It is hard to be a writer sometimes. Not that I have the oeuvre to really claim this personally, but I think I can safely make this assumption based in part by films I have seen involving typewriters, piles of balled-up papers and ashtrays filled with chain-smoked cigarettes. I can also base this statement on the story below:

Journalist Paul Tolme: “When I traveled to South Dakota in 2005 to write a story about black-footed ferrets, I never imagined my words about the little weasels would one day appear in a trashy romance novel. I just wanted to write an informative and entertaining piece about these endangered prairie carnivores. Three years later my story (”Toughing It Out in the Badlands“) is at the center of 2008’s sexiest plagiarism scandal.”

The scandal involves a novel by prolific romance writer, Cassie Edwards, entitled Shadow Bear. I have included the synopsis below for your convenience:

“South Dakota 1850. Before he died from the Indian arrow that pierced his body while he was hunting gold outside Fort Chance, Shiona Bramlett’s father, the colonel, revealed a shocking secret. Now, armed only with her father’s map and her courage, she’s determined to honor him-and to fulfill her own destiny.

After a fierce prairie fire, Shadow Bear, Chief of the Grey Owl Band of the Lakota tribe, is desperately looking for his missing brother Silent Arrow. His search leads him to a beautiful woman in desperate need of help. Shadow Bear loathes the white man-but he cannot help but protect her. With a passion that is undeniable, they must learn to put their mistrust aside and share their secrets before all is lost.”

Perhaps it was the pressure of maintaining her reputation as a prolific novelist that forced Cassie Edwards into the dark corner of plagiarism? Perhaps it was a deadline? I can only imagine her desperation at the thought of trying to gracefully follow up yet another love scene. What in-the-hell would Shadow Bear and Shiona talk about after their wild tryst in his tipi? And then, like manna from heaven, an answer. After what must have been hours of frantically googling “South Dakota,” she found the topic that would save her from the sloth-like terror of post-coital writer’s block: the black-footed ferret.

Shadow Bear: They are so named because of their dark legs.

Shiona: They are so small, surely weighing only about two pounds and measuring two feet from tip to tail.

Shadow Bear: What I have observed of them, myself, is that these tiny animals breed in early spring when the males roam the night in search of females…Mothers typically give birth to three kits in early summer and raise their young alone in abandoned prairie dog burrows.

Shiona: I read that ferrets stalk and kill prairie dogs during the night. Using their keen sense of smell and whiskers to guide them through pitch-black burrows, ferrets suffocate the sleeping prey, an impressive feat considering the two species are about the same weight.

Shadow Bear: In turn, coyotes, badgers, and owls prey on ferrets, whose life span in the wild is often less than two winters … They have a short, quick life.

When it comes right down to it, I can sympathize with Edwards completely. I remember a 6th grade research paper I did on the Beatles, which may or may not have included some lifted sentences from Encarta. I honestly can’t remember for sure anymore. But I do remember the quiet agony of trying to describe Ringo’s troubled childhood in meaningful-yet-concise sentences before 10pm. I got an ‘A’ on the paper, but it was still really hard.

What I’m trying to say is that Cassie Edwards should be forgiven for her literary faux pas. We all lie and cheat and even steal, whether it be words or post-it notes from the office supply closet. Nobody is without guilt. But on today of all days, Valentine’s Day, I think we should forgive Edwards and remember what she was ultimately trying to do: write about the triumphs and trials of love … and the sweaty, rippling muscles of Lakota warriors.

This Indian will not die!

<

actually i don’t know much about the storyline of this Lonesome Dove prequel, but it is a western, and westerns call for indians to be killed. i am also uncertain whether kilmer is playing a character that kills indians though i have read on imdb that his character, inish scull, is a lunatic, so, i think it safe to assume that if his character crosses some indians they are going to die.
it’s sad to see a noted indian actor kill actual indians, and actors at that, on t.v.

on another point, the usual trope of “veracity” in costume and horse ridin’ has been trotted (pun intended) out for those that might care about such things. if you go to cbs.com you can view a behind the scenes featurette where a lovely blonde lady with sparkling blue eyes tell us that the (real) indian advisers even allowed for the use and filming of (real) eagle feathers, as well as some of the (real) comanche ceremonies-a first ever for cracker-produced western mini-series!

fyi-the still lovely eddie spears is seen modeling aforementioned eagle feathers.

anyway, as everyone who knows anything about plains indians knows eagle feathers are sacred and untouchable by anyone who is not an indian. so i guess non-indian costumers festooning real indian actors with real eagle feathers qualifies as a big too-do. yay for them! but i’m wondering, how do they know the feathers are real american eagle? i guess they come with their own status card, huh?
Anyway, real-schmeel! those indians are still getting shot off their horses. shoulda saved the “real american eagle feather” card for Dances With Wolves II. at least the indians, will sort of, live through that piece.

Comanche Moon, CBS Sunday, January 13, 9pm et/pt | Tuesday, January 15, 9pm et/pt | Wednesday, January 16, 9pm et/pt

keep an eye out for our review!

photo: cbs.com

CALL FOR ENTRIES / CONVOCATORIA / CONVOCAÇÃO

11th Cine Las Americas International Film Festival

Festival dates: APRIL 16 TO 24, 2008

For more information contact:

Jacqueline C. Rush Rivera
Director of Programming | Directora de Programacíon
Cine Las Americas International Film Festival & The Cine Las Americas Media Arts Center
P.O. Box 1626, Austin Texas 78767
USA Tel: +1-512-535-0765, Fax: +1-512-535-6268
w w w . c i n e l a s a m e r i c a s . o r g
films@cinelasamericas.org

AUSTIN, TEXAS. Tuesday, October 30, 2007 - Cine Las Americas announces The 11th Cine Las Americas International Film Festival. The festival will take place April 16 - 24, 2008 in Austin, Texas, once again bringing the best of Latino and indigenous cinema.

The festival’s call for entries is currently open. The submission deadline is December 21, 2007. To obtain an entry form please visit www.cinelasamericas.org

Cine Las Americas invites filmmakers, producers and distributors to participate in The Cine Las Americas International Film Festival, now in its eleventh year. The festival showcases contemporary films from North, Central, South America the Caribbean and Spain. Works made by or about Latinos and native groups of the Americas are eligible to participate.

The festival grants Jury Awards in the categories of First or Second Dramatic Feature, Documentary Feature, Dramatic Short Film, Documentary Short Film and Youth Film. Audience Awards are also presented for Best Documentary Feature and Best Dramatic Feature.

To be eligible for these competitive sections, projects must have been completed after January 1, 2006. All film entries are also eligible to participate in the festival’s non-competitive sections. For all works where the spoken language is not English, English subtitles or narration are required.

As a celebration of young filmmakers, Cine Las Americas presents Emergencia, a special competitive section open to filmmakers ages 19 and under.

Submissions should be at the Cine Las Americas office by the following dates and times:

Deadline: December 21, 2007 at 5:00pm (Entry fee $20)

Late Deadline: January 18, 2008 at 5:00pm (Late entry fee $40) Youth Films Deadline: January 31, 2008 at 5:00pm (Youth films pay no entry fee)

The mission of Cine Las Americas is to promote cross-cultural understanding and growth by educating, entertaining and challenging the diverse Central Texas community through film and media arts. This project is funded in part by the City of Austin through the Cultural Arts Division and by a grant from the Texas Commission on the Arts.

FOR IMMEDIATE RELEASE – NOVEMBER 15, 2007 Big Soul Productions Inc. and Q-Music Studios present The 24-hour Music JamFest – A Modern 49er. The “49er” is the party thrown after a pow-wow. 49er songs are round dance style music where the performers sing love songs with very tongue-in-cheek and sometimes raunchy lyrics. The 49er tradition was said to have been started somewhere in Oklahoma although there is no one person or place who has taken credit for starting these gatherings.

(Toronto – December 1 and December 2, 2007) - Musicians and performers of all nations, styles and disciplines are being invited to participate in the first-ever 24-hour Music JamFest, a Modern 49er, from 11:00 a.m. Saturday, December 1 to 11:00 a.m. Sunday, December 2, 2007. Conceived and presented by Big Soul Productions and Q Music Studios, this groundbreaking event will provide an invaluable opportunity for cross-cultural and cross-genre musical experimentation, networking and great times, including the use of a state-of-the-art recording facility at no cost to the artists. Taking place at the Q Music Studios at 401 Richmond Street West, Suite B102 in Toronto, the jam will consist of 90-minute sessions. Confirmed artists include Juno-award winner, Leela Gilday, the Juno-nominated and Canadian Aboriginal Music Award recipient, Jason Burnstick, and rapper/actor Ostwelve (Moccasin Flats), and many more.

“There are so many artists in Toronto that weekend and I saw an opportunity to not only bring them together creatively but to also bring together the traditional with the contemporary by using the 49er format. I can’t wait to see what is created through this process.” Said Laura Milliken, creator and co-presenter of the 24-Hour JamFest and President, Big Soul Productions. Performances will be recorded live from the floor on the Q Music 5.1 HD Protools Suite and videotaped throughout the jamfest.

“All of the resources are being provided by Q Music Studios and Big Soul and it is free for all participants. That reinforces that the spirit and intent behind this project is entirely creative, collaborative and fun not just for the participants, but us too!” said Donald Quan, co-presenter, 24-Hour JamFest and President, Q Music Studios. All participants must pre-register with kim@bigsoul.net. Protocol for the jam and sign-up procedures are now available and being circulated. Information will be posted at http://www.myspace.com/bigsoulproductions. Volunteers are also being recruited for camera operators, sound engineers, engineer’s assistants, and hosts.

Laura J. Milliken is the President of Big Soul Productions Inc. She is the accomplished and award-winning producer of short films, television dramas, music videos, and animated series. For more information about her work, visit www.bigsoul.net.

Donald Quan is the Q behind Q-Music Studios. His film music company has provided music services to hundreds of television, film, radio and multi-media productions, including the popular television shows “Relic Hunter” (starring Tia Carrere for Fireworks) for which he was nominated for a 2002 Gemini Award, “Mutant X” (Tribune Entertainment) and “Tracker” (starring Adrian Paul for Lions Gate) as well as feature films “Expecting”, “Eve”, and the new CBC comedy “Getting Along Famously”. He is also responsible for the current themes for Movie Television (City-TV) and the cable network APTN.

For event information visit: http://www.myspace.com/bigsoulproductions

To register or volunteer for the event contact, Kim Ross: 416-598-7762 kim@bigsoul.net

Censorship: we do not not like it! we do not condone it! we will not tolerate it!

On the other hand, we endeavor to check our facts when making (farcical) statements about people places or things-most of what we have written is indeed founded on facts that can be readily found on the internet or in print. Well, perhaps, Val Kilmer doesn’t exactly live on his own reservation, but that was metaphor. And, it is funny! Actually I believe we’ve dubbed it “rancher-vation,” get it? It’s a ranch but he’s an Indian and Indians live on reservations and sometimes, if they are lucky, ranches, but mostly reservations..well no according to recent census records most Indians live in urban cities but mainstream America thinks they live on reservations or don’t live at all. See? It’s a fine line between creative articulations and boring fact based journo-blah blah. But we do endeavor to check our facts before posting.
However, opinions and rhetorical/diaristic blogging is another case altogether. If it is my opinion a film or exhibition is, or is not, lacking in anyway than I have a right to express my opinions on what amounts to a public display open to interpretation, i.e. a gallery opens it’s door to the public who consumes the show, a screening is held, people are invited to sit and watch, etc.

Interpretation. Interpretation. Interpretation which is mine and mine alone. In this case interpreting art events or whatever else I happen upon is the same as expressing my own opinion with the minor exception that I do not have to base my opinion in anything other than my subjective predilections while interpreting work for public consumption requires forethought, investigation and objective reason. As editor of NAICA and Longviews it has been a great thrill to me that most of the contributors to the webzine and blog have easily fell within this dichotomous writing style without my having to coach or weedle them. Objective journalism blends easily with their informed tastes to create the effect (perhaps illusion) of fine art and film criticism. We have lofty ideas here, critical and lofty.

Their writings have been inspired, their visual contributions (art direction, graphic design, photography, etc) consistently excellent, and again, their dedication to the advancement of Native cinema and contemporary art has gotten us where we are today which is largely broke but having fun. Being the forerunners on recognizing the growth of Native film and contemporary art nationally and globally is a relief as well. This is why I do not censor my collaborators when it comes to their writings, especially on something like a blog. We do not pretend that this space is anything more than a current events forum to express our opinions and offer timely interviews with artists, filmmakers and the like on topics of the day. Therefore, the contributors and interviewees must stand by whatever statements they make or criticisms they levy. To ensure public retort there is a nifty comments section per blog so that the general public may weigh in. Unfortunately, people are too lazy to bother registering. They jump to emails and phone calls often to negative effect-in most cases it turns out they only partially read the blogs.

Jee-bus save us!

If I can offer our dear readers, whom we are all too grateful for, any advice it is this: READ THE WHOLE BLOG AND EMPLOY COMPREHENSION SKILLS WHILST DOING SO!
Then if you have further questions or comments register here on the blog and tell us what you think. I promise we will post your comments and then we will respond-if necessary. I have to say, behind the scenes phone-calling and emailing isn’t as effective as people might think. Really, it makes the people who do it look lazy and uninformed and, even worse, as if they are lacking in fine reading comprehension skills. I mean I know I did pretty well on the verbal/analytical sections of the GRE and that makes me pretty much a genius but I sincerely doubt I am the only one who can discern subtext in writing and/or censorship issues-subtle and not so subtle.
Or maybe I am?

“Sunstroke” magazine: courtesy of crafty ole Colon

Our friend and current artist-in-residence, Kimowan McLain, is out of the hospital! (Read more about why he was in the hospital on his blog.) He’s now doing some pretty cool video podcasts (that should inspire NAICA to get on the stick with posting more of ours) which you can, again, check out by visiting his blog. We want to wish him a very speedy recovery. Best wishes, Kimowan!

(Lake and the Sky, 42×37 inches, Mixed media on canvas, 2006. Courtesy of the Artist)

p.s. Kimowan’s blog has a vast archive section where you can read about his work as an artist and educator, and varying thoughts in general on being an artist (indigenous or not) in the 21st century. Check it out.

photo courtesy: Cedar Sherbert

The Association on American Indian Affairs will present a short film
showcase at the National Museum of the American Indian, on November 8th,
at 6:30 pm.

Free admission. No reservations required. Please save the date.

Thursday, November 8, 2007

Reception
American Indian Community House
2nd Floor Gallery, 11 Broadway, New York, NY 5:30 PM

Screening
National Museum of the American Indian
One Bowling Green, New York, NY
6:30 PM

Kawdan’s Song, directed by Annabel Wong (Salt River Pima) A young mother
travels to New York City for a violin audition.

Gesture Down (I Don’t Sing), directed by Cedar Sherbert (Kumeyaay)
Adaption of “Gesture Down to Guatemala” by Blackfeet/Gros Venture writer
James Welch.

Half of Anything, directed by Jonathan Tomhave (Hidatsa/Prairie Band
Potawatomi/Hocak) Response to “What is a real Indian?” interviews
include John Trudell and Sherman Alexie

Indians for Indians: A Radio Program, directed by Ava Hamilton (Arapaho)
Profiles the oldest continuous Native radio program in the US.

Rez Life, directed by David Aleck, Nick Clark (Confederated Tribes of
Grand Ronde) and Martin Edwards Poetic film about the choices a boy
faces on his path to manhood on the reservation.

Film Coordinator: Raquel Chapa, (Lipan Apache/Yaqui/Cherokee), Currently

working on a PBS documentary on the Cherokee Trail of Tears as well as 3
gallery shows of Native art to open in Brooklyn in 2008.

www.indian-affairs.org

photo courtesy: Doug Miles

NAICA favorite Georgina Lightning was recently in town to show a trailer of her forthcoming feature Older Than America. Rooftop Films and IFC made this screening possible. The event, contrary to the title, was held at a park on 12 Street, between Avenue A and 1^st Ave–for those of you who give a shit—in East Village. Some of you may claim that I am biased but I assure you the highlight of the event was Georgina’s trailer. The rest of the trailers emphasized “white neurosis” under the guise of art. Please don’t make me explain this. Either you get it or you don’t. Or better yet take a class at the New School. I’m sure they offer a course on this subject! Please see my interview in the 2007 summer edition with Georgina for more details on her feature: http://www.thenaica.org/edition_six/ppt/georgina/intro.htm
In other news yours truly also participated in a screening/ Q&A for Artic Son directed by Andrew Walton at The ImaginAsian theatre on 59^th street in midtown Manhattan. This event was co-presented with American Documentary/POV and Big Mouth films. The morning of the screening I made a brief plug of the event on First Voices Indigenous Radio hosted by Tiokasin Ghosthorse on WBAI FM. This was my first time on the radio save the time I called a fitness show seeking advice on how to get rid of flabby arms. I was excited-my cherry was popped on public radio! Back to the screening…OMG…the audience was rowdy and irreverent. In spite of the presence of their teachers, the students chatted incessantly with each other, and even had the nerve to talk on their cell phones.

HELLO!

How many times have you read DO NOT TALK DURING THE MOVIE or TURN OFF YOUR CELL PHONES on the screen before a movie began? Obviously not these kids! The only part of the film that commanded everyone’s attention was the scene where Stanley Jr. skinned a rabbit. After the screening I reluctantly moved to the front of the theatre to sit on a panel with the Arctic Son producer Dallas Brennan Rexer and Irene Villasenor of POV. The point of this segment was to answer questions or offer commentary on the film. Yikes! My initial skepticism was soon eradicated by the articulate questions offered by the audience. Yes these kids did pay attention! In retrospect I realize that I was too harsh on these kids. In fact, at a recent screening at my friend’s home, I too was offering commentary at inappropriate moments. However I was drunk on cheap wine…so there!

Last week Longwood Gallery at Hostos College in the Bronx held an opening reception for The Fort Apache Connection. The show is a multimedia presentation that, “explores the falsehoods and realities of Apache images that have been historically conjured up and perpetuated by American popular culture.” I was late to this event due to, well…you really don’t give a shit…right? The point is I made it there. I arrived famished expecting to gorge myself with cheese and wine. But upon my arrival I noted there was no food. Shit! Everything had already been consumed. Yup, tell-tale sign of the presence of Indians-empty plates and trash left on the floor. However the focus was the work on the walls. Various artists such as Jason Lujan, Pena Bonita, Bob Haozous, Carm Little Turtle and Douglas Miles had their work on display. I immediately went to Doug and Nadema and offered my congratulations. For those of you who don’t know, Doug lives down the block from my grandmother in TC ALLEY, USA. I meandered through the gallery and noted all the work. But I was mostly interested—yes I am biased—in Doug’s work. Frankly I was so tired that I opted to pose a few questions to Doug via e-mail. Yes, I get tired and prone to lassitude…but you’d rather read his description of his work than me, right?

Sonny Grant: Although your work has been presented in various forms, you mostly use skateboards as a canvas, Why and What message are you trying to convey?

Douglas Miles: Using skateboards as a canvas is a way I challenge myself as an artist and designer. Its also fun to design something that has form and function, not something that just hangs on a wall or sits on a shelf. I don’t think in terms of having a “message”. Just trying to make something interesting that people can relate/respond to. If there are messages I guess they’re multilayered. I think the medium is the message. People ascribe different meanings to my work. There is a long list of short words people use when discussing my work: “ Pop, Modern, Street, Hip-Hop, etc…” There is also a short list of long words people use to describe my work: “ contemporary, appropriation, confusing, etc.” Go ahead and add your own new long or short words here.

SG: For those of us who aren’t familiar with your company would you briefly tell us about it and how it came into being?

DM: Apache Skateboards came into being purely out of necessity. “ Necessity is the mother of invention.” With no Native Skateboard companies at the time we started, we pioneered a little known thing into a small movement of sorts. Now Apache Skateboards (AS) has become a “brand.” We want to make it clear that we are proud of who we are and what we’ve done, Yet AS is not just me but a team of dedicated skaters, filmers, photographers, and artists who serve as our “ Broad of Directors.” AS is for everyone. We created a product that anyone should be proud to support.

SG: Your work synthesizes the images of “Boricua” and contemporary and traditional Apaches, What is the connection between these two cultures?

DM: The skateboards and art designed for the Fort Apache Connection art show at Hostos College (curated by Nadema Agard) were done as a tribute to two strong yet often marginalized cultures in America. Apache people from the southwest, Puerto Rican people from an area in the South Bronx formerly known as: Fort Apache. The work in the show is not really a synthesis but a tribute to two very strong and vibrant cultures and meant to discuss sociopolitical parallels in how each culture had been (mis) treated, for better or worse.

SG: Do you feel that you are commodifying Apache culture by presenting it within a pop context?

DM: No I do not feel that at all. Apache culture is too vast, complex, living, vibrant, expressive unknown, mysterious and specific to commodify. If I am commodifying anything it is my own artwork for my own fun and challenging purposes. I think it is necessary that we (Natives) create our own companies, products, and projects so we don’t have to be blindly sold whatever is out there. You can’t help but notice we live in a country/culture of consumers. I like Pop art but I do not consider myself a “Pop Artist” nor do I consider what I or my peers do as “Pop Art.” Museums that take cultural and intellectual property under the guise of preservation, then charge an entry fee to view one’s own culture? Authors and historians who write about Native cultures as “so-called experts” and receive payment for these books and articles? Non-Native companies who use Native-themes and images to sell products such as , cigarettes, butter, orthopedic shoes, clothes toys, movies, films, documentaries etc? Of all these various groups it is rare that the Indian community gets to see revenue from these various products or projects.

SG: Who or What influenced your work?

DM: First and foremost?

Allan Houser

Allan Houser

And Allan Houser

Did I say Allan Houser?

Of course you can see all types of influence. But currently?
Yatika Fields, Rose Simpson, Micah Wesley, Brian Brannon, Cey Adams, Batman, Bob Haouzous aka Mecha-Godzilla, subway sweat, ( sing sweet chariot down deadened streets.) Cannupa, HUMBLE, The Apache Wars, Velvet Underground, The Sopranos, Reubrn Ringlero, Lil’ Doug, Irwin Lewis, Exvoto Design, Eyejammie, Akira, Taxi Driver, South Bronx Hip-Hop era, Rahzell, Joe Conzo, Nadema Agard, Bruce Lee, Scorcese, Apachelypse Now, Ernie Panicolli, The Land of Plenty Skateboards, Cowtown, Charlie Parker, The RZA, Martha, Gracie, Bekah, Cece, India, T.C. Alley spray painted walls, & that cholo kid who is doing ill work on a little scrap of paper in the back of the classroom.

SG: Please tell us about your forthcoming projects?

DM: Space, the final frontier. These are the voyages of the Apache Starship Enterprise: It’s a five year mission: to explore strange new worlds, to seek out new life and new civilizations, to boldly go where no man or woman has gone before.

Thanks Doug!

P.S. this is shameless self promotion time…a personal essay of mine was published in the most recent edition of Talking Stick Native Arts Quarterly….check it out!

http://www.amerinda.org/newsletter/10-4/index.html

TORONTO OR BUST!

San Francisco, CA - The American Indian Film Institute (AIFI) and Title Sponsors; the Rumsey Band of Wintun Indians and the SeminoleTribe of Florida are proud to announce the opening and closing night films for the 32nd annual American Indian Film Festival:

Opening the nine day Festival at Landmark Embarcedero Cinema on Nov. 2 in San Francisco, will be two captivating documentaries, “Maria Tallchief” and “Water Flowing Together”, both exploring the world of ballet through two renowned Ballet dancers.

The World Premiere of “Maria TallChief” directed by Sandra Osawa, poetically chronicles the legendary Osage dancer Maria Tallchief. Hailed as “America’s first prima ballerina” this full-length documentary includes rare ballet dance footage and exclusive interviews with Maria Tallchief as well as fellow dancers and historians. “Water Flowing Together” directed by Gwendolen Cates delves into the life of Navajo Indian/Puerto Rican New York City Ballet principal dancer, Jock Soto. Known as “one of the finest male dancers” in the world, this compelling documentary studies his connection to his heritage and follows him through the last two years of his career up to his retirement on June 19, 2005. Opening the second part of the Festival at the historic Palace of Fine Arts on Nov. 8, is the documentary “Gathering Together” and the acclaimed feature film “Four Sheets to the Wind”. “Gathering Together” by Bay – Area director James Fortier, goes behind the scenes to chronicle to the story of the Muckleshoot Indian Tribe’s first traditional regional potlatch in over a century, as host of the 2006 Tribal Canoe Journey. A coming of age drama, “Four Sheets to the Wind” directed by Sterlin Harjo, follows the story of Cufe Smallhill (Cody Lightning) after his father’s untimely death. Cufe leaves his home to visit his troubled sister (Tamara Podemeski) in Tulsa and unexpectedly meets a girl who changes his life. On Friday Nov. 9 the American Indian Film Festival will close with the World Premiere of the documentary “Making the River” and the feature - film “Imprint”. A film by Aboriginal Lens founded by Sarah Del Seronde and Paul Stoll, “Making The River”, tells the saga of Jimi Dexter Simmons. He was charged with first-degree murder of a prison guard at the Washington State Penitentiary. Faced with almost insurmountable odds that he would be convicted and executed, the Simmons Brothers Defense was formed. “Imprint” directed by Michael Linn tells the story of Shayla Stonefeather (Tonantzin Carmelo) a prominent Native American attorney who has turned away from her people and the dreams of her youth. When she returns to the Pine Ridge Indian reservation of South Dakota, her ancestral home, ghostly apparitions begin to haunt her with a frightening vision she does not want to believe. AIFI’s American Indian Motion Picture Awards Show, honoring filmmakers and showcasing contemporary Native American talent, will be held on Saturday November 10, 2007 @ the Palace of Fine Arts beginning at 6:00pm. Fourteen awards will be presented including Best Film, Best Actor and Best Documentary. The awards show will include a mix of live entertainment by established and emerging Native artists and performers including special performances by multi-talented singer Jamie Coon, violinist Swil Kanim, the 21 memberYaaw Tei Yi Tlingit Dancers from Alaska and acclaimed Taos, NM based recording artist Robert Mirabel. A complete schedule will be available on October 8, 2007 and will also be available on our website www.aifisf.com. All programs are open to the general public and will require tickets for admission. Advance Tickets available thru AIFI: 415-554-0525 visa & mastercard. On-site tickets available at the following theater venues (on day of show.) ** November is National American Indian Heritage Month. AIFI welcomes all- audiences, all-colors, to participate at festival screenings, seminars and awards show. Landmark Embarcadero Center Cinema One Embarcadero Center, Promenade Level San Francisco,CA Showtimes: Nov. 2- 7 Matinees begin @ 12noon ($5) *Box Office matinee tickets are available at 11:00am Evenings begin @ 7:00pm *Box Office evening tickets are available at 5:00PM (Opening Night $10) (Evenings $6-8) Palace of Fine Arts
3301 Lyon St.@ Bay St. San Francisco,CA Showtimes: Nov. 8-10 Evenings begin @7:30pm ($7-8) Nov. 8-9 tix available @ 6:30pm Motion Picture Awards Show begin @6:00pm * Awards Show tickets are available @ 4:30pm at the Box Office ($12-15)

A major upset for the interested citizens of New York City:
Noted actor Gary Farmer will not play with his band the Troublemakers at the upcoming (Oct 12th 2007) exhibition of artist Jay Carrier’s work to be featured in a solo show “guest curated” by Farmer himself.

No statements were given to the press at this time but the show will go on. Visit the American Indian Community House
(www.aich.org) website for further details.

Gary looks sad…Longviews and NAICA are sad too, Gary.

Really really sad.