let-lovers-rock-ep/id1002603692

http://www.jango.com/music/DON+kamelyon?l=0

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PHOTOGRAPHY: ED ALVAREZ OF EDALVAREZ.NYC

B RONX

This spring marked a grand event, given at the landmark Old Bronx Courthouse hosted by the Bronx’s own ‘’La Bruja,’’ Caridad De La Luz. n Once again history was made as this event was held not only during Bronx Week but also during No Longer Empty’s latest exhibition: “When You Cut Into The Present, The Future Leaks Through,” featuring both Bronx artists and artists from around the world. There was a featured runway fashion show in addition to a networking mixer filled with fashion industry VIPs. n The Bronx, the birthplace of Hip Hop, now sets out to become The Home of Fashion. Bronx Fashion Week was a renowned event full of celebration, originality and style which merged and offered distinguished and unique designs to the fashion industry.

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